Theme: Lesson-workshop « Syntactic means of expressiveness. Figures of speech ".
The purpose of the lesson: generalization of the studied material on the topic "Visual and expressive means of language"
Tasks:
Educational:repetition of terms; development of the ability to distinguish between paths, stylistic figures and other means of expression; defining their role in the text;
Developing:development of mental and speech activity of students, the ability to analyze, compare, classify, generalize, logically correctly express their thoughts; continuation of work on the disclosure of creative abilities, on the development of critical, imaginative thinking, on the development of communication skills;
Educational:development of a system of value attitudes towards the native language; fostering a respectful attitude to the author's word, a responsible attitude to one's own word, to the culture of speech; improving the skills of ethical interpersonal communication.
Lesson equipment:
Computer and projector for the presentation of educational material;
Student tables;
Task texts;
Method : heuristic, exploratory, problematic
Technology: TRKM
Interaction type: cooperation
I. Organizational moment. Recording a lesson topic
Syntactic means of expressiveness
II. Introduction. Determination of the purpose of the lesson.
– Every educated person, of course, should be able to assess speech behavior - his own and interlocutors, to correlate his speech with a specific communication situation.
Why is it that today, in the 21st century, journalists, scientists, linguists, psychologists, sociologists, writers, teachers feel especially acutely the speech trouble and ask the eternal Russian questions? What to do? and Who is guilty?
Why don't people who do not know their native language feel ashamed and litter it with, in their opinion, words that are "fashionable"?
Why is the opinion becoming popular that the works of classical Russian literature do not have their readers today?
Why? There are many questions. But the study of linguistics and literature, these important components of humanitarian education, is one of the ways that allow us to master the skill of human happiness and wisdom, to preserve culture.
Our native language, the richest, most accurate, powerful and truly magical Russian language, according to K.G. Paustovsky's definition, is a unique, amazing phenomenon. In it, the beautiful and the ugly coexist and closely intertwine ...
Continue the series of oppositions:
expressive - nondescript, strong - weak correct - wrong, native - someone else's,
majestic- nasty alive– dead.
What problem is facing us, those who know the language, who are studying it? Formulate the problem as a question:
how to make the language the best of what is in the world - beautiful, majestic, expressive?
– How is the problem related to the topic of the lesson? Find points of contact between them.
(Means of expressiveness of language are the way to expressive, figurative speech).
- Let's turn to the epigraph? How does it relate to the topic of the lesson?
1.Compilation of syncwine. Formulation of tasks
Artistic means serve the expressiveness and imagery of speech, which greatly facilitates the understanding and memorization of the text. They are called “flowers of eloquence”. There is a great variety of artistic means (about two hundred). These primarily include tropes, figures of speech, phraseological units, sayings, aphorisms.
– Remember, in solving what educational problems you need to know the means of expressiveness, be able to qualify them, distinguish them, determine their role in the text, etc.?
What difficulties do you experience while doing this?
Reflect your thoughts, impressions, difficulties in syncwine, choose the wording of the topic: "Expressive means of language".
There are many means of expressiveness, therefore it is very difficult to develop the ability to see the totality of all the figurative and expressive means of the language that are used in the text, to qualify them and determine their role in fragments of the text, and to give examples correctly.
Sinkwine
Sinkwine
Expressive language
They
Beautiful, lively (unusual ...)
Decorate, describe, imitate
"The wealth of language ... the wealth of thoughts." (N.M. Karamzin).
Treasures of speech (trails)
Expressive languageThey
Incomprehensible, varied
I can't find, I can't distinguish, I can't define the role in the text
(complicate, confuse, perplex)
"The riches of the Russian language are immeasurable ..." (KG Paustovsky).
Problem
– What tasks will we set ourselves to work on this topic in preparation for the Unified State Exam?
Repeat terms;
Correct the ability to find means of expressiveness in the text, to distinguish the types of tropes, syntactic means of expressiveness;
Continue to develop the ability to determine the role of means of expression in the analyzed text.
This lesson should be an assistant in overcoming difficulties.
2. Repetition of means of expression -
1) The game " Question-answer". (Knowledge of literary terms is tested.)
The whole class takes part in the game. The first question is asked by the teacher to one of the students. For example: what is hyperbole? The student gives a clear answer with an example and in turn asks a question to another student, and so on, until the necessary material is repeated.
2) Now let's practice defining artistic funds
Crossword for 3 groups
III ... Studying the topic of the lesson
The gray-haired blizzard lulled
With a wild song the forest is deserted,
And he fell asleep, covered by a blizzard,
All through, motionless and white.
I. A. Bunin
Find the studied means of expressiveness of speech in an excerpt from a poem by I. A. Bunin, a Russian writer and poet of the late 19th century. 20th century. Working with artistic text.
impersonation - lulled by a blizzard, he fell asleep (forest), epithets - snowstorm gray, wild song, the forest is empty
Describe the sentence in terms of syntax. On what grounds will you do this?
What are the homogeneous members of the sentence? Can they be a means of expression? Why? Homogeneous members of the sentence make the text more expressive. Not just an object is visible, but its individual details. The result is a complete picture of the picture.
Read an excerpt from a miniature of a Russian writer of the 20th century. Yuri Bondarev. What is the peculiarity of sentences with homogeneous members manifested in?
… nature endows a person with a happy opportunity to feel both the intimacy of the dawn, and the gentle beauty of the sunset, the mystery of the night and the starry fury of the August sky. It helps to survive the inevitability of death, the grief of loss, to fight loneliness, to overcome despair, jealousy, powerlessness, to forget enmity, envy, deceit of friends, betrayal. (Yu. Bondarev.)
(Allied and non-allied).
Non-union and multi-union are syntactic means of expressiveness.
Not because the mirror broke
Not because the wind howled in the chimney,
Not because in the thought of you
Something else's already leaked, -
Not because, not at all because
I met him on the doorstep
(A. Akhmatova).
Determine how the sentences in the text are linked
Parallel communication; since a number of subsequent sentences unfolds, concretizes the meaning of the previous one.)
How do you understand sentence parallelism? ( The same construction of adjacent sentences, the members of the sentence are located in the same sequence and are expressed in the same forms.)
Output ... The parallelism of sentences is one of the syntactic means of expressiveness of speech.
In addition to homogeneous members of a sentence, syntactic means of expressiveness of speech are non-union and multi-union, parallelism of sentences. They create a special stylistic effect and give more expressiveness to the text.
III. Acquaintance with figures of speech.
How do figures of speech differ from tropes?
Paths are lexical means based on the use of a word in a figurative sense.
Figures of speech are turns of speech associated with an unusual syntactic structure, which the writer resorts to to enhance expressiveness.
It counts A few dozens figures. Figures of speech have been created for millennia
2. Independent work on the table
Syntactic means of expressiveness ..
Figures of speech- these are turns of speech associated with an unusual syntactic structure, which the writer resorts to to enhance expressiveness.
Find a match
Inversion
7
figure of contrast, sharp opposition of objects, phenomena, properties
7
The rich, the poor, the wise, the stupid, the good, and the evil are sleeping (A. Chekhov)
Ellipsis
4
repetition of the same words or phrases at the beginning of sentences
8
Doesn't The Overcoat precede modern realism? What is modern mysticism in literature? These are "Viy" and "Portrait".
Gradation
8
A question-and-answer course is a piece of monologue speech that combines a rhetorical question and an answer to them; question-reflection.
The speaker, guessing possible questions, himself formulates such questions and answers them
Your mind is as deep as the sea.
Your spirit is as high as mountains (V. Bryusov).
Anaphora(consonance)
5
R splitting a phrase into parts or separate words, in which there are incomplete sentences following the main one.
A lonely sail gleams in the fog of the blue sea (M. Lermontov)
Parcelling
1
an arrangement of words that breaks the usual word order:
For his child , for the sake families , for his sake the people , for the sake humanity - take care of the world!
A rhetorical question Rhetorical appeal
Rhetorical exclamation
default
3
the arrangement of words in increasing or decreasing importance:
And again. Gulliver. Costs. Slouching.
(P.G. Antokolsky).
Antithesis
9
The same ending of several sentences
2
We hail - to ashes, villages - to dust (V. Zhukovsky).
Hypophora
2
omission for stylistic purposes of any implied member of the sentence,
gives speech impetuous, dynamic character
9
All my life I went to you. I believed all my life into you. I have loved all my life you.
Epiphora
6
is posed not with the aim of getting an answer to it, but in order to draw attention to a particular phenomenon
NS crossed out address to someone or something
O marks the emotional semantic culmination of a segment (part) of speech
6
Do you know the Ukrainian night?
Flowers, love, countryside, idleness, fields!
About the times! About morals!
But listen: if I owe you ...
I own a dagger,
I was born near the Caucasus.
3) Work on tests
4) Text analysis:
Read the text and complete the assignments
(According to D. Likhachev)
3 2) 4 3) 11 4) 17
O
answer: 1724. “Speak so that I can see you,” wrote the ancients. The speech of an individual is not only an indicator of his mental development and outlook, but also an indicator of his general culture and moral qualities. D. Likhachev discusses this with his characteristic passion and desire to convince his young interlocutor. And the syntactic means of expressiveness help him in this: ________ (sentences 2-3); ________ (offers 3, 6, 9, 10, 15, etc.); _______ ("a rude joke, irony, cynicism" - ascending; "fear, fear, apprehension" - descending); lexical means _______ ("flaunting", "psychological vulnerability", "demonstrates", "intelligence", "the influence of the environment", etc.). "
List of terms:
antithesis
anaphora
comparison
impersonation
book vocabulary
gradation
citation
ranks of homogeneous members
question-answer form
answer: 9865
IV. Lesson summary
Reflection.
What goals and objectives did we set for ourselves at the beginning of the lesson? What happened? What didn't work out? What else is there to work on? What practical help did you receive in your exam preparation lesson today? What thoughts and statements of famous people did you especially remember, received an emotional response in your soul?
– In order to have an emotional impact and for aesthetic purposes, in order to create imagery and expressiveness, the masters of the word use the means and techniques of expressiveness of speech. You and I, language learners, must remember that the native word is the basis of our spirituality, our culture.
– In six months you will become school graduates, enter adulthood, you are responsible for the present and future of the Russian language. Listen. Think. Decide. What will it be? Treat your native word as a "priceless gift", as a treasure, let them always say about you: "This is a cultured person." And what is he, a cultured person?
V .Home assignment to write a mini-essay " And what is he, a cultured person? »
Appendix 1. Crossword
1 A
M
Horizontally:
1. Trail, consisting in the use of a proper name in the sense of a common noun. (Don Juan meaning "seeker of love adventures").
3. A word that defines an object or phenomenon and emphasizes its qualities, properties, features. "... From the oars to the shorecurly footprint ran "
4. The type of trail, the way of transferring values by the contiguity of phenomena.
"You can only hear, on the street somewhere a lonely accordion wanders"
5. Determination of one subject by comparing it with another.
« Like mountains, waves rose from the indignant depths ... "
6. Turnover, consisting in replacing the name of an object or phenomenon with a description of their essential features or an indication of their characteristic features
The wondrous genius faded like a beacon,
The solemn wreath has withered. (M. Lermontov)
7. Allegorical image of an abstract concept with the help of a concrete phenomenon of reality.
Fox is a symbol of cunning
Wolf - malice and greed
8. A figurative expression containing an exaggerated exaggeration of size, strength, significance.
Khlestakov. Just don't talk. On the table, for example, is a watermelon - seven hundred rubles a watermelon ... And at the same moment, couriers, couriers, couriers ... can you imagine thirty-five thousand couriers alone! (N.V. Gogol).
9. The path opposite to hyperbole and consisting in an obviously implausible, exorbitant understatement of properties, qualities, signs, dimensions, strength, significance, etc. any phenomenon.
And walking importantly, in a calm calm,
A little man leads the horse by the bridle
In big boots, in a sheepskin sheepskin coat,
In big mittens ... and himself with a fingernail!
(N.A. Nekrasov).
Vertically:
2. The use of a word in a figurative sense based on the similarity in any respect of two objects or phenomena .
Appendix 2 text by D. Likhachev. Task 24
(1) Untidiness in clothes is, first of all, disrespect for the people around you, and disrespect for oneself.
(2) And how to assess the attitude towards the language we speak? (3) Language, even more than clothing, testifies to a person's taste, his attitude to the world around him, to himself.
(4) There are all kinds of sloppiness in the language of man.
(5) Flaunting rudeness in language, like flaunting rudeness in manners, carelessness in clothes, is a widespread phenomenon, and it basically indicates the psychological vulnerability of a person, his weakness, and not at all about strength. (6) The speaker seeks to suppress the feeling of fear, fear, sometimes just apprehension with a rude joke, irony, cynicism. (7) By rude nicknames of teachers, it is the weak-willed students who want to show that they are not afraid of them. (8) This happens semi-consciously. (9) I'm not even talking about the fact that a sign of bad manners, lack of intelligence, and sometimes cruelty ... (10) At the heart of any jargon, cynical expressions and swearing is their contempt for the phenomena in life that traumatize them, that they bother them, torment, excite that they feel weak, not protected against them.
(11) A truly strong and healthy, balanced person will not speak loudly unnecessarily, will not swear and use slang words. (12) After all, he is sure that his word is so weighty.
(13) Our language is an essential part of our overall behavior in life. (14) And by the way a person speaks, we can immediately and easily judge who we are dealing with: we can determine the degree of a person's intelligence, the degree of his psychological balance, the degree of his possible "complexes" ...
(15) It is necessary to study good, calm, intelligent speech for a long time and carefully - listening, memorizing, noticing, reading and studying. (16) But although it is difficult, it is necessary. (17) Our speech is the most important part not only of our behavior (as I said), but also of our personality, our souls, mind, our ability not to succumb to the influences of the environment, if it "drags on".
(According to D. Likhachev)
Which sentence expresses the main idea of the author of the text?
3 2) 4 3) 11 4) 17
24 ... “Speak so that I can see you,” wrote the ancients. The speech of an individual is not only an indicator of his mental development and outlook, but also an indicator of his general culture and moral qualities. D. Likhachev discusses this with his characteristic passion and desire to convince his young interlocutor. And the following help him in this syntactic means expressiveness: ________ (sentences 2-3); ________ (offers 3, 6, 9, 10, 15, etc.); _______ ("a rude joke, irony, cynicism" - ascending; "Fear, fear, apprehension" - descending); as well as the lexical means _______ ("flaunting", "psychological vulnerability", "demonstrates", "intelligence", "the influence of the environment" etc.). "
List of terms:
1.anthesis
2.anaphor
3.comparison
4.incarnation
5.book vocabulary
6.gradation
7.quoting
8.series of homogeneous members
9.Question-and-answer form
Appendix 3.
Success sheet.
Mark the completed tasks with signs correctly ("+") and incorrectly ("-"):
Group no.
Task number 1
Express survey on the theory "Question - answer"
Task number 2
Crossword
Exercise
№3
table
“Syntactic means of expressiveness. Figures of speech "
Task number 4
test
Antithesis is a turnover in which opposite concepts are sharply opposed:
They got along.
Wave and stone
Poems and prose, ice and fire
Not so different among themselves.(A. Pushkin)
As a stylistic figure, antithesis is based on a comparison of features inherent in different objects and expressed by antonyms: I hate all kinds of carrion! I love everything life!(V. Mayakovsky). Unlike oxymoron, the antithesis does not merge two opposing concepts into one: Hour separation hour goodbye to them is neither joy nor sorrow(M. Lermontov). The opposition, emphasized in the antithesis, allows you to highlight both of its components, draw attention to them, make them brighter: Not to see to me, what whether, no bright days, no moonless nights(V. Vysotsky).
An antithesis can be polynomial if it includes several antonymous pairs:
Loved the rich- poor, a scientist in love- stupid, I loved ruddy- pale, loved the good- harmful: golden- half a copper.(M. Tsvetaeva)
Antithesis is often used in proverbs and sayings:Learning- light, a ignorance- darkness; Summer - food, winter- trickster, in the titles of works of art: "War and Peace", "Thick and Thin", etc.
Significant fragments of text can be built on the antithesis:
The house has two elevators. One- weak, junk, often breaks. The other worked reliably, without interruption. And suddenly it was he who broke. Hopelessly. Burned out motor. Everyone began to use the second, frail elevator. At first, he could hardly cope, out of habit he was out of order, they thought he would not survive either ... But he gradually gained self-confidence and started working smoothly.
The law of life, it turns out, also applies to technology. How many times have I seen: responsibility falls on someone's weak shoulders- and the frail creature, feeling his own need, feeling that hopes are placed on him, begins to work hard and work ...
(A. Yakhontov)
This text is based on an antithesis: weak and strong, unreliable and reliable, uncertainty and confidence are opposed.
Inversion ( lat. inversion- moving, rearranging) is a stylistic figure, which consists in deliberately changing the order of words. Violation of the direct word order, in which the subject precedes the predicate, and the definition precedes the word being defined, can serve as an artistic device, using which the author achieves intonation and stylistic expressiveness: ... I will be for a long time, I will just talk in verses(V. Mayakovsky); Dissuaded the golden grove with a birch, cheerful tongue(S. Yesenin). As you can see, the rearrangement of the parts of the phrase gives it a kind of expressive shade.
As a rule, authors resort to changing the usual order of words in a sentence in order to emphasize the semantic significance of a word, stylistic coloration or to give a special rhythm to a phrase: Long, wintry wolves howl at dusk, formidable wolves from lean fields(S. Yesenin). In this example, the definitions after the nouns are clearly distinguished, helping to describe the uncomfortable twilight picture, and the phrase itself becomes more melodious, reminiscent of the folk
poetics (compare: Formidable wolves howl from skinny fields in the long winter twilight- direct word order).
To attract the attention of the listener, the reader, the authors resort to a variety of permutations, up to placing the predicate in the narrative sentence at the very beginning of the phrase, and the subject at the end, for example: I'll run out, I'll throw my body into the street(V. Mayakovsky).
Graduation is a figure, which consists in stringing syntactic units of the same type (for example, homogeneous members, phrases, parts of a sentence, subordinate clauses), in which their semantic or emotional significance increases (ascending gradation) or decreases (descending gradation). That is, during gradation, the enumeration elements are arranged so that each subsequent enhances (less often weakens) the value of the previous one, due to which an increase in intonation and emotional tension of speech is created: mournful, pitiful, convict howl(M. Tsvetaeva).
Graduation combines v a comparison in terms of similarity and contrast, since the components included in it have a common meaning, but at the same time are opposed in terms of the degree of intensity, the degree of expressed meaning: To this pulpit, from which the Nobel lecture is read ... I climbed not three or four paved steps, but hundreds or even thousands of them- unyielding, steep, frozen(A. Solzhenitsyn).
Zeugma- such a technique of expressive syntax, in which a logical law is deliberately violated: the enumeration series of homogeneous members of a sentence include logically inhomogeneous components: Agafya Fedoseevna wore a cap on her head, three warts on her nose and a coffee hood with yellow flowers(N. Gogol). As you can see, the syntactic construction in this case includes a number of homogeneous members, grammatically equivalent, but semantically diverse, as a result of which a comic effect is created: I read, subscribed, coped. And rummaged in books, and in the ridges ...(I.A.Krylov); ... for the power, for the livery, neither conscience, nor thoughts, nor neck bend(A.S. Pushkin). In zeugma, an overlap of meanings is seen: a game with meanings takes place here, when two meanings are combined in one word, and each finds its compatibility with logically heterogeneous enumeration elements: With one bitterness of will you took heart and rock(M. Tsvetaeva). In this example, two meanings of the word "take" are manifested: in combination with the word "heart" it means "to enchant", and in combination with the word "rock" - to win, conquer, conquer.
Repeat - this is the general name for a number of stylistic devices in which the repetition of an element of the utterance serves as a means of enhancing expressiveness. Repetitions can indicate the duration, intensity of action, a large number or mass of objects, emphasize or clarify signs, enhance the emotionality of speech: And ringing, ringing, ringing, ringing wrists ...(M. Tsvetaeva). One of the purposes of repetitions is to deepen the semantic side of speech, highlight an idea, a basic concept. Repetition can serve as a basis for the development of thought.
Anaphora (monotony) is the repetition of the same elements (from sounds to sentences) at the beginning of each new phrase: About the times! About morals!(Cicero). By pushing the most important repeating element to the fore, anaphora allows you to focus on it:
I like that you are not sick with me, I like that I am not sick with you.
(M. Tsvetaeva)
Anaphora can interact with other stylistic devices, such as syntactic parallelism:
And Razin dreams- dream: Like a swamp heron crying. And Razin dreams- ringing: Exactly droplets of silver dripping.
(M. Tsvetaeva)
Anaphora promotes the rhythm of speech:
This morning, this joy. This power of both day and light.
This blue vault. These flocks, these birds, This cry and strings.
This dialect of waters.
Epiphora (single ending)- repetition of the last words of the phrase:
Oh, do not hesitate on the next
Bell tower!
I want to howl your last
Bell tower!
(M. Tsvetaeva)
The epiphora enhances the emotionality, intonational expressiveness of the text, highlights the main thing, emphasizes the emotional identity of the following segments of speech: They got a loaf of light bread- joy! The movie is good in the club tonight- joy! Paustovsky's two-volume edition was brought to the bookstore- joy!(A. Solzhenitsyn)
WITH and mplok- this is the connection in the text of anaphora and epiphora:
Accustomed to the steppes- eyes accustomed to tears- eyes.(M. Tsvetaeva)
Anad and plosis- this is a seam figure - a stylistic figure that repeats the last element at the beginning of the next phrase:
Memory of you- quiet house. Quiet house - yours - under lock and key.(M. Tsvetaeva)
Multi-Union (polysindeon) is a repetition of the union, serving for intonation and logical emphasis. Usually compositional conjunctions are repeated;
And the new sun will shine in the fog, And the shadows will be dragonflies, And the proud swans of ancient legends On the white steps will come out.
(N. Gumilyov)
Particularly expressive is the multi-union in a series of homogeneous members: And for him the deity, and inspiration, and life, and tears, and love were resurrected again.(A.S. Pushkin).
Non-union (asyndeton) gives impetuosity to the utterance, creates the effect of increasing the tempo:
Booths, women, Boys, shops, lanterns, Palaces, gardens, monasteries, Bukharians, sleighs, vegetable gardens, Merchants, hovels, men, Boulevards, towers, Cossacks, Pharmacies, fashion stores, Balconies, lions on the gates And flocks of jackdaws on crosses.
(A.S. Pushkin)
With the help of a non-union combination of enumeration elements, the poet draws a quick change of pictures. The combination of non-union and multi-union conveys dynamics:
Swede, Russian - stabs, chops, cuts,
Drum beat, clicks, grinding,
The thunder of the cannons, the hubbub, the neighing, the groan, And death and hell from all sides ...(A.S. Pushkin)
Ellipsis - it is a stylistic figure, consisting in the deliberate omission of any member of the sentence, which is implied from the context: Soon- sunset, soon-. back: to you in the nursery, to me- letters read daring ...(M. Tsvetaeva). The syntactic incompleteness of the sentence does not lead to its semantic insufficiency.
ness, since the situation, context, background knowledge allow us to mentally fill the gap: To me- free sleep, bell ringing, early dawns on Vagan-kov(M. Tsvetaeva). The most common sentences are skipping the predicate - the verb of movement, movement in space, verbs of speech, thought. Skipping a predicate gives speech a special dynamism and expression, creates a feeling of impetuosity, unexpected action, quick change of events, tension of the mental state: Take the book with joy- ive class!(V. Mayakovsky)
Silence - it is such a figure, which consists in the fact that the author deliberately understates, suddenly interrupts the thought, giving the listener (reader) the right to guess which words have not been uttered, and to creatively complete the thought:
I myself am not one of those who are subject to the spell of strangers, I myself ... But, however, I don’t give away my Secrets for nothing.
(A. Akhmatova)
An unexpected pause is hidden behind the ellipsis, reflecting the speaker's meditation. The author deliberately does not fully express the idea, leaving the reader the right to guess the unsaid for himself. Silence can imply the omission of something that is very important and significant; what is unsaid takes on greater significance than what is said in the open.
Rhetorical exclamation is an emotionally colored sentence that serves to express feelings and attract the attention of the addressee of speech, and emotions in it are expressed not by lexical or syntactic means, but with the help of intonation: What a summer! What a summer \(F. Tyutchev); Yes, we are Scythians! Yes, we are Asians, with slanted and greedy eyes!(A. Blok); God! How good you are sometimes, distant, distant road!(N. Gogol); Oh, I believe, I believe there is happiness!(S. Yesenin)
A rhetorical question- one of the most common stylistic figures, which contains an affirmation or denial, framed in the form of a question that does not require an answer: Who dares to say that they defined art? listed all its sides?(A. Solzhenitsyn). Rhetorical questions coincide in form with ordinary interrogative sentences, but differ in bright exclamation intonation, emotionality:
Whose malice broke the earth in two?
Who raised the smoke over the glow of the slaughterhouse?
Or the sun
one
not enough for everyone ?!
Or is the sky above us a little blue ?!
(V. Mayakovsky)
The rhetorical question is used not only in poetic and oratory, but also in colloquial and journalistic texts.
Rhetorical appeal- this is an appeal to inanimate objects, absent, dead, abstract concepts. This figure serves not to name the addressee, but to draw the attention of the listener or reader to him: You are my fallen maple, icy maple, why are you standing bent over under a white blizzard?(S. Yesenin); Oh, summer is red! I would love you ...(A. Pushkin)
Question-answer unity- a stylistic technique, which consists in the fact that the author asks a question and himself answers it: What is Autumn? This is the sky, the crying sky under your feet (Yu. Shevchuk). This technique attracts the attention of the listener and reader, is a means of dialogizing monologue speech.
Syntactic concurrency- this is the same syntactic structure of adjacent sentences or speech segments:
We love everything- and the heat of cold numbers,
And the gift of divine visions
Everything is clear to us- and a sharp Gaulish meaning,
And the gloomy German genius ...
Full syntactic parallelism is characterized by the fact that it contains two or more identical syntactic units, they have the same number of identically located components:
Kiss on the forehead- erase care. I kiss on the forehead.
Kiss in the eyes- to remove insomnia. I kiss in the eyes.
(M. Tsvetaeva)
Syntactic parallelism may be incomplete: In my huge city- night. From the sleepy house I go- away(M. Tsvetaeva). In this example, the incompleteness of syntactic parallelism is ensured by the fact that the elements in the structures have partially different structures, for example, in the first sentence the definition precedes the word being defined, and in the second it is in the post position.
Parcelling - this is a technique that consists in deliberately dividing a sentence into several parts and arranging these parts as independent incomplete sentences. This division allows you to highlight additional semantic centers in the sentence, which means to draw the reader's attention to them: Words echo and flow like water- tasteless, colorless, odorless. Without a trace(A. Solzhenitsyn). With parceling, a specific intonation appears, that is, such a rhythmic-melodic formulation of an utterance that contributes not only to semantic, but also expressive actualization of some words:
There is a bell tower for them and for everyone! As our hope. Like our prayer ...(A. Solzhenitsyn).
Nominative representation (nominative topic)- this is an isolated noun in the nominative case, calling the topic of the subsequent phrase and designed to arouse special interest in the subject of the statement, to strengthen its sound: Moscow! How much in this sound for the Russian heart has merged, how much has echoed in it(A. Pushkin); Winter! .. The peasant, triumphant, renews the path on the logs ...(A. Pushkin).
Period- this is such a complex syntactic construction, harmonious in form, which is characterized by a special rhythm and orderliness, as well as exceptional completeness and completeness of the content. The period is characterized by a special intonation: at first, the voice rises smoothly, then reaches the highest point on the main part of the utterance, after which it drops sharply, returning to its original position. Compositionally, the period splits into two parts: the first is characterized by an increase in intonation, the second - by a decrease, which determines the harmony and intonation completeness of the period: No matter how hard people tried, having gathered in one small place of several hundred thousand, to disfigure the land on which they huddled, no matter how they stoned the earth so that it would not grow on it, no matter how they cleaned off any grass that had broken through, no matter how they smoked state coal and oil, no matter how they cut trees and drove out all the animals and birds- spring was spring even in the city(L. Tolstoy).
The period is musical and rhythmic, which is achieved by its structure; uniformity, proportionality of syntactic units, often having a similar grammatical structure, approximately the same size. Their repetition creates a rhythmic pattern of speech.
Most often, a period is built as a complex sentence with homogeneous clauses that appear at the beginning.
TEST PROBLEMS
| A1 | Determine which isob-express. facility used in example | |
| 2. 3. 4. | Dawn with a red prayer book prophesies the good news (Yesenin) Rose scarlet mouth reddens. (M. Kuzmin) A million Cossack hats poured onto the square. (N. Gogol) And the birds do not live here, they just cackle mournfully and dully ... (N. Gumilyov) | A. metonymy B. epithet C. metaphor D. comparison D. synecdoch |
| A2. 1.2.3.4. | Yesterday in the morning I powdered the roofs with the first frost. (M. Kuzmin) Hey, beard! and how to get to Plyushkin? (N. Gogol) There would not have been either, I agree, too, Pathetic hacks and pedants - If only there would not be also, friends, Scots, Shakespeare and Dantes! (N. Nekrasov) This is a disc of a flame-filled sun. (A. Bely) | A. synekdokha B. occasionalism C. metaphor D. antonomazia D. comparison |
| A3 | Determine which is figurative and expressive; tool is used in each example and match | ||||
| 1. | Forgive me, Caucasus, that I inadvertently told you about them, You teach my Russian verse Kizilovs to flow with juice. (S. Yesenin) | A. allegory | |||
| 2. | In a jersey, the fellow is running, The backs of the heads are in brackets, beards are everywhere. (M. Kuzmin) | B. oxymoron | |||
| 3. | Indeed, three houses are calling for the evening. (A. Pushkin) | V. periphrase | |||
| 4. | It was when only the dead smiled, happy to be calm. (A. Akhmatova) | G. synekdokha | |||
| D. metonymy | |||||
| A4 | |||||
| 1. | Uncomfortable liquid moonliness ... (S. Yesenin) | A. antonomazia | |||
| 2. | Will the Russian Terpsichore see a flight performed by the soul? (A. Pushkin) | B. hyperbole | |||
| 3. | Mountains bend before this grief, the river does not flow ... (A. Akhmatova) | V. synecdoche | |||
| 4. | You wandered along the edge of the forest - a girl without blood and without weight. (I. Severyanin) | G. litota | |||
| E. occasionalism | |||||
| A5 | Determine which pictorial and expressive means is used in each example and set the correspondence | ||||
| 1. | Again, with a learned-bold gait, I approach the cherished doors ... (N. Gumilyov) | A. hyperbole | |||
| 2. | He danced, the spring rain cried, the thunderstorm stopped. (S. Yesenin) | B. metonymy | |||
| 3. | Irretrievably, unstoppably, unrecoverable verse gushes. (M. Tsvetaeva) | B. epithet | |||
| 4. | ... scrupulous London trades ... (A. Pushkin) | G. antonomazia | |||
| D. impersonation | |||||
| A6 | Determine which pictorial and expressive means is used in each example and set the correspondence | ||||
| 1. | Singer of Feasts and languid sadness, If only you were with me ... (A. Pushkin) | A. epithet | |||
| 2. | Both of us did not yet understand how small the land is for two people ... (A. Akhmatova) | B. antonomazia | |||
| 3. | As in a terrible year, exalted by Trouble, You were small, I was young. (M. Tsvetaeva) | B. antithesis | |||
| 4. | Beautiful, like a heavenly angel, like a demon, insidious and evil. (M. Lermontov) | G. litota | |||
| D. paraphrase | |||||
| A7 | Determine which pictorial and expressive means is used in each example and set the correspondence | ||||||
| 1. | The head is delightfully empty, because the heart is too full! (M. Tsvetaeva) | A. litota | |||||
| 2. | We all learned a little something and somehow ... (A. Pushkin) | B. synecdoche | |||||
| 3. | A rusty leaf falls from the trees. (F. Tyutchev) | B. antithesis | |||||
| 4. | Then our neighbor church will give its voice from there. (A. Tsvetaeva) | G. hyperbole | |||||
| D. impersonation | |||||||
| J A8 | Determine which pictorial and expressive means is used in each example and set the correspondence | ||||||
| 1. | A kiss of autumn bliss burned in the woods ... (N. Gumilyov) | A. oxymoron | |||||
| 2. | I'm afraid I'll get up dead tomorrow morning. (M. Tsvetaeva) | B. metonymy | |||||
| 3. | I will not deceive myself, There is concern in my heart with a hazy mist. (S. Yesenin) | B. metaphor | |||||
| 4. | So we, holding Art in our hands, self-confidently consider ourselves the masters of it ... (A. Solzhenitsyn) | G. hyperbole | |||||
| D. epithet | |||||||
| A9 | Determine which pictorial and expressive means is used in each example and set the correspondence | ||||||
| 1. | In the brotherhoods of stray Mrut, and not cry, Burn, not cry. (M. Tsvetaeva) | A. simlock | |||||
| 2. | In the field, a birch stood, In the field, curly stood ... | B. gradation | |||||
| 3. | For the first time I sang about love, For the first time I refuse to make trouble. (S. Yesenin) | V. epiphora | |||||
| 4. | This street is familiar to me, And this low house is familiar. (S. Yesenin) | G. Anaphora | |||||
| D. anadiplosis (joint) | |||||||
| A10 | Determine which pictorial and expressive means is used in each example and set the correspondence | ||||||
| 1. | I blush the pallor with whitewash. (M. Tsvetaeva) | A. comparison | |||||
| 2. | Eyes, like a reflection of pure gray steel, graceful forehead, whiter than oriental lilies ... (N. Gumilyov) | B. periphraz | |||||
| 3. | Even in the early twilight of humanity, we received it [art] ... (A. Solzhenitsyn) | B. allegory | |||||
| 4. | It's harder than taking a thousand thousand Bastilles! (V. Mayakovsky) | G. oxymoron | |||||
| D. hyperbole | |||||||
| All | Determine which pictorial and expressive means is used in each example and set the correspondence | |||||||
| 1. | I don’t regret, I don’t call, I don’t cry ... (S. Yesenin) | A. epiphora | ||||||
| 2. | I will shed tears of meekness, I will, fortunately, of my heart. I bow down to the earth with the brook, And the poor hut, and the field. (N, Gumilyov) | B. gradation | ||||||
| 3. | I erected a monument to myself not made by hands ... (A. Pushkin) | B. inversion | ||||||
| Over the city - fog, fog. Old fogs of love. (M. Tsvetaeva) | G. Anaphora | |||||||
| D. ellipsis | ||||||||
| j A12 | Determine which pictorial and expressive means is used in each example and set the correspondence | |||||||
| ... struck by damask steel, he sleeps in the damp earth. (M. Lermontov) | A. epithet | |||||||
| 2. \ | In the mundane steppe, sad and boundless, Three springs mysteriously made their way ... (A. Pushkin) | B. litota | ||||||
| I immediately blurred the map of everyday life ... (V. Mayakovsky) | V. periphrase | |||||||
| 4. | The moose is good here: it has terrible strength in its long leg ... (M. Prishvin) | D. metonymy | ||||||
| D. synecdoche | ||||||||
| A13 | Determine which pictorial and expressive means is used in each example and set the correspondence | |||||||
| 1. | Not an impostor - I came home ... (M. Tsvetaeva) | A. synecdoche | ||||||
| 2. | And it was heard until dawn how the Frenchman was jubilant. (M. Lermontov) | B. comparison | ||||||
| 3. | ... you look like an oyster from the shells of things. (V. Mayakovsky) | B. antithesis | ||||||
| 4. | With a hellish roar and crackle Tchaikovsky shook Paolo and Francesca with Fate to tears. (B. Pasternak) | G. Perifraz | ||||||
| D. metonymy | ||||||||
| A14 | Determine which pictorial and expressive means is used in each example and set the correspondence | |||||||
| 1. | If one or another warrior wants to provoke us with a war, our answer is: no! (V. Mayakovsky) | A. impersonation | ||||||
| 2. | In the fire, beetles of all systems, cars hum. (V. Mayakovsky) | B. comparison | ||||||
| 3. | For years, someday they will play Brahms in the concert hall for me, - I’m sad. (B. Pasternak) | B. irony | ||||||
| 4. | Evening, do you remember, the blizzard was angry ... (A. Pushkin) | D. metonymy | ||||||
| D. synecdoche | ||||||||
| A15 | Determine which pictorial and expressive means is used in each example and set the correspondence | ||||||
| 1. | I love you, my damask dagger, bright and cold comrade. (M. Lermontov) | A. rhetorical question | |||||
| 2. | Spring! Do not leave the city Today. Flocks Through the city, like seagulls, Ice screamed, melting. (B. Pasternak) | B. ellipsis | |||||
| 3. | But is love a small flame that it can be easily extinguished? (N. Gumilyov) | ||||||
| 4. | About tears in my eyes! Cry of anger and love! O Czech Republic in tears! Spain is in blood! (M. Tsvetaeva) | D. rhetorical address | |||||
| D. nominative themes | |||||||
| A16 | Determine which pictorial and expressive means is used in each example and set the correspondence | ||||||
| 1. | I love you, Peter's creation ... (A. Pushkin) | A. metaphor | |||||
| 2. | Sometimes he passionately falls in love with his elegant sadness ... (M. Lermontov) | B. metonymy | |||||
| 3. | Heart - hell and altar, Heart - heaven and shame. (M. Tsvetaeva) | B. Periphrase | |||||
| 4. | Violets of waves and foam hyacinths Blossom on the seaside near the stones. (M. Voloshin) | D. antithesis | |||||
| D. oxymoron | |||||||
| A17 | Determine which pictorial and expressive means is used in each example and set the correspondence | ||||||
| 1. | Cry, Youth! Cry, Love! Cry, World! Cry, Hellas! (M. Tsvetaeva) | A. rhetorical exclamation | |||||
| 2. | Glory, glory to the sky in black clouds! (N. Gumilyov) | B. nominative themes | |||||
| 3. | February. Get out ink and cry! To write bitterly about February ... (B. Pasternak) | B. gradation | |||||
| 4. | Black man, Black, black, Black man Sits down to me on the bed ... (S. Yesenin) | D. rhetorical address | |||||
| E. expressive repetition | |||||||
| A18 | Determine which pictorial and expressive means is used in each example, and set the correspondence | ||||||
| 1. | The sun is mine. I will not give it to anyone. Not for an hour, not for a ray, not for a glance. (M. Tsvetaeva) | A. asyndeon (non-union) | |||||
| 2. | The rumor about me will spread throughout the great Russia, And every language in it will call me, And the proud grandson of the Slavs, and the Finn, and now the wild Tungus, and the Kalmyk friend of the steppes. (A. Pushkin) | B. parceling | |||||
| A18 | Determine which pictorial and expressive means is used in each example and set the correspondence | ||||
| 3. | The roll of improvisations carried the Night, the flame, the thunder of fire barrels, The boulevard under the downpour, the sound of wheels, The life of the streets, the fate of the loners. (B. Pasternak) | B. syntactic concurrency | |||
| 4. | To you philistine - oh, damn you three times! - and mine, poetically - oh, be glorified four times, blessed! (V. Mayakovsky) | G. polysinde-tone (polyunion) | |||
| E. antithesis | |||||
| A19 | Determine which pictorial and expressive means is used in each example and set the correspondence | ||||
| The drops have the weight of the cufflinks ... (B. Pasternak) | A. epiphora | ||||
| Like a young snake - but an old one, Like a young wife - and an old husband. (M. Tsvetaeva) | B. gradation | ||||
| Cloak, playful as a fleece, Cloak, kneeling. (M. Tsvetaeva) | B. ellipsis | ||||
| 4. | I hear your cat's step, a sign of treason! Your darkness darkens your eyes again, a sign of treason! (M. Kuzmin) | G. simlock | |||
| D. Anaphora | |||||
| A20 | Determine which pictorial and expressive means is used in each example and set the correspondence | |
| 1. | Share you! - Russian female share! (N. Nekrasov) | A. polysinde-tone |
| 2. | Who will not be tired of threats, Prayers, oaths, imaginary fear, Notes on six sheets, Deceptions, gossip, rings, tears ... (A. Pushkin) | B. rhetorical question |
| 3. | I love frantic youth, and tightness, and brilliance, and joy, and I will give a thoughtful outfit. (A. Pushkin) | B. rhetorical exclamation |
| 4. | Is it possible that our soul will not respond to such suffering? | G. asindeon |
| D. anasiplosis (joint) | ||
| A21 | Determine which pictorial and expressive means is used in each example and set the correspondence | |
| 1. | Streets are our brushes! Squares are our palettes. (V. Mayakovsky) | A. zeugma |
| 2. | Armed with a bagel and Fet, I sat down on the slope at the Gremyachaya Tower. (L. Losev) | B. Anaphora |
| 3. | Will the hour of my freedom come? (A. Pushkin) | B. gradation |
| 4. | He is not mourning, he is not gloomy, he is almost like a through smoke ... (A. Akhmatova) | D. rhetorical question |
| D. syntactic concurrency |
TEXT ANALYSIS
(1) What did the 20th century show? (2) It began with a world war that shocked all humanists and in one fell swoop crossed out humanistic ideals. (3) But all the savagery of this war turned into "children's toys" in comparison with the horrors of the next - the Second World War, which began just 20 years after the end of the first and made one think about an ominous, apocalyptic pattern of historical development. (4) The end of the Second World War - the use of atomic weapons - was the beginning of a new confrontation of various systems, the arms race and the exit to such a turn, when mankind visibly discovered the possibility of self-destruction.
(5) Until the XX century, humanity lived and developed, realizing itself to be immortal. (6) In clashes, conflicts and wars, states could disappear, individual peoples and cultures could perish, but all of humanity remained and continued its history. (7) Now a paradoxical situation has arisen: the buildup of strength, technological power of mankind has led it to a state where it not only cannot realize the initial claims of all-round domination over circumstances, but, on the contrary, finally falls into the power of circumstances, becomes a hostage of weapons of mass destruction which it itself
invents. (8) So in the second half of the XX century. the problem of the survival of mankind arose in conditions when scientific and technological progress creates an ever wider field of opportunities for a fundamentally new development of military equipment and weapons of mass destruction.
(V. Stepin)
In the article, the author raises a problem that is relevant in the age of scientific and technological progress and is important for each of us. To push us to joint reflections, V. Stepin begins reasoning with _____________. Opposite stylistic techniques help the author to express the scale of the two world wars of the 20th century.-____________and ____________(sentences 2 and 3). Assessment of catastrophic consequences
World War II is amplified by __________, used by the author in sentence 3. Text style- journalistic, as evidenced by the use ____________ (sentences 4, 7, 8).
List of terms:
11) rhetorical question
12) metaphor
13) epithet
14) hyperbole
15) question-answer unity
16) stable word combinations
17) litota
18) rows of homogeneous members
19) book vocabulary
20) parceling
TEXT 2
Read the excerpt from the review based on the text you have read. This fragment analyzes the linguistic features of the text. Some of the terms used in the review are missing. Insert the numbers corresponding to the number of the term from the list in the spaces of the blanks.
(1) Once Dostoevsky proclaimed that beauty will save the world. (2) A century later, our contemporary, who had survived too much, with a smile and pain asked a counter question: who will save beauty? (H) Our century, including the last third that is already going on, shows that this question is not idle and not superfluous. (4) The beauty that can save the world is, unfortunately, very vulnerable itself. (5) Not only wood, but also stone. (5) Bronze too.
Elena Buzina
Syntactic means of artistic representation
When working on the analysis of the text in the USE tasks, the student has to deal with terms, the meaning of which he imagines vaguely. This is especially true for syntactic concepts. Not the subject-predicate and isolated definitions, which are familiar from the textbooks of the Russian language, but the concepts associated with the pictorial, artistic possibilities of syntax. Russian language and literature teacher from Omsk Elena Vladimirovna BUZINA She successfully uses generalizing tables in her practice, which allow her students to comprehensively repeat the necessary terms before the exam. We present one of such tables - just in terms of syntax - for your attention today.
He (the language) has a freedom that does not exist in other languages:
from the rearrangement of words in the phrase, the meaning changes.
This freedom, the absence of mandatory clarification that arises in Western European languages from the rigidity of syntax, the absence of articles - all this provides the writer with unlimited possibilities, before him is not the depleted soil of past centuries, but a constant virgin soil. ( I. Ehrenburg)
In a work of art, in addition to a communicative task, syntax also has an aesthetic function, participating along with other methods of linguistic expression in creating artistic images, in conveying attitudes towards the depicted reality.
A distinctive feature of Russian syntax, according to well-known researchers of the language, is the freedom of movement of words within a sentence. Thus, the free order of words gives the Russian syntax grammatical flexibility, generates a huge number of syntactic synonyms, with the help of which the authors manage to convey the subtlest semantic differences ( Golub I.B. Grammatical stylistics of the modern Russian language. M., 1989.S. 153).
This circumstance gives rise to many pictorial techniques used by the masters of the Russian word, and also forms the special properties of the Russian syntax.
Indeed, syntax is not only about special syntactic constructions, syntactic elements, or units. This, according to S.I. Lvov, “... the language level at which all linguistic figurative means that do not exist in isolation in the text but function in a syntactic unit - in a sentence” ( Lvova S.I. Literature lessons. 5-9 grades: A manual for the teacher. M .: Bustard, 1996.S. 385).
Basic syntactic tools
Reception |
Definition |
Example |
Meaning |
Expression Syntactic Tools |
|||
| Rhetorical exclamations | They contain a special expression, increase the intensity of speech. | Lush! He has no equal river in the world! (about the Dnieper). (Gogol) |
They increase the emotionality of the statement, draw the reader's attention to certain parts of the text. |
| A rhetorical question | Contains a statement or denial, framed as a question that does not require an answer. | Why are you disturbing me? What do you know, boring whisper? .. What do you want from me? Are you calling or prophesying? (Pushkin) |
Brightness, a variety of emotionally expressive shades. It can be used in colloquial speech, in journalistic and scientific prose. |
| Parallelism | The same syntactic construction of adjacent sentences or speech segments. | Stars shine in the blue sky In the blue sea, waves are splashing. (Pushkin) |
May reinforce rhetorical question and rhetorical exclamation. |
| Anaphora | Repetition of words or phrases at the beginning of sentences, lines of poetry or stanzas (monotony). | Only in the world is there that shady Dormant Maple Tents. Only in the world is there that radiant Childish pensive gaze. (Fet) |
Enhances the expressiveness of speech, logical emphasis. |
| Epiphora | Repetition of a word or phrase at the end of a poetic line. | Why am I known as a charlatan? Why am I known as a brawler? The whirlpool in the heart has cleared up with a hazy mist. That is why I am known as a charlatan, That is why I was known as a brawler. (Yesenin) |
Strengthening intonations, shades of sounding speech. |
| Inversion | Changing the usual order of words and phrases that make up a sentence in order to enhance the expressiveness of speech. | ... where people's eyes are cut short. (Mayakovsky) The doorman is past him with an arrow |
Gives the phrase a new expressive flavor. |
| Ellipse | Skipping an element of a statement that can be easily reconstructed in a given context or situation. | We are villages - to ashes, hailstones - to dust, In swords - sickles and plows. (Zhukovsky) |
Gives the expression dynamism, intonation of live speech. |
| Default | A figure that represents the ability to guess and reflect on what could be discussed in a suddenly interrupted statement. | I do not like, about Russia, your timid, Thousands of years of slave poverty. But this cross, but this ladle is white ... Humble birthmarks! (Bunin) |
Awakens deep thoughts and feelings. Often used in direct speech. |
Various ways to break sentence closure |
|||
| Offset syntax | The end of the sentence is given in a different syntactic plan. | But those who are in a friendly meeting I was the first to read the stanzas ... There are no others, but those are far away ... (Pushkin) |
Intermittent speech, agitation of the speaker. |
| Connecting structures | Phrases do not fit into one semantic plane, but form an associative chain. | Every city has an age and a voice There are clothes of their own and especially the smell. And the face. And not immediately understandable pride. (Christmas) |
Gives expressiveness, sections of the text become emotionally rich and bright. |
| Nominative representations (isolated nominative) | Names the subject of the last phrase. | Moscow! How much of this sound For the Russian heart it has merged ... (Pushkin) |
Designed to arouse special interest in the subject of the statement, enhances the sound. |
| Parcelling | Dividing a sentence into separate segments (words). | And again Gulliver. Costs. Slouching. (Antokolsky) |
Logical stress on each word gives them special strength and expressiveness. |
| Period | A complex syntactic construction, harmonious in form, characterized by a special rhythm and ordering of parts, as well as an exceptional completeness and completeness of the content. Two mutually balanced parts in the period: increased intonation; lowering intonation. This determines the harmony and intonational completeness of the period. |
When the yellowing cornfield is worried ... (Lermontov) Do I wander along the noisy streets ... |
The main provisions of the period make it possible to comprehend the text from different angles, to appreciate the variety of shades. |
| Multi-Union (polysindeon) | Multi-union and non-union can be used in a close context and give greater expressiveness to speech and text. | There was typhus and ice and hunger and blockade. It's all over: cartridges, coal, bread. (Shengelaya) |
Intonational and logical emphasis of the selected objects. |
| Asyndeton (asyndeton) |
Swedish, Russian - Stabs, chops, cuts ... (Pushkin) |
Swiftness, dynamism, richness of impressions. | |
| Gradation | The arrangement of words, phrases or parts of a complex sentence, in which each subsequent one strengthens or weakens the meaning of the previous one. | In autumn, feather-grass steppes completely change and get their own special, original, unlike anything else. (Aksakov) | Increasing intonation and emotional intensity of speech. |
Syntactic means of expressiveness
Scheme 4
Rhetorical exclamations, addresses (rhetor Greek. Speaking, orator) contain a special expression, increase emotional tension, expressiveness of speech.
“I know the truth! All the old truths - away! People do not need to fight people! " (M. Tsvetaeva)
Rhetorical questions are a statement or denial, formulated as a question and do not require an answer.
"Didn't you at first so viciously persecute his free, courageous gift and fanned a slightly hidden fire for fun?" (M. Lermontov)
Rhetorical questions, exclamations, addresses are the most common syntactic figures of expressiveness, they are distinguished by special brightness and a variety of emotional shades
“I have been given a body - what am I to do with it, so one and so mine? For the quiet joy to breathe and live, whom, tell me, should I thank? " (O. Mandelstam)
“Listen! After all, if the stars are lit, then somebody needs it? " (V. Mayakovsky)
Refrain(refrain fr. back, again) - repetition of a word, a whole phrase or part of it, an expressive artistic device, especially beloved by poets.
“Chalk, chalk all over the earth // All the way. // The candle was burning on the table, // The candle was burning "(B. Pasternak).
Although, of course, refrains are also found in prose texts, giving them a special rhythmic harmony.
Varieties of refrains in poetry are anaphora and epiphora.
Anaphora(Greek anaphora, again bearing) - monotony, repetition of a word at the beginning of a line, epiphora (Greek epiphora, after bearing) - repeat at the end of a line.
Ellipsis(elleipsis Greek. flaw) - deliberate omission of any member of the sentence, which is implied from the context.
“We sat down - in ashes, hails - in ashes, in swords - sickles and plows” (VA Zhukovsky). In this case, the predicate verb "transform" is missing.
"Morning hour - business, love - evening, thought - autumn, cheerfulness - winter ... the whole world is made of restrictions, so that happiness does not go crazy." (B. Okudzhava)
Gradation(latatio lat. gradual increase) - such an arrangement of words, parts of a phrase, when each subsequent one strengthens or weakens the meaning of the previous one, due to this, the emotional tension and intonation of the statement increase.
Parallelism is the same syntactic construction of adjacent sentences.
“Oh, heart, how much you loved! Oh, mind, how much you burned! " (A. Blok).
“I am where the blind roots seek food in the darkness; I am where rye walks on the hill with a cloud of dust ”(A. Tvardovsky).
Inversion(Latin inversion permutation) - violation of the usual word order.
“And day after day it became terribly angry at me” (V. Mayakovsky).
“The sail of a lonely blue sea gleams white! What is he looking for in a distant country? What did he throw in his native land? " (M. Lermontov).
Oxymoron(oxymoron Greek, witty-stupid) - an arrangement of words that are contrasting in meaning, a combination of the incongruous: "wet smoke", "deafening silence." The titles of the works: "Dead Souls", "Living Corpse".
Antithesis(Greek antithesis, opposition) - semantic opposition, using antonyms.
"Know where the light is - you will understand where the darkness is, what is holy in the world, what is sinful in it, through the heat of the soul, through the coldness of the mind." (A. Blok)
Syntactic tools- these are the means by which syntax units are built, syntactic relations are expressed, syntactic categories are formed. They are very diverse. These include: word forms, service (relational) words, word order and intonation.
The main ones are: forms of words in their interaction and service words(conjunctions and allied words, particles, prepositions, bundles) . In phrases, only prepositions, they do not use such official words as alliances and particles.
At the level of simple and complex sentences, an indicator of the dependency of components is alliances and union words.
Intonation is the most versatile syntactic tool. Intonation- this is the rhythmic and melodic side of speech, serving in a sentence as a means of expressing syntactic meanings and emotionally expressive coloring.
Formally, it is the presence of intonation that distinguishes a sentence and a text as communicative units from a phrase.
Word order- this is the mutual arrangement of words in a phrase and a sentence in a certain linear sequence. In Russian, the word order is more free than, for example, in French, English or German. However, it has certain rules for the mutual arrangement of words in different types of their combinations. So, the grammatical norm in a Russian sentence is the direct word order, when the predicate is located after the subject. An agreed definition is usually placed before the word being defined, and an inconsistent one after it. The deviation from this rule is used for stylistic purposes.
So, the ways of expressing syntactic relations in a phrase and a sentence are different. In phrases, these are: 1) word forms, 2) prepositions, 3) word order; and in sentences these are: 1) word forms, 2) service words, 3) word order, 4) intonation.
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- 1 page. Table 1. Correlation of forces of the members of the anti-fascist coalition and Japan by the beginning of 1945 Allied forces and means (~ 1)
