Features morphological lexical syntactic styles of the Russian language. Conversational style of speech

List of concepts that you need to know Hyperbole Grotesque Metaphor Personification Epithet Comparison Litote Antithesis Lexical repetition Anaphora Epiphora Pickup (anadiplosis) Refrain Gradation Irony Sarcasm Parcellation Comparative turnover Metonymy Synecdoche Inversion Compositional junction Rhetorical exclamation Rhetorical question Rhetorical appeal Periphrase Conversational vocabulary Single-root words Oxymoron Contextual Phraseologisms Contextual synonyms Syntactic parallelism Parallelism Asyndeton (non-union) Polysyndeton (multi-union) Ellipsis Transfer (angenbeman)

Metaphor A hidden comparison, a word or expression in a figurative sense. Most often expressed by verbs, nouns. An extended metaphor is a metaphor that is consistently implemented throughout a large fragment of a message or the entire message as a whole. For example: The night was rushing about outside the windows, either opening up with a swift white fire, or shrinking into impenetrable darkness.

Epithet Artistic, figurative definition of an object or action. Most often it is expressed by adjectives and adverbs. For example: A golden cloud spent the night on the chest of a giant cliff. BUT: adjectives pointing to features objects and do not give their figurative characteristics. For example: oak leaf (oak - NOT an epithet), autumn day (autumn - NOT an epithet)

Comparison The comparison of one thing with another. Comparison can be represented by: a) the form comparative turnover, joined with the help of unions HOW, EXACTLY, AS LIKE, AS IF, AS IF, WHAT (in the meaning of the union HOW) For example: Good and warm, like in winter by the stove, And the birches stand like big candles. b) comparative subordinate clause For example: Golden foliage swirled in pinkish water on a pond, like butterflies, a light flock flies with fading to a star. c) a noun in T.p. For example: His beaver collar is silvered with frosty dust.

Grotesque Artistic exaggeration to the incredible, bizarre, fantastic. For example: Tale of M. E. Saltykov-Shchedrin “The Wild Landowner”. The image of a feral landowner: “At first he was overgrown with hair ... his nails became like iron ... he walked more and more on all fours ... He even lost the ability to utter articulate sounds ... But he had not yet acquired a tail. His predatory nature manifested itself in the way he hunted: like an arrow, he would jump off a tree, cling to his prey, tear it apart with his nails, and so on with all the insides, even with the skin, and eat it. The other day, I almost pulled up the police captain. ”

Parallelism The same syntactic construction of sentences. Repeat adjacent grammatical constructions to emphasize their unity and figurativeness. For example: The red sun does not shine in the sky, Blue clouds do not admire it ... If you love, then without reason. If you threaten, it's not a joke. If you scold, so rashly. Kohl cut, so spitting.

Inversion Unusual, reverse word order. With an unusual word order: a) the subject is after the predicate b) the adjective after the noun c) the adverb after the verb. For example: A lone sail turns white. Here the king frowned black eyebrows. (The usual word order: A lone sail turns white. Here the king frowned his black eyebrows).

Rhetorical question stylistic figure. This is a question that is posed for the purpose of strengthening the assertion and does not require an answer. For example: Where can I get the strength to regain the lost peace? Do you know Ukrainian night? Who is not affected by novelty?

Contextual synonyms Words that do not have a close relative in the language lexical meaning and are synonymous only in the source text. For example: Two angels appeared in front of me ... two geniuses. True, there was an old table lamp bought on commission, someone else's antiquity, evoking no memories, therefore not expensive at all.

Periphrase (paraphrase) A turnover consisting in replacing the name of an object or phenomenon with a description of their essential features or an indication of their character traits. Indirect mention of an object by not naming, but describing. For example: night luminary = moon or I love you, Peter's creation! = I love you, St. Petersburg!"

Metonymy The transfer of a name from one object to another, renaming based on the adjacency of phenomena. A figurative designation of an object according to one of its features. Adjacency can be a manifestation of the relationship: 1. Between content and containing; “Well, eat another plate, my dear!” 2. Between the author and the work; "Swearing at Homer, Theocritus, // But reading Adam Smith." 3. Between the action and the instrument of this action; “Their villages and fields for a violent raid he doomed to swords and fires.” 4. Between the object and the material from which the object is made; “Amber on the pipes of Tsaregrad, // Porcelain and bronze on the table…” 5. Between place and people; “Not to sleep! The whole capital prayed, // So that the Neva would return to the banks.

Lexical repetition Intentional repetition in the text of the same expressions, words, sounds that the author considers the most significant. For example: - Are these people your relatives? “Yes,” he said. Are all these people relatives? “Definitely,” he said. - People of the whole world? All nationalities? People of all eras? (S. Dovlatov)

Irony A kind of allegory when outwardly a positive assessment hides a smile. For example: “The despot said: My sons, the Laws will be given to you, I will return to you the golden days of Blessed silence. And the renewed Russia put on pants with edging. (Epigram attributed to A.S. Pushkin)

Asyndeton (non-union) The construction of sentences in which homogeneous members of a sentence or parts of a complex sentence are connected without the help of unions. For example: “Flash past the booth, women, boys, shops, lanterns ...” “Swede, Russian stabs, cuts, cuts. Drum beat, clicks, rattle, The thunder of cannons, trampling, neighing, groaning, And death and hell from all sides.

Polysyndetone (polyunion) The repetition of the union, felt as redundant and used as means of expression. Most often used in the position of anaphora. For example: "A thin rain sown on the forests, and on the fields, and on the wide Dnieper." “The ocean walked before my eyes, and swayed, and thundered, and sparkled, and faded, and shone, and went somewhere to infinity.”

Ellipsis Consists of the omission of the implied word. Depending on the context, it creates the effect of everyday negligence, wise laconicism, "telegraphic" efficiency, lyrical excitement, and colloquial speech. For example: "Not here - then: the sea does not burn." (I. A. Krylov). (You can restore the word “was”) “Powder. We get up, and immediately on a horse, And trot across the field in the first light of day. (A. S. Pushkin). (You can insert the word "jump")

Transfer (anzhanbeman) Reception of a mismatch of rhythmically isolated and syntactically complete speech segments in a poetic text. The sentence does not fit into a poetic line and occupies part of the next one. For example: What was he thinking? About the fact that he was poor, that by labor he had to deliver both independence and honor (A. S. Pushkin, “ Bronze Horseman»)

This lecture deals with issues related to the ways of connecting sentences in the text, as well as lexical, morphological and syntactic means of communication.

Ways and means of connecting sentences in the text

This lecture deals with issues related to the ways of connecting sentences in the text, as well as lexical, morphological and syntactic means of communication.

Lecture plan

82.1. Ways of linking sentences in the text

82.2. Means of communication of sentences in the text

82.1. Ways of linking sentences in the text

A text is a message in oral or written form, characterized by semantic and structural completeness, a certain attitude of the author to the message, purposefulness and pragmatic setting of the message.

Any text is primarily a coherent structure. The coherence of the text is manifested in the fact that each subsequent sentence is built on the basis of the previous one, absorbing one or another part of it. What is repeated in the next sentence from the previous one is called “given”, and what is additionally reported is “new”. "New" is usually logically stressed and placed at the end of a sentence.

For example:

A well was dug in the yard. A frog (new) settled near the well (given). She (given) sat (new) all day long in the shade of a well log house.

The role of the "given" is to connect sentences with each other. The role of the "new" is in the development of thought in the text. To link sentences in the text, "given" and "new", two methods of communication are used:

1. chain link
2. parallel connection

chain link reflects the consistent development of thought, so it is dynamic in nature. In a chain connection, the "new" of the first sentence becomes "given" in the second, the "new" of the second becomes "given" in the third, and so on. The sentences, as it were, cling to one another, the next one is picked up by the previous one, and thus the unfolding of thought, its movement is carried out. It turns out that the sentences are closely soldered to each other, and, being isolated, they lose the ability to use independently, since they have lexical and grammatical indicators of connection with previous sentences (repetition of a key word, replacing it with a synonym, synonymous phrase, pronoun, repetition of one or another member of the proposal).

For example:

There was a thunderstorm somewhere over the horizon. She sent out resolute peals on a hot summer night. Thunder, already almost exhausted on the way, revived under the dry friendly roof and wandered around the attic for a long time.

Parallel communication reflects enumeration, comparison or opposition. With a parallel connection between ordinary sentences, relations of simple adjacency, juxtaposition are established. The theme of each subsequent sentence is not borrowed from the previous one, but is predetermined by the fact that they are in the same plane, for example, they reveal the detail of one overall picture, a description of a number of changing events, actions, states, pictures. In other words, the sentences do not link, but are compared and represent the same syntactic constructions (the same word order, the members of the sentence are expressed in the same forms)

For example (example of N.S. Valgina):

The storm raged over Petersburg like youth returned. Light rain lashed the windows. The Neva swelled before our eyes and poured over the granite. People ran along the houses holding their hats. The wind flapped black overcoats. A vague light, ominous and cold, now waned, then flared up as the wind blew a canopy of clouds over the city.

Here, each sentence is significant, since their lexical content is completely independent (there are no pointer words; no words that contain and generalize the meaning of entire structures; no words - "representatives" of another structure, etc.). The unifying principle of all these individual proposals is a logical and semantic unity - the ratio of the general (the storm raged) and the particular (the Neva swelled ...; People ran ...; The wind clapped ...; The light either decreased or flared up ...) in description of the picture. Of the structural indicators of the association, one can name only the parallelism of the structure of sentences (two-part, the same order of arrangement of members grammatical basis- subject and predicate), as well as the coincidence of the aspectual-temporal forms of verbs-predicates (raged, whipped, swelled, ran, clapped, subsided, flared up, puffed up).

Chain and parallel links can be combined within the same text, forming mixed type:

For example:

turns white sail lonely

In the mist of the blue sea!...

What is looking for he in a distant land?

What threw he in the native land?

Between the first sentence and the second, as well as between the first and third - a chain connection (sail - he), between the second sentence and the third - a parallel connection.

82.2. Means of communication of sentences in the text

Thematic unity and semantic completeness of the text is created by means of various language levels.

Lexical means of connecting sentences in the text:

1) lexical repeat- this is the repetition of a word or the use of a single-root word to achieve the accuracy and coherence of the text, allows you to maintain the unity of the topic. In various styles and genres, lexical repetition is used in different ways: for example, for scientific and official texts, repetition of a word is the main means of coherence. Repetition is also used quite often in this type of text as a description.

For example:

Lived on the edge of the old village Bobyl. Was at Bobyl own house and dog.

2) synonymous replacement is the replacement of a word in one sentence with a synonym or synonymous expression in another. It is usually used where brilliance of speech is needed, its figurativeness: in journalistic style, in the style of fiction

For example:

Pictured is Brestskaya fortress . Rather, only its small - central - part. Mentally, it is necessary to continue and close the two-story brick belt of the barracks with a ring. The ruined church-club stands in the center of an almost two-kilometer ring citadels.

The artists, discharged from Antioch, depicted, depicted hunting on the walls Artemis. Goddess threw arrows, and a short pink tunic heavenly huntress fluttered in the wind.

3) use of antonyms.

For example:

One was tall, another — low growth.

4) generic words, i.e. words related by the relationship genus - species: genus - as a broader concept, species - as a narrower one.

For example:

There are many dear Russians in this forest trees. But first of all you notice the trunks of your loved ones birches.

5) use words of one thematic group.

For example:

There are many Karamazovs in Russian life, but still they are not direct the course of the ship . Sailors important, but even more important for captain and sailboat tiller and star to which the ideal is oriented.

Morphological means of communication of sentences in the text:

1) the unity of types of temporary forms - the use of verbs of the same type and one tense emphasizes the temporal accuracy of the text. So, in the description, as a rule, imperfective verbs are used, and in the narrative - perfective ones.

For example:

Seriously wounded Sergei Muravyov-Apostol, having gathered with the vultures, costs directly. He fits to the oven and touches before her with stiff hands.

Aircraft swooped down so suddenly that no one had time to rush into the cracks. And all fell right there on the ground.

2)pronominal substitution, those. replacing a noun or other part of speech with a pronoun is a widespread means of communication.

For example:

And the years went on and on; quickly and inaudibly, like snowy waters, youth flowed Helena, in external inaction, in internal struggle and anxiety. girlfriends she has was not: of all the girls who visited the Strakhovs' house, she is did not agree with any.

3)use of conjunctions, particles, introductory words, acting as means of communication within sentences, they can also be means of communication of the entire text.

For example, introductory words so, therefore and others generally link the last part of the text to the entire previous part.

He said that after confessing in court, he could not do that. After all an appeal for pardon requires an admission of guilt. BUT he does not admit guilt and cannot write repentant words.

4)adverbs with the meaning of time and space allow to clarify the temporal and spatial characteristics of the text.

For example:

Today the ring is broken in many places. Until the forty-first year, it was solid, with three gates.

Syntactic means of connecting sentences in the text:

1) syntactic parallelism- several sentences have the same structure in terms of the order of the members of the sentence).

For example:

You have to be modern. We must be ruthless to the past.

2) parceling- allocation of a member, more often a minor one, after a period in the form of an independent sentence.

For example:

At the very end of the 80s, it was forbidden to fish in it. Not in order to save her herd, to let the juveniles work up ... But because the caught fish has become dangerous for humans.

3) juxtaposition of sentences- combining several sentences with one typical value into a syntactic whole by a parallel connection.

For example:

Shrub and undergrowth. Eerie evening silence. Silent thickets. A large flock of magpies rose in one, another place.

4) brace proposals type

For example:

Let's move on to the next part of the statement.

This was discussed above.

What alreadywas noted... etc.

5) words and phrases that do not reveal their semantics within the same sentence(most often in this role are the circumstances of place and time).

For example:

Today, the technical equipment of the topographer, surveyor, cartographer has changed. Without leaving the building, using aerial photographs, you can create a map of any region of our country. New radiometric instruments make it possible to achieve high accuracy in mapping.

Thus, we have considered the means of communication of sentences in the text. Of course, these phenomena do not exhaust the whole variety of means of connecting sentences in the text. Moreover, texts often use means of different levels at the same time:

For example:

The Department of the History of Russian Culture has a small but good collection windows. Created mainly by the efforts of the Pskov expeditions of the Hermitage employees, this collection allows you to trace the patterns of icon painting of the Novgorod, Pskov, Moscow schools and especially rare icons of the "northern letters".(In this case, lexical repetition and a demonstrative pronoun are used)

In her speech, Masha uses the words of different significant parts of speech. (Appendix No. 2). Most of all in her speech there are verbs, nouns and adjectives.

In the first place in terms of use are verbs, since this part of speech has a wide range of possibilities. vivid description life in its development, movement. The most important stylistic function verb in artistic speech- give dynamism to descriptions.

Masha's speech, saturated with verbs, expressively draws rapidly unfolding events, creates energy, and sometimes tension, of the narrative.

We noticed that the verbs in the speech of a lively and active Masha are most often presented in the form of an imperative mood. (Appendix No. 2).

Of particular interest is the use of aspectual forms of the verb in the imperative mood. Imperfective imperative verbs have a touch of invitation, while perfective forms seem to be more categorical expressions of motivation, they mean more an order than a request: Let's start (actual view) - do it (non-actual view).

For figurative speech, Masha often uses interjections: uh, uh, uh, uh, uh, uh.

The lexical composition of Masha's speech

AT explanatory dictionary S.I. Ozhegov we find the following definition: “ The vocabulary is vocabulary language or works of some writer". Vocabulary in terms of stylistic coloring is divided into neutral and emotionally colored.

The speech of the main character of the cartoon is emotional, bright. Neutral words are perceived as lofty and solemn. There are practically no vernacular words in the heroine's speech. There are a lot of words with diminutive suffixes. (Appendix No. 2).

Masha often uses neologisms. But in her speech there is not so much the formation of new words, but the creation unusual shapes words or some new look one word or another. Young children often do the same when they are learning to speak.

Analyzing Machina neologisms, we found out that when creating new words, the heroine most often relies on analogy.

Examples of Machine neologisms:

1. Change of roots in compound words:

Rhinoceros + porcupine = nasoform - wildhorn

Crocodile + hippo = crocomote begedil

Parrot + pelican = Peligay fart

(« Traces of unseen beasts»)

2. The transition from one part of speech to another due to lexical meaning

Mood boiled(im. noun. JAM in im. adj. BOILED) (" Jam»)

3. Merging words with a change in morphemes

I cook (verb NAVARYU + noun KASHA)

unfocus (from the word FOCUS)

Bed lie down(from a combination of the words " lie" and " mode») Photographic(from a combination of words " photo" and " photogenic»)

The syntactic composition of speech

The animated series uses a monologue-dialogue form, since there are only two main characters. In the cartoon, only Masha is endowed with speech, and the Bear, for example, answers her only with sounds, gestures and facial expressions.

• Come on paw.
• We lie in bed (mode)!
• Ah, love, love!
• Need medical help!

In the speech of the heroine, all types of sentences are observed according to the purpose of the statement. But most of all incentive expressing a call for joint action .

are present and interrogative sentences that are necessary in order to express the desire to receive information and contain a question. There are few self-interrogative sentences in Masha's speech. Most often these are interrogative-motivational or interrogative-rhetorical sentences.

• Oh, what is this, porridge or what!?
• Are you biting? And how does it bite? Where does it bite? Does it bite here? And who is biting? And this is how it bites?
• Wow, my beauty! Have you had enough, baby? Has my little one grown up?
• Bear? .... Well, where are you when you need it?

In the cartoon, we can only see the answer to these questions, not hear. Additional shades in interrogative sentences can be emotional, for example, a shade of negative expression:

• Are you deaf, or what?

Also in Masha's speech there are a lot of exclamatory sentences, which also creates an emotional mood of the text. Depending on the situation, these sentences evoke different feelings: sometimes admiration, sometimes indignation, sometimes surprise:

• Wow, this is porridge!
• Well, my child is not measured!
• So here you are, growth vitamin!
• My! Wow!
• Well, my dears, let's get treated!
• It's all about nerves!

In her speech, the heroine actively uses appeals with diminutive suffixes, which makes Masha's speech kind, friendly.

• Wow, my beauty Ulechk a! Is mine full, det points a? Have you grown up, my baby echk a?
• Golub chik , braid enk ouch!

Formal business style- this is a style that serves the legal and administrative-public spheres of activity. It is used when writing documents, business papers and letters in public institutions, court, and different types business oral communication.

Among book styles, the formal business style stands out for its relative stability and isolation. Over time, it naturally undergoes some changes, but many of its features: historically established genres, specific vocabulary, morphology, syntactic turns - give it a generally conservative character.

The official business style is characterized by dryness, the absence of emotionally colored words, conciseness, compactness of presentation.

In official papers, the set of language tools used is predetermined. The most striking feature of the official business style is the language stamps, or the so-called clichés (French. clich). The document is not expected to show the individuality of its author, on the contrary, the more clichéd the document, the more convenient it is to use (see examples of clichés below)

Formal business style- this is the style of documents of different genres: international treaties, state acts, legal laws, regulations, charters, instructions, official correspondence, business papers, etc. But, despite the differences in content and variety of genres, the official business style as a whole is characterized by common and most important features. These include:

• 1) accuracy, excluding the possibility of other interpretations;
• 2) locale.

These features find their expression a) in the selection of language means (lexical, morphological and syntactic); b) in the preparation of business documents.

Consider the features of the vocabulary, morphology and syntax of the official business style.

Lexical features of the official business style of speech

The lexical (dictionary) system of the official business style, in addition to common book and neutral words, includes:

• 1) language stamps (stationery, cliches) : raise a question, based on the decision, incoming-outgoing documents, impose control over the execution, after the expiration of the deadline.
• 2) professional terminology : arrears, alibis, black cash, shadow business;
• 3) archaisms : I hereby certify this document.

In an official business style, the use of ambiguous words, as well as words in figurative meanings, and synonyms are used extremely rarely and, as a rule, belong to the same style: supply = supply = collateral, solvency = creditworthiness, depreciation = depreciation, appropriation = subsidization and etc.

Official business speech reflects not individual, but social experience, as a result of which its vocabulary is extremely generalized. AT official document preference is given to generic concepts, for example: arrive (instead of arrive, arrive, arrive etc.), vehicle(instead of bus, plane, Zhiguli etc.), locality(instead of village, town, village etc.), etc.

Morphological features of the official business style of speech

To morphological features This style includes the repeated (frequency) use of certain parts of speech (and their types). Among them are the following:

• 1) nouns - names of people on the basis of the action ( taxpayer, tenant, witness);
• 2) nouns denoting positions and titles in the form male (Sergeant Petrova, Inspector Ivanova);
• 3) verbal nouns with a particle not-(deprivation, non-compliance, non-recognition);
• 4) derivative prepositions ( in connection with, on account of, due to);
• 5) infinitive constructions: ( check, help);
• 6) present tense verbs in the meaning of a commonly performed action ( per non-payment will be fined…).
• 7) compound words formed from two or more stems ( tenant, employer, logistics, maintenance, above, below etc.).

The use of these forms is explained by the desire of the business language to accurately convey the meaning and unambiguous interpretation.

Syntactic features of the official business style of speech

To syntactic features official business style include:

• 1) use simple sentences with homogeneous members, and the series of these homogeneous members can be very common (up to 8-10), for example: ... fines as an administrative penalty may be established in accordance with the legislation of Russia for violation of safety and labor protection rules in industry, construction, transport and agriculture;
• 2) the presence of passive structures ( payments are made at the specified time);
• 3) stringing the genitive case, i.e. the use of a chain of nouns in genitive case: (the results of the activities of the tax police…);
• 4) the predominance of complex sentences, especially complex ones, with conditional clauses: If there is a dispute about the amounts due to the dismissed employee, the administration is obliged to pay the compensation specified in this article if the dispute is resolved in favor of the employee.

According to the theme and variety of genres in the style under consideration, there are two varieties:

I- official documentary style

II - casual business style .

In turn, in the official documentary style, one can single out

the language of legislative documents related to the activities of state bodies (the Constitution of the Russian Federation, laws, charters),

the language of diplomatic acts related to international relations (memorandum, communiqué, convention, statement).

In everyday business style, they distinguish

the language of official correspondence between institutions and organizations, on the one hand,

the language of private business papers, on the other.

All genres of everyday business style: official correspondence (business letter, commercial correspondence) and business papers (certificate, certificate, act, protocol, statement, power of attorney, receipt, autobiography, etc.) are characterized by a well-known standardization that facilitates their compilation and use and designed to save language resources, to eliminate unjustified information redundancy (see details 4.2; 4.3; 4.4).

Consider briefly one of the varieties of the official documentary style - diplomatic style.

Diplomatic style

Diplomacy- it is the art of resolving international disputes by peaceful means; it is also a technique and skill that harmoniously affects international relationships and subordinate certain rules and customs.

Diplomatic activity has always had a pronounced ritual character. The diplomatic profession is very old. Evidence of peace treaties are found among the most ancient historical monuments. One of the most important qualities of a diplomat is sociability. The society of diplomats is a limited circle of people, well-chosen, to some extent isolated, with their own strict rules etiquette and professional courtesy. A diplomat must have tact.

The sphere of functioning of the diplomatic sub-style is diplomacy and international relations. The diplomatic style includes the following genres: convention, communique, declaration, statement, memorandum, note, international agreement, etc.

Structural-logical scheme "Official-business style of speech and its varieties"

R RUSSIAN LANGUAGE

Zyryanova Alena

Scientific adviser:

Zyryanova Galina Ivanovna

LINGUISTIC WAYS OF EXPRESSING EMOTIONS

Emotional processes are studied in various sciences: philosophy, psychology, linguistics. Linguistics, later than other sciences, turned to the study of the sphere of the emotional. Language is a means of expressing emotions. We learn the world through thinking and use language to express our impressions, opinions, emotions, perceptions.

Verbal ways of expressing emotions include: l lexical ways, morphological, grammatical, stylistic, syntactic, figurative and expressive means, speech intonations.

Lexical ways of expressing emotions

As part of the emotional vocabulary, 3 groups are distinguished:

Polysemantic words that have received emotional coloring when used figuratively. So about a person, defining his character, we can say: hat, rag, mattress, hanger(emotions of neglect).

Words that convey various shades: son, daughter, grandmother(positive emotions); beards, bureaucracy, tyagomotina(negative).

The emotionality of vocabulary is often conveyed by especially expressive expressive vocabulary. Expressiveness - expressiveness, strength, manifestation of feelings, experiences. For example, instead of the word good in a state of rapture, you can say - beautiful, wonderful, amazing. According to the degree of emotional stress, a word can have several expressive synonyms: misfortune - grief, catastrophe; violent - unrestrained, furious.

By emotional coloring stand out: solemn words - accomplishments, unforgettable; rhetorical - companion, announce; poetic - azure, chant; playful - faithful, newly minted; ironic - please, don Juan; familiar - cute, gossip; disapproving - pretentious, rogue; dismissive - to paint, pettiness; contemptuous - tease, tease; derogatory - skirt, squishy; vulgar - grabber, cool; swear words - ham, fool. Thus, words that are similar in emotional coloring are classified into vocabulary of positive emotions and vocabulary expressing a negative assessment of the named concepts.

Also, well-established phraseological combinations, proverbs, sayings have emotional coloring.

Yermoshka is rich: there is a goat and a cat- irony, mockery, disapproval.

We saw good - we will see bad- apprehension, disappointment, fear.

For him to be empty! - annoyance, irritation, discontent, etc.

II. Morphological ways of expressing emotions

Our emotions depend on what words of what parts of speech we express them. So, minterjection is that part of speech that includes unchanging words that directly express our feelings, expressions of will: joy, sadness, surprise, regret, fear, anger, indignation, contempt, disgust and others.

The heart is filled with fear! Oh!

Eh! After all, how bad!

That would be lucky today!

Oh, trouble is near!

So the board is waiting for me.

If someone could help. Oh!

Wow! Oh! Eh! Oh!

Wow... they didn't call!

Modal words- words with which the speaker evaluates his statement, what is happening. Possible values: uncertainty, doubt ( probably seems); emotional attitude to the facts of reality ( fortunately, unfortunately, unfortunately, unfortunately, unfortunately etc.)

Particles - official words that give additional meaning, emotional shades. Examples: a) exclamatory - evaluative particles - what the! how! Just uh! (Well, what a neck, what eyes!); b) Particle C-, expressing servility, politeness. ( Madam, you can - with a pen - with); c) particle - KA with the value of mitigation of the requirement ( Get away from me).

4. Words of the state category - express the state (mental, mental, physical, etc.) of a person, the environment, an assessment of actions - sad, happy, joyful, sad, depressing. In the Russian classics, there are many lyrical works in which the words of the state category are widely used. An example is a poem by M.Yu. Lermontov "It's both boring and sad, and there is no one to give a hand to."

III. grammar ways.

This is the use of various suffixes and prefixes to form new words expressing various emotional shades: 1) diminutive suffixes - enk-, onk-, -ink-, ear-, yushk - ( the road is a path, the hare is a hare, the field is a field, the sparrow is a little sparrow, bread is bread); 2) suffixes of subjective assessment -k-, -ok-, -ek- ( lampada - icon lamp, wind - breeze, lantern - flashlight, hut - hut); 3) prefixes: it hurts - it hurts, super interesting, superhero; 4) the formation of a superlative degree of adjectives using a prefix –nai - and suffix - sh- : beautiful - most beautiful; using the suffix ash- : brave - bravest; 5) degrees of comparison of adverbs - simple comparative – bright - brighter; composite comparative degree - more bright, less bright.

An example is the poem of the poetess from Gorno-Altaisk - Alexandra Zykova "About the Motherland".

From the small Fatherland comes the big one.

Like a quiet river

It flows into my Katun.

Strong on the other bylinochka

And the meadow saved by turf.

You be a little dewdrop, dropped by the sky.

No less a drop of dew than a backwater between currants, -

Barefoot cherished summer whispers to me about the Motherland.

IV. stylistic ways.

One of the stylistic means aimed at expressing emotions can be considered the genre of writing. Depending on the emotional coloring of the letter, various emotionally expressive vocabulary is used. For example: a formal business letter and a personal letter. Of course, we will not write a letter to a friend in an official business style, and it is unlikely that anyone will start an explanatory letter to the boss with the words “Hello, my dear friend!”.

V. Syntax.

Syntax is a semantic, emotional-logical correlation and arrangement of words in sentences, into which speech is always divided. Artistic speech, in principle, should be perceived not only visually, but also by ear, in its lively and directly perceptible intonational sound. It is in it that works of verbal art can fully reveal all the emotional and figurative richness of their ideological content.

The expression of emotions is possible through isolated, introductory constructions, complex sentences with subordinate explanatory clauses, adverbial clauses, non-union complex sentences with adverbial meaning.

Separate constructions - semantic and intonational allocation of secondary members of the sentence for the purpose of emotional, stylistic expressiveness: And what are you, with your mind, found in it. Inconsistent isolated definition - with your mind- may have the following emotional coloring: admiration ( you are so smart), neglect ( low assessment of mental potential), disappointment ( you are smart, but you did wrong).

Introductory sentences, plug-in constructions. Their purpose is to add comments, incidental indications, clarifications. Plug-in interrogative and exclamatory constructions express the author's emotions or his attitude to the expressed words, quotes: He tightly plugged the hole in the door with his overcoat, and as soon as it was light he was already in the yard, as if nothing had happened, eveninnocent trick!) former fatigue on the face.

Complex sentences: A) with subordinate explanatory clauses (answer questions of indirect cases): I am very glad (what?) that you visited us. B) With adverbial clauses with the meaning of the condition: I will be very sorry (when, under what condition?) if you do not visit us. C) Non-union complex sentences with adverbial meaning: If you don't visit us, I'll be upset.

It should be remembered that complex sentences will then have an emotional expression when they have a definable word, that is, the word from which we ask a question.

VI. Figurative-expressive, linguistic means.

The expressiveness of speech (expressiveness) characterizes such properties of the form of speech that provide and maintain the attention and interest of readers or listeners.

euphony (euphony) a combination of sounds that is easy to pronounce and pleasing to the ear. The clouds, flying, shine, and, shining, fly away for distant forests. This combination evokes emotions of delight, admiration, amazement.

Discord (cacophony)- unsuccessful, unfavorable for pronunciation and hearing confluence of sounds: Weep pitifully for the departure of your sincere friend. Emotions of sadness, sadness, compassion are expressed here.

Sound writing: alliteration - convergence of consonants ( Slightly audible noiselessly rustling reeds) - emotions of expectation, fear.

Assonance- convergence of vowels: I will put a tight bowstring, bend an obedient bow into an arc, and there I will send at random and woe to our enemy - enthusiasm, expectation of victory.

Antithesis- opposition: Small spool but precious- admiration, respect.

Irony- mockery, sly allegory: Well, how can you not be afraid! Hardly anyone will be tempted by such a beauty.

Litotes- deliberate understatement: Your sweet dog is nothing more than a thimble- emotions of neglect or tenderness.

Hyperbole - deliberate exaggeration: And the battle began, and rivers of blood flowed- bitterness, regret.

Oxymoron - use in combination of words that have an opposite or incompatible meaning: Look, it's fun for her to be sad so smartly naked- admiration, admiration.

Metonymy- renaming, adjacency of the designated phenomena: This sculptor is especially strong in bronze- emotions of admiration.

1. speech intonation.

Artistic speech, due to its emotional imagery, requires, in order to reveal all the features of its content, not only the correct placement of logical accents, but also the setting of additional accents that have an emotional and expressive meaning. And exclamations, and questions, and appeals that arise in colloquial speech require some kind of response, advice, response, and sometimes practical actions on the part of those to whom they refer. Rhetorical questions, exclamations and appeals make speech more emotional and expressive. The intonation of speech is the voice leading, with the help of which sentences are pronounced and in which the semantic relationship of words is realized. The same proposal I love you! - can be pronounced with such intonations that the interlocutor will believe that he is really loved or that they have completely different feelings towards him. Punctuation marks in sentences with direct speech serve to express the emotional coloring of the author's words, to express his emotions.

Speech intonation is especially important when we want to make ourselves heard, reach out to others. An example is the poem of another famous Gorno-Altai poetess Lilia Yusupova.

The dog was crying in the yard

Subtly and plaintively, as she sang.

As if about a bleak fate

I wanted to tell everything to the Lord.

So that he hears her prayer

And for this life of her dog

He sent her a friend and a kennel,

And a big bone to boot.

The city slept, having renounced worries.

The autumn rain poured down without tiring.

And a dog monologue sounded,

Tearing my soul with sadness.

Thus, emotions as a linguistic phenomenon are a way to express one's feelings, to evoke a certain attitude among interlocutors. Emotions are different, but I would like to wish everyone that you only have positive emotions from the perception of the environment, from communication with the great and mighty Russian language.

Literature

1. Anikina V.P. Russian proverbs and sayings - M .: Fiction, 1988.

2. Golub I.B. Russian language - M., 2006

3. Goltsova N.G. Russian language grades 10-11 - M .: Russian word, 2006.

4. Zykova A. Crown of the Katun: Selected. - Gorno-Altaisk, 2001

5. Ozhegov S.I. Explanatory dictionary of the Russian language: 4th edition, add. - M., 2001.

6. Rosenthal D.E. A guide to the Russian language. – M.:, 2001.

7. Schoolchildren's handbook of a new type: a universal textbook. - St. Petersburg, 2003.

8. Yusupova L. Double portrait. - Gorno-Altaisk, 1999.