A paragraph and a complex syntactic whole are units of different levels of articulation, since the foundations of their organization are different (a paragraph does not have a special syntactic design, unlike a complex syntactic whole), however, these are intersecting units, functionally contiguous, since both of them play a semantic and stylistic role. That is why a paragraph and a complex syntactic whole can coincide in their particular manifestations, correspond to each other. For example:
We climbed the embankment and looked at the ground from its height. Fifty fathoms from us, where bumps, pits and heaps merged with the darkness of the night, a dim light flickered. Behind him another light shone, behind this a third, then, retreating a hundred paces, two red eyes shone side by side - probably the windows of some barrack - and a long row of such lights, becoming thicker and dimmer, stretched along the line to the very horizon, then turned to the left in a semicircle and disappeared into the distant darkness. The lights were motionless. In them, in the silence of the night and in the sad song of the telegraph, there was something in common. It seemed that some important secret was buried under the embankment, and only lights, night and wires knew about it ... (Ch.);
It rained moderately and warm throughout the summer. At first, people were wary of him, they stayed at home, and then a normal life began in the rain, as if it were not there. In this case, people acted like chickens, for there is an accurate sign of predicting the duration of the rain: if during the rain the chickens hide in a shelter, then the rain will soon stop. If the chickens, as if nothing had happened, wander along the street, along the road, on green lawns, then the rain has charged for a long time, most likely for several days (Sol.).
Although such a coincidence is not accidental, it is by no means necessary. It is not accidental, because the paragraph division of the text is primarily subject to its semantic division, and a complex syntactic whole, although it is a syntactic unit, also acquires its formal indicators of the unity of individual components on the basis of their semantic cohesion. But this coincidence is not necessary because the paragraph compositionally organizes the text; it performs not only a logical-semantic function, but also an excretory, accent, emotional-expressive one. In addition, paragraph articulation is more subjective than syntactic.
This means that a paragraph can break a single complex syntactic whole. This is especially characteristic of literary texts, in contrast to scientific ones, where there are much more coincidences between a complex syntactic whole and a paragraph, since they are entirely focused on the logical organization of speech.
The boundaries of a paragraph and a complex syntactic whole may not coincide: a paragraph can contain one sentence (and even a part of a sentence, for example, in official business literature: in the texts of laws, statutes, diplomatic documents, etc.), and a complex syntactic whole can be these are at least two sentences (more often - more than two); in one paragraph there can be two or more complex syntactic wholes, when separate micro themes are linked to each other. For example:
1) a complex syntactic integer is broken by a paragraph:
One ought to stop, enter the hut, see the gloom of embarrassed eyes - and again drive on in the noise of the pines, in the trembling of autumn aspens, in the rustle of coarse sand pouring into a rut.
And look at the flocks of birds that pull in the heavenly haze over Polesie to the dark south. And it is sweet to yearn from the feeling of your complete kinship, your closeness to this dense land (Paust.);
2) in one paragraph - three complex syntactic wholes:
It was an August night, starry, but dark. Because I had never before in my life found myself in such an exceptional environment as I happened to find myself now, this starry night seemed to me deaf, inhospitable and darker than it really was. // I was on a railway line that was still under construction. A high, half-finished embankment, heaps of sand, clay and rubble, barracks, pits, wheelbarrows scattered here and there, flat elevations above the dugouts in which the workers lived - all this mess, painted in the dark in one color, gave the earth some strange , a wild face, reminiscent of the times of chaos. In everything that lay in front of me, there was so little order that among the hideously dug, unlike earth, it was somehow strange to see silhouettes of people and slender telegraph poles, both spoiled the ensemble of the picture and seemed out of this world ... // It was quiet, and we could only hear how over our heads, somewhere very high, the telegraph was humming its boring song (Ch.).
Valgina N.S., Rosenthal D.E., Fomina M.I. Modern Russian language - M., 2002.
The allocation of a unit, called a complex syntactic whole (over-phrasal unity), involves taking into account not only the volume, but also the structure, content of the text, therefore, a complex syntactic whole can be considered a special structural and semantic component.
The main structural and semantic unit of text articulation does not have an unambiguous terminological definition in science (complex syntactic whole (SSC), supraphrasal unity, interphrasal unity, text component, communicative block, prosaic stanza, syntactic complex, microtext). The more commonly used term is a complex syntactic whole.
STS is a complex structural unity (semantic, thematic block), consisting of more than one sentence, with semantic integrity in the context of coherent speech. Each superphrasal unity contains a micro theme.
In contrast to the paragraph, the SSC does not have a definite quantitative characteristic, its boundaries are not indicated graphically, which causes difficulties in identifying this unit of division. The transition from one smallest topic (micro-topic) to another reveals the boundary of the inter-phrase connection.
One of the ways to check the volume of the SSC follows from the provision that parts of the superphrasal unity can be easily combined into a complex sentence if other punctuation marks are put in place of the dots (a paragraph does not lend itself to such an experiment, unless, of course, it coincides with the SSC).
In the structure of the SSC, the first phrase - the beginning - plays an important role. It is she who sets the thematic and structural perspective of unity. This phrase is self-sufficient in terms of content, as if it absorbs all the other statements of the SSTs. Often it contains keywords that include the entire content of the sequentially enumerated components of a superphrasal unity.
Each opening phrase is a new micro theme. If you consistently connect all the initial phrases of the STS (that is, all the micro themes) of one text, you get a concise story without detailing and explanations. This experiment demonstrates the role of the beginning phrase in the process of text formation. The connection of sentences within a complex syntactic whole is carried out primarily intonation.
The beginning of the SSC involves a greater increase in tone and some change in the timbre of the voice. The tone down at the end of the phrasal unity is more significant and the pause is longer than at the end of each sentence.
An important role in the formation of unity is played by grammatical means (first of all, the nature of a union or non-union connection, the presence of circumstantial determinants directly related to a whole series of sentences of one STC, parallelism in the structure of sentences, introductory words, temporal unity).
The boundaries of the SSC can coincide with the paragraph (in this case, they speak of a thematic, or classic paragraph). In this case, the division of the text is usually based on a logical-semantic principle.
Golovkina S.Kh., Smolnikov S.N.
Linguistic analysis of the text - Vologda, 2006
Thematic unity a complex syntactic whole is that it expresses one theme. The thematic unity of a complex syntactic whole can be emphasized by special constructions that take a position at the very beginning, such as nominative themes(cm . ), topic infinitive(cm . ), interrogative sentence of the topic(see), supported by the so-called keywords(cm.) . The transition to another topic indicates the completeness of one complex syntactic whole and the beginning of another complex syntactic whole. The thematic unity of a complex syntactic whole can be formalized in the form of a heading.
Nominative themes - a narrative (or, more rarely, an exclamation sentence, represented by a name in the nominative case or a noun phrase, standing in front of a complex syntactic whole in which the named topic develops. Cowardice… It's not just fear. This is the fear that keeps you from doing a noble deed. Cowardice is different from fear. The motorcyclist is not afraid to crash to death. It is worn like crazy. And at the meeting to vote, as the conscience requires, - the hand does not rise. Cowardly.(V. Dudintsev.) Heat. As the sun becomes at noon, it does not come down from there - it burns so hard that it seems that the earth should shrink from such a fire. Not a breeze, not a cloud ...(V. Shukshin.) Mother's hands. I remember them then, in childhood, - beautiful, with long fingers. I know them now…(Newspaper.).
The topic infinitive is the infinitive before a piece of text (a complex syntactic whole) and determines the topic of further discussion. Being an artist ...There are no artists without bitter, constant work ...
The interrogative sentence of the topic - an interrogative sentence preceding a complex syntactic whole and setting a topic for further reasoning. What's going on around? Winter. Hunger. Bazaar fights... (V. Astafiev.); What is homeland? This is all the people making their historical movement on this square. This is the past of the people, the present and the future. This is his peculiar culture, his language, his character, this is the chain of revolutions he made, historical leaps, knots of his history.
Completely independent complex syntactic whole - it is a type of complex syntactic whole that, when separated from the context, does not bear any traces of connection with the context, reveals complete self-sufficiency. The night was gray, moonlit; thin clouds, like owl feathers, scattered across the sky, but did not touch the light icy moon. Trees - piles of gray frost - cast a black shadow over the snowdrifts, ignited here and there with a metal spark.
Relatively independent complex syntactic wholes are complex syntactic wholes, which, being separated from the text, retain explicit and hidden "traces" of connection with the text. On the corner(what?, what?) under the canopy of a blossoming linden tree, it gave me a wild fragrance. Misty masses rose across the night sky, and when the last starlight was swallowed up, the blind wind, covering its face with its sleeves, swept low along the empty street.
The functional and semantic unity of a complex syntactic whole is ensured by the fact that it implements one of the functional semantic types of speech (description, narration, reasoning). In this regard, differ complex syntactic whole descriptions (cm.), complex syntactic whole narratives(cm . ),complex syntactic whole reasoning(cm.).
Complex syntactic whole description – In such a complex syntactic whole, a description of nature, setting, character is presented. Far to the south, motionless clouds were black, and from there came a continuous, dull grumbling. The smell of unmown hay still smelled strongly all around. The wind blew, rustling dry grass.
Complex syntactic whole of narration - in such a complex syntactic whole, narration about any real event of the incident in a certain time sequence. Nina came out five minutes later. Bobrov stepped out of the shadows and blocked her path. Nina screamed weakly and staggered back.
Complex syntactic whole reasoning - in such a complex syntactic whole, the reasoning, thoughts of the hero of the story or the author on any issue are presented. The sense of the language (so to speak, the sense of the purity of the language) is a subtle feeling, difficult to develop and very easy to lose. The smallest shift in the direction of sloppiness and irregularity is enough for this slovenliness to become a habit, and, as a bad habit, as such it will be. prosper. It is in the nature of things that good habits require exercise, and bad ones develop themselves.(S.M. Volkonsky.)
The structural unity of a complex syntactic whole is provided by grammatical means used in the composition of the sentences included in its composition: the tense forms of the verb, pronouns, as well as various types anaphora (cm.), in particular lexical anaphora (cm.) and syntactic anaphora (cm.).
Key words - a set of thematically oriented words used in the text, in a complex syntactic whole and concentrating its meaning, supporting the developed micro theme, contributing to the disclosure of the content of the text.
Anaphora is a stylistic figure consisting in the repetition of the same elements within a complex sentence or a complex syntactic whole. anaphora lexical (cm.), anaphora grammatical(cm.).
Anaphora grammatical (or syntactic) is the repetition of the same grammatical structure in the text. I stand at the high doors, I watch your work. One more example: Am I wanderingI'm along noisy streets,I come into a crowded temple,I'm sittingbetween mad youths, I surrender to my dreams(A.S. Pushkin).
Anaphora lexical is based on the repetition of the same words in the text. For example: It was not in vain that the winds blew, It was not in vain that there was a thunderstorm. In the text of Alexei Tolstoy, given in the article "Interrogative sentence of the topic", placed in this section, there is anaphoric repetition of the demonstrative pronoun this is at the beginning of three sentences that make up an example of a complex syntactic whole.
A paragraph is a segment of written or printed text from one red line (see), usually containing a complex syntactic whole (or superphrasal unity) to another.
Red line is the same as paragraph(cm.).
PUNCTUATION
a) Theoretical introduction
Punctuation (from Latin punctum – point) - this term is used in three meanings. 1) A section of the science of language that studies the theoretical and practical issues of setting punctuation marks in writing. 2) The system of graphic non-letter signs of written speech, i.e. punctuation marks. 3) A set of rules governing the use of punctuation marks in writing.
Punctuation marks - a system of alphanumeric graphic signs used in written speech to indicate the semantic division of speech, its syntactic structure and rhythmic-intonational design (i.e., rhythm melody) in order to provide the reader with a correct understanding of the meaning of the written text. Punctuation marks are classified into two major types - sentence marks (cm.) and text punctuation marks (cm.).
Principles of Russian punctuation - theoretical foundations on which Russian punctuation is based. There are three main principles - structural-grammatical, logical (or semantic, logical-semantic), intonation.
Structural and grammatical principle the placement of punctuation marks is basic. The essence of this principle can be expressed as follows: punctuation marks are primarily indicators of the syntactic, structural division of written speech. It is this principle that ensures the stability of modern punctuation, its generally accepted and obligatory nature. Taking into account this particular principle, most punctuation marks are put : punctuation marks at the end of a sentence, signs that separate parts of a complex sentence, homogeneous members of a sentence, signs that highlight various structures introduced into a simple sentence (inserts, introductory words and phrases, conversions, interjections), post-positive applications, post-positive common definitions, signs for homogeneous members, etc. The structural principle contributes to the development of solid, common rules for the placement of punctuation marks.
Formal grammatical principle punctuation marks - the same as structured-grammatical(cm.).
Logical principle the placement of punctuation marks takes into account the logical and semantic division of speech. This principle is closely related to the structural-grammatical principle, which is understandable. : after all, the grammatical parts coincide with the logically significant ones. It is on the semantic relation that punctuation marks are put in non-union complex sentences, with the explanatory components of the sentence, in the enumeration series of word forms.
Semantic principle punctuation marks - the same as logical principle.
Logical-semantic principle- the same as logical principle, semantic principle.
Intonation principle takes into account the peculiarities of the intonational pronunciation of the sentence. A dot indicates a decrease in voice at the end of a sentence; exclamation and interrogative intonation is marked with appropriate punctuation marks. In some cases, the choice of intonation is mainly determined by intonation, compare: Warm weather will be established, let's go to the dacha and Warm weather sets in - let's go to the dacha, where the choice of a punctuation mark depends entirely on intonation.
Ratio of STS and paragraph
| Parameter name | Meaning |
| Topic of the article: | Ratio of STC and paragraph |
| Rubric (thematic category) | Literature |
1. The paragraph and the CSC can be the same. Such paragraphs, equal to the STS, are stylistically neutral and are often used in scientific, official-business styles, are the norm in fictional narration, usually in prose. This structure is focused on the emphasized logical organization of speech.
2. The paragraph is not equal to the SSC, while the following ratio options are possible:
a) SSC should be broken with a paragraph - SSC 1. And in this case, the paragraph emphasizes the emotional and expressive qualities of the text͵ this is characteristic of literary texts. In this case, the paragraph performs an accent and excretory function: it focuses on individual links of the overall structure.
b) One paragraph may contain several SSCs.
The discrepancy between the boundaries of the SSC and the paragraph is due to the fact that the paragraph and the SSC are units of different levels of articulation: The paragraph does not have a special syntactic design, unlike the SSC, the paragraph articulation of the text is primarily subject to all semantic division, and the SSC has its own formal linguistic means organizations.
LECTURE № 12. COMPLEX FORMS OF SPEECH ORGANIZATION.
PERIOD.
PLAN:
1. General concept of the period. Period structure.
2. Types of periods.
3. Stylistic properties of the period.
Literature:
3. Modern Russian language. Theory. Analysis of linguistic units / Ed. E.I. Dibrova. At 2 o'clock, Part 2 - M., 2001.
Question 1. General concept of the period. Period structure.
The term "period" itself goes back to Latin periodos- ʼʼcircleʼʼ, figuratively - ʼʼroundedʼʼ, closed speech.
Period – ______________________________________________________________________
_____________________________________________________________________________________
The period is characterized by a clear rhythmic-intonation and semantic division of the entire sentence into two parts: 1) "increase", 2) "decrease".
The first part is pronounced with a gradual increase in tone and with an acceleration of the tempo until a pause separating it from the second part.
The second part is pronounced with a sharp decrease in tone and at a slower pace. There is a long pause between the parts.
The junction of the rise and fall in writing is usually indicated by a comma and a dash.
Valgina N.S.: the first introductory part of the period - protasis; the second, concluding - apodosis.
Whenever life is at home
I wanted to limit
When would I be a father, a spouse
A pleasant lot dictated,
When would a family picture
I was captivated even for a single moment, -
That, it is true, besides you alone,
I didn’t look for another bride(Pushkin).
The main part of the period is pronounced with increasing pitch. It is more often larger in volume and, in turn, is segmented into smaller parts (members of the period). Period members are separated from each other by pauses (and in writing by commas or semicolons). Their structure is usually symmetrical and characterized by a number of features:
1) ______________________________________________________________________________
2) ______________________________________________________________________________
3) ______________________________________________________________________________
4) _______________________________________________________________________________
5) ______________________________________________________________________________
The second part of the period is most often not divided, but sometimes the period has a different organization: the first part is smaller in volume, and the second is divided into parts of the same type:
The more diverse the talents and talents of people, the more brightly life burns, the richer it is in the facts of creativity, the faster its movement towards a great goal(M. Gorky).
Question 2. Types of periods.
Period types are determined by structural characteristics.
| Period | Type by structure |
| What was bitter to me, what was hard And what inspired the profit of strength, What life was in a hurry to cope with, - I brought everything here. (Tvardovsky). | |
| But in the quiet hour of autumn sunset When the wind stops in the distance, When, with the radiance of the weak, the blind night will descend to the river, When, tired of the violent movement, From useless toil, In an alarming half-sleep of exhaustion, the darkened water will subside, When the vast world of contradictions Satisfied with a fruitless game, - As if a prototype of human pain From the abyss of waters, Zabolotsky rises before me). | |
| I will sink to the bottom of the sea, I will fly over the clouds, I will give you everything, everything earthly - Love me. (Lermontov). | |
| Whether the blues that suddenly came to him gave him the opportunity to see everything in this form, or the inner fresh feeling of the Italian was the reason, this or that, only Paris, with all its brilliance and noise, soon became a painful desert for him (Gogol ). | |
| If the old foliage rustled under the foot, if different branches turned red, if the willows turned around, it means that there is movement in the birches, and there is nothing to spoil the birch (Prishvin). | |
| To be the chosen one, to serve the eternal truth ... to give everything to the idea - youth, strength, health, to be ready to die for the common good - what a high, what a happy lot! (Chekhov). |
Question 3. Stylistic properties of the period.
Period - ϶ᴛᴏ not a special structural-semantic type of sentence, but only a compositional-stylistic variety of existing types of sentences.
Stylistically, the period is characterized by a pronounced emotional and expressive coloring, solemnity, musicality, rhythmic harmony. From the point of view of content, the period is distinguished by the greater completeness and completeness of the expression of thought, it develops and formalizes the complex argumentation of the position. Because of these qualities, the period is especially widely used in poetic speech, in fiction and journalism (oratory).
Many poetic works are entirely constructed in the form of an expanded period (poem by M.Yu. Lermontov "When the yellowing cornfield is worried"). In this case, the period is used as an artistic and compositional device.
LECTURE № 13. COMPLEX FORMS OF SPEECH ORGANIZATION.
DIALOGICAL UNITY (DE).
1. General characteristics of dialogical unity (DE). DE structure.
2. Means and methods of communication of replicas in DE.
3. Varieties of dialogical unity.
Literature:
1. Valgina N.S. Modern Russian language. Syntax. - M., 2003.
2. Modern Russian language. In 3 hours. Part 3. Syntax. Punctuation / V.V. Babaytseva, L.Yu. Maximov. - M., 1987.
4. Modern Russian language / P.А. Lekant, E.I. Dibrova, L.L. Kasatkin and others; ed. P.A. Lecant. - M., 2007.
Question. 1. General characteristics of dialogical unity. DE structure.
The subject of syntax is the forms of organization not only of monologue, but also of dialogical speech. The basic unit of dialogical speech is dialogical unity.
Dialogic unity – ______________________________________________________
DE usually consists of two, less often three or four replica sentences; each of them is a speech act. At the same time, the content and form of the first replica determine the content and form of the next replica, etc., in this regard, only in the combination of replicas is the completeness necessary for understanding the meaning revealed.
The responses that make up the DE are divided into
Stimulus response- ϶ᴛᴏ the first remark of DE. It is an independent speech act. This should be a question requiring an answer͵ a motivation for action, a statement that initiates a topic that needs clarification, clarification. The stimulus response determines the content and form of the response response:
- Did you arrive yesterday?
- At ten o'clock(Chekhov).
In this example, the stimulus replica is a question. It determines both the content of the next remark (answer), and its structure - an incomplete contextual sentence, in which the subject and predicate are omitted, since in conjunction with the first remark, their use is redundant.
The second replica of DE is usually called replica-reaction... It may contain an answer to a question, ask again, express consent // disagreement, objection, admission, refutation, refusal, may contain a clarification, explanation, comment to the first remark:
Podkolesin: Do you, madam, like to ride?
Agafya Tikhonovna: How to skate?
Podkolesin: It is very pleasant to ride a boat at the dacha (Gogol).
In this example, the stimulus replica is a question. A response-response is a counter question, a clarification, this is a quotation question, indicating a lack of understanding of the first statement. The third remark is a clarification answer.
Responses-responses, as a rule, are extremely laconic, represent incomplete sentences, and in each of the subsequent remarks, as a rule, everything that is known from the previous remark or from the situation is abbreviated:
- When did you meet him?
- Recently.
- Where?
- In the capital.
Response-response - response - an incomplete sentence, in which only a circumstance is presented, all the missing members of the sentence are reconstructed from the context. The third remark - a question - an interrogative incomplete sentence (the basis in the first remark). The fourth remark - an incomplete sentence - consists of a circumstance, ĸᴏᴛᴏᴩᴏᴇ is the answer to the question enclosed in the third remark.
In dialogical unity, all varieties of declarative, interrogative and motivating sentences are represented, but sentences with minimal syntactic complexity prevail.
Question 2. Means and methods of communication of replicas DE.
The main constructive means of communication of replicas in DE are:
1) __________________________________________________________________________
2) ___________________________________________________________________________
- Do you remember Anatoly, worked as a watchman for us ...
- Who is his does not remember!
3) ___________________________________________________________________________
Khlestakov: Do you have any money?
Bobchinsky: - Of money? How of money?
Khlestakov: - Borrow a thousand rubles(Gogol).
4) ___________________________________________________________________________
- We ask our dear guests for forgiveness. We have a simple way today. Potatoes, sat down…
- Once Italian pizza gave! Anchovies! (Roshchin).
5) ___________________________________________________________________________
- Rebellion against things - modern.
- But not typical!(Roshchin).
6) ___________________________________________________________________________
- Will you stop by today?
-Of course, I will call.
7) __________________________________________________________________________
-Hello, Boris!
- Hello Svetlana!(speech etiquette formulas).
8) intonation is a universal means of communication between replicas.
Ways of communication of replicas in dialogical unity.
There are two basic methods: 1) chain; 2) parallel.
With chain link ____________________________________________________________________
- Which fence do you have on the wasteland?
- Over there.
- You need to measure how many fathoms from the house.
- For what?
- For order.
- Well, well, you can(A. Ostrovsky).
Parallel communication ______________________________________________________________
- Hey, boy!
- Go yourself with God!
- It's painfully you are dirty,
As I can see!(Nekrasov).
Question 3. Varieties of dialogical unity
The classification of DE is carried out on different grounds: based on the goals of the speakers, the ways of communication of replicas, meaning.
The manual edited by E.I. Dibrova (the section was written by N.A. Nikolina) presents the classification of DE based on the purpose of the speakers:
1. Informative DE: _________________________________________________________________
2. Directive DE: ____________________________________________________________________
__________________________________________________________________________________________________________________________________________________________________________
- Mom, give Nadya a towel to wash.
- Now, baby(L. Petrushevskaya).
3. Opinion exchange: __________________________________________________________________
__________________________________________________________________________________________________________________________________________________________________________
- You know, now everyone wants to grab a fatter piece of the common pie!
- Not true. Not everything(L. Razumovskaya).
4. Dialogue with a goal establishing or regulating interpersonal relationships: _____
__________________________________________________________________________________________________________________________________________________________________________
5. Estimated DE _____________________________________________________________________
_________________________________________________________________________________________________________________________________________________________________________
-He is a wonderful specialist.
- And the main thing is that he is a good person.
6. Phatic dialogue: _________________________________________________________________
_____________________________________________________________________________________
Phatic DUs are widely represented at the beginning of telephone conversations, congratulations, greetings, routine conversations about health or the weather. Replicas in phatic DUs are standardized, clichéd, and the amount of information reported is minimal:
- Good day. How are you doing?
- Thank you excellent.
In the textbook Babaytseva V.V., Maksimova L.Yu. ʼʼModern Russian language. Syntax. Punctuationʼʼ another classification of DE is presented: by meaning and by structural features:
1) question-and-answer unity;
2) unity, in which the second replica continues the unfinished first:
- How beautifully he speaks ...
- And handsome himself(Serafimovich).
3) unity in which replicas are connected by one object of thought:
- Just as a bright oncoming light blinds the driver, so a person becomes blind from a strong feeling.
- And, as they say in the police, there is a prerequisite for an emergency(Kozhevnikov).
4) unity of consent / disagreement:
- Let's climb into the first rick we come across and spend the night.
- Come on, of course(Shukshin).
Babaytseva V.V. notes that not all replicas coming from each other in dialogical speech will represent a dialogical unity. There are replicas that are complete sentences, each of which contains its own message. And only a structural and semantic community unites replicas into a dialogical unity.
LECTURE No. 14. METHODS OF TRANSMITTING ANOTHER SPEECH
PLAN
1. The concept of someone else's speech and the ways of its transmission.
2. Direct speech as reproduction of the content and form of someone else's speech. Constructions with direct speech, varieties of their structure.
3. Indirect speech as a form of transmission of the content of someone else's speech. Rules for converting direct speech to indirect speech.
4. Improperly direct speech.
5. Quotation and its forms.
Literature:
3. Modern Russian language. Analysis of linguistic units / Ed. E.I. Dibrova. At 2 o'clock, Part 2 - M., 2001.
4. Modern Russian literary language / Ed. P.A. Lecant. - M., 1988.
5. Russian language: Encyclopedia / Ed. Yu.N. Karaulova. - M., 1997.
Question. 1. The concept of someone else's speech and the ways of its transmission.
In the process of communication, it is often extremely important for us to convey someone else's speech.
Under h already speech understand _____________________________________________________
_________________________________________________________________________________________________________________________________________________________________________
Moreover, in some cases it is important to accurately convey not only the content, but also the form of someone else's speech, in other cases only the content. In accordance with these tasks, special methods of transmitting someone else's speech have been developed in the language:
1) forms of direct speech transmission - direct speech ;
2) forms of indirect speech transmission - indirect speech .
Sentences with direct speech are designed for accurate, verbatim reproduction of someone else's speech, while maintaining its content and form. Sentences with indirect speech convey only the content of someone else's speech, without preserving its form.
When direct and indirect speech converge, a special form is formed - improperly direct speech , which literally reproduces someone else's speech, but does not formally stand out from the author's narration.
Constructions with direct speech, varieties of their structure.
Direct speech usually called _____________________________________________________
____________________________________________________________________________________
Direct speech conveys:
1) __________________________________________________________________________________
ʼʼ What happened? ʼʼ - Ivan asked in surprise.
I say: ʼʼWhat does he need? ʼʼ
It was only then that I thought: ʼʼWhat should I do now? ʼʼ
According to the structure, sentences with direct speech are a union-free (intonational and semantic) union of two parts: 1) author's words, in which the very fact of someone else's speech is established and it is customary to name its source; 2) direct speech, reproducing someone else's speech.
1) ____________________________________________________________________________:
say, speak, ask, ask, answer, think, notice, speak, object, shout, address, exclaim, whisper and etc.; such words usually need mandatory dissemination, and the part containing direct speech makes up for their semantic deficiency; in such cases, the connection between the author's words and direct speech is close.
2) ___________________________________________________________________________:
reproach, confirm, agree, agree, advise and etc.; such words usually do not need mandatory distribution, in this regard, the connection between the author's words and direct speech in this case is less close.
3) ____________________________________________________________________________:
smile, be upset, surprised, offended, indignant and others, in such cases direct speech has a pronounced emotional connotation: ʼʼ Where are you going? - the old man was surprised.
4) ___________________________________________________________________________:
word, exclamation, question, exclamation, whisper and etc.: “The boy went to bed?” - Panteleei's whisper was heard a minute later.
The words of the author are more often than anything else a DSP with a subject that names the person who owns the speech, and a predicate, expressed by a verb. But sometimes the words of the author are also incomplete sentences: And he: "I know that."
1. At postposition of author's words, the sentence is divided into two parts: direct speech - author's words (P - A), in this case, direct speech is explained by the author's words. Moreover, in the author's speech, as a rule, the reverse word order is observed:
ʼʼToday is Sunday! - Nadezha Fyodorovna remembered with pleasure.
And only when he whispered: "Mom, mom!" - it seemed to him it became easier ...
In such cases, direct speech explains, reveals the content of the word standing in front of it with the meaning of speech and thought.
“This is utterly stupid,” I thought. - It is impossible to think of anything more stupid.
Direct speech is intended for accurate reproduction of someone else's speech. Direct speech can include one or several sentences, different in structure, intonation, modality, time plan. In direct speech, any constructions of live conversational speech are reproduced, incl. including interjections, address, introductory words, etc.
Question 3. Indirect speech as a form of transferring the content of someone else's speech.
Indirect speech - ϶ᴛᴏ ___________________________________________________________
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By structure, indirect speech - ____________________________________________________
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Father said he'd be back early.
In the main part of such SPPs, the same information is given as in the words of the author in sentences with direct speech. The subordinate clause containing indirect speech refers to one word of the main part that needs distribution: these are verbs or nouns with the meaning of speech, thought ( speak, say, think, order, question, thought…).
Differences between indirect and direct speech:
1) ___________________________________________________________________________________
2) __________________________________________________________________________________
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3) __________________________________________________________________________________
4) ___________________________________________________________________________________
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Rules for converting direct speech to indirect speech.
When replacing direct speech with indirect one, one should take into account their structural and semantic changes:
1. Conjunctions and union words that introduce a subordinate clause are selected based on the purpose of the statement and the modality of the sentence:
WHAT - when replacing a declarative sentence with an affirmative or negative modality:
Ivan told me: "I'll be back tomorrow" ____________________________________________________
WILL, WILL - when replacing a declarative sentence, but with a tinge of uncertainty, assumption.
Someone told him: ʼʼThe general seems to be no longer aliveʼʼ ____________________________________
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WHAT - when replacing an incentive offer.
The guys shout: ʼʼHelp us to bind the grassʼʼ ___________________________________________
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LI (union-particle) - when replacing a general interrogative sentence in which there are no special interrogative words - pronouns and adverbs).
They asked me: ʼʼ Will you agree to come to the conference? ʼʼ _______________________________
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Interrogative-relative pronouns and adverbs will be preserved when replacing a private interrogative sentence.
The messenger asked: ʼʼ Where is the headquarters? ʼʼ ______________________________________
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2. There is a replacement of personal and possessive pronouns, personal forms of the verb. In indirect speech, they are used from the point of view of the author, and not from the point of view of the person who owns the speech. In this case, it is necessary to take into account whether the person named in the indirect speech is a participant in the dialogue or not.
Petya told me: ʼʼ I'll take yours bookʼʼ - Petya told me that he will take mine book.
Petya said: ʼʼSerezha, I am take your bookʼʼ - Petya told Seryozha that he would take his book.
3. Lexical changes: emotional lexical components present in someone else's speech are omitted: interjections, particles, appeals, introductory-modal words ... Their meanings are sometimes only conveyed in other words, more or less close in meaning. In this case, an approximate, less emotional retelling of direct speech is obtained:
He bent down to her and asked: "Psina, where are you from?" Did I hurt you? Oh poor, poor ... Well, don't be angry, don't be angry ... I'm sorry(Chekhov).
He bent down to the dog and asked where she was from, if he had hurt her, asked not to be angry, said that he was guilty.
Question 4. Inappropriate direct speech.
Inappropriate direct speech - ϶ᴛᴏ _________________________________________________
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In improperly direct speech, signs of direct and indirect speech are combined.
Similarity to direct speech:
1) __________________________________________________________________________________
2) ___________________________________________________________________________________
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Similarity to indirect speech:
1) __________________________________________________________________________________
2) ___________________________________________________________________________________
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Friends visited the theater. They really liked this performance.- improperly direct speech.
Improperly direct speech - ϶ᴛᴏ stylistic figure of expressive syntax. It is widely used in fiction as a method of bringing the author's narration closer to the speech of the heroes. This method of transferring someone else's speech allows you to preserve the natural intonations and nuances of direct speech and at the same time makes it possible not to delimit this speech from the author's narration.
Question 5. Quotation and its forms.
Quote (Latin cito - I call, I bring) - ___________________________________________
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Quotes serve several functions:
1) are used to confirm or explain the author's thoughts;
2) are used, on the contrary, to criticize the quoted thought;
3) a quotation can also perform an emotionally expressive function - to strengthen what was said earlier, to give it a particularly expressive character;
4) the quotation should be a source, a starting point of reasoning (for example, in literary or linguo-stylistic analysis);
5) quotes can serve as illustrative material in linguistic research, incl. to be presented as samples of certain linguistic facts in dictionaries, grammars, etc.
Posted on ref.rf
scientific works.
By its structure a quote should be one sentence (simple or complex), several sentences, part of a sentence, up to individual phrases and words.
For example: But if the homeland is as Lermontov said about it in the poem “Farewell, unwashed Russia”, then where does “strange love” arise, in defiance of consciousness, “in spite of reason”?
1. The quote is made out as direct speech. In this case, it is a sentence consisting of two parts: the words of the author - a quote. But quotation differs from direct speech in its special purpose and special accuracy in indicating the source of the quoted statement. Punctuation marks in this case are placed, as in sentences with direct speech:
Belinsky wrote: “Nature creates a person, but develops and forms his society”.
ʼʼLanguage, - pointed out A.P. Chekhov, - should be simple and gracefulʼʼ.
If a sentence that is a quotation is not given in full, an ellipsis is put in place of the missing members of the sentence:
1) the quote is not given from the beginning of the sentence: L.N. Tolstoy wrote: "... in art, simplicity" brevity and clarity are the highest perfection of the art form ".
2) part of the text in the middle of the quote is missing: Speaking about the merits of the language of folk poetry, A.A. Fadeev recalled: “It is no coincidence that our Russian classics ... recommended reading fairy tales, listening to folk speech, studying proverbs, reading writers who have all the richness of Russian speech”.
3) the quote is an unfinished sentence: N.V. Gogol admitted: ʼʼI still, no matter how I fight, I can’t process my syllable and language ... ʼʼ
2. Quotes can be included in the text as independent parts of it. , without the words of the author. In this case, the quotation is enclosed in quotation marks, an indication of the author or the source of the quotation is given in a footnote or in brackets after the quotation.
The comedy gives Chatsky "a million torments" (Goncharov).
Differences in the methods of characterizing - lyrical, epic and dramatic - determine the differences in the genres of literary artistic speech. ʼʼIn a literary work, the language of the people depicted in it is primarily motivated by those characters with which it is associated, the properties of which it individualizes ... (LI Timofeev).
3. Quotations can be introduced into indirect speech. In this case, the quote usually follows the explanatory union and begins with a lowercase letter: M.V. Lomonosov wrote that "beauty", the splendor, strength and richness of the Russian language is evident from the books written in past centuries ... ʼʼ.
4. A quote can be entered with special introductory words and sentences pointing to the source cited: According to V.A. Hoffmann, `` Khlebnikov's linguistic position through and through, is fundamentally archaistic ''.
A special type of quotation (both in function and in place in the text) is epigraph ... Epigraphs are placed in front of the text of the entire work or its individual parts (chapters) and serve to reveal the main idea of the work or its part, as well as to show the reader the author's attitude to what is depicted, to establish deep connections with other works, to discover what is accepted call the subtext of the work.
Self-study topic:
FOUNDATIONS OF MODERN RUSSIAN PUNCTUATION
PLAN
1. The concept of punctuation and the history of its study.
2. The principles of Russian punctuation: grammatical, semantic and intonation, their hierarchy and interaction.
3. Modern system of punctuation marks, their main functions.
4. Regulated and unregulated punctuation. Optional and author's setting of punctuation marks.
Literature:
1. Modern Russian language. In 3 hours. Part 3. Syntax. Punctuation / V.V. Babaytseva, L.Yu. Maximov. - M., 1987.
2. Valgina N.S. Modern Russian language. Syntax. - M., 2003.
3. Modern Russian language. Analysis of linguistic units / Ed. E.I. Dibrova. At 2 o'clock, Part 2 - M., 2001.
4. Modern Russian language / P.А. Lekant, E.I. Dibrova, L.L. Kasatkin and others; ed. P.A. Lecant. - M., 2007.
5. Shapiro A.B. Modern Russian language. Punctuation. - M., 1977.
6. Valgina NS, Svetlysheva V.N. Spelling and punctuation. Directory. - M., 1993.
7. Rosenthal D.E. Punctuation Handbook: Dictionary-Handbook.-M., 1997.
Question 1. The concept of punctuation and the history of its study.
Punctuation - this is:
1) ________________________________________________________________________________
2) ________________________________________________________________________________
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Punctuation marks are used to indicate such a dismemberment of written speech, ĸᴏᴛᴏᴩᴏᴇ should not be conveyed either by morphological means or by the order of the words.
What an important cultural achievement was the introduction and development of the system of punctuation marks can be judged by comparing the design of ancient monuments with modern written texts. As you know, the ancient Slavic texts did not have not only punctuation marks, but also division into words. It is easy to imagine how difficult the perception of such texts was.
The gradual introduction of division into words and the design of the punctuation system in Russian writing is associated with the second half of the 16th century - with the activities of the first printer Ivan Fedorov and his associates, in general with the development of printing and school education. At the same time, the system of punctuation marks, close to the modern one, developed only by the 18th century, but the 18th century is also characterized by not yet fully developed punctuation norms, the confrontation of different normative tendencies, incomplete in comparison with the modern composition of punctuation marks (for example, there was no dash , ellipsis, quotation marks).
The first attempts to comprehend punctuation in Russia are associated with the names of Maxim the Greek, Lavrenty Zizaniy, then - Meletiy Smotritsky.
The theoretical elaboration of the issue of punctuation was first presented in the "Russian grammar" by M.V. Lomonosov (1755 ᴦ., Published in 1757 ᴦ.) regulations their use. Lomonosov formulated the basic principle of punctuation: the semantic side of speech and its structure (Lomonosov wrote: "Linear signs are placed according to the strength of the mind and its location and alliances"). The meanings of punctuation marks, defined in Lomonosov's theory, are quite clear, differ little from the basic meanings of marks in modern punctuation, which indicates its stability.
N. N. Kurganov, A. A. Barsov, N.I. Grech expands the general rules proposed by Lomonosov, give more detailed characteristics of the meanings of individual signs and the rules for their arrangement.
Further, the elaboration of punctuation issues is associated with the names of A.Kh. Vostokova, I.I. Davydov and, finally, Ya.K. Grotto. It is in the work of Grot, "Controversial Issues of Russian Spelling from Peter the Great to the Present" (1873), that certain results of the research of previous authors are summed up. Groth saw the basis of punctuation in the logical division of speech, transmitted in oral speech by pauses and intonation.
An original solution to the issues of Russian punctuation is presented in the works of A.M. Peshkovsky, L.V. Scherba.
The basis of punctuation for Peshkovsky is the rhythm-melodic aspect of speech; he believes that punctuation reflects not grammatical, but "declarative-psychological dismemberment of speech".
L.V. Shcherba also sees in the “phrasal intonation” the basis for the placement of punctuation marks. But, recognizing the dominant role of intonation in the choice of punctuation marks, Shcherba does not deny the importance of other factors (meaning, grammatical structure of the sentence).
In the future, the development of questions of the theory of punctuation went along the path of revealing not any one principle, but a set of principles operating in the practice of printing. These are the principles of formal grammatical, semantic and intonation.
Question 2. The principles of Russian punctuation: grammatical, semantic
and intonation, their hierarchy and interaction.
Stand out three basic principles of Russian punctuation: grammatical (NS Valgina - formal grammatical); semantic; intonational.
At the same time, the first two are recognized as leading, which allows us to talk about the semantic-syntactic (or otherwise - structural-semantic) basis of modern punctuation.
The ratio of STC and paragraph - concept and types. Classification and features of the category "Correlation of STC and paragraph" 2017, 2018.
Our thoughts, expressions of will and feelings can be expressed in monologic (from Greek monologos - from monos - "one" and logos - "speech") or in dialogical (from Greek dialogos from dia - "two" and logos - "speech" ) form.
Speech has a monological form, in the organization of which only one person, speaking or writing, takes part (the group of authors in this case also acts as one person); This form does not imply a direct exchange of remarks in the process of speech, the addressee of it (listening, reading) is, as it were, distant: he is not a participant in the speech, but only a receiver of it.
On the contrary, speech has a dialogical form, in the organization of which not one person takes part, but two, three people, each of whom is successively either speaking or listening (addressee and addressee); in this case, the statements of one are closely related in meaning and form to the statements of the other, turn out to be interdependent
Monological speech is usually speech prepared in advance, hence its such properties as logical division and consistency in presentation; a special choice of the most suitable lexical material and grammatical forms in this case for expressing the necessary content, i.e. special motivation, purposefulness; finally, comparative independence from the speech situation, the completeness of linguistic expression. The main sphere of use of monologue speech is the written variety of the literary language (various documents, scientific research, articles, letters, etc.). However, even in oral, specially organized speech, the monologue form currently occupies a large place (reports and messages, various types of radio broadcasts, stories about various events, etc.).
Dialogue speech is characteristic of oral speech. It is distinguished by spontaneity, expressiveness, emotionality, lack of a well-thought-out organization, connection with the situation, participation of facial expressions, gestures, relative freedom in choosing the means of logical design of speech, etc.
In the language of fiction, there is usually both a monologic form (the speech of an author or a conventional narrator) and a dialogical one. Dramatic works have the form of a dialogue - (sometimes with an interspersed monologue speech: the hero's speech to the audience - to the side - or to himself). However, in any cases, both monologic and dialogical forms of speech in fiction act in a special, aesthetic function: the writer organizes both monologue and dialogue, proceeding from the main task of a work of art - an aesthetic impact on the reader.
Both in monologue and in dialogical speech, special forms for combining sentences can be distinguished for each of them. Such is a complex syntactic whole in monologue speech, and dialogical unity in dialogical speech.