Old Russian literature and its main features. Features of Old Russian literature

The purpose of the lesson. Training in the analysis of phonetic organization of speech.

Lesson objectives:

• update the following literary concepts: euphony, cacophony, alliteration, assonance, sound writing;
• learn to edit text from the point of view of its phonetic organization;
• improve the skill of analyzing phonetic means of expressive speech.

Equipment: printouts of texts, slides.

DURING THE CLASSES

Emotional start: reading by the teacher (prepared student) of a poem by S.Ya. Marshak.

Breathing freely in every vowel,
In consonants, it is interrupted for a moment.
And only that one achieved harmony,
Who can alter them?
Silver and copper sound in consonants.
And the vowels were given to you for singing.
And be happy if you can sing
Or even breathe a poem.

– What words contain the main idea of ​​the poem?
– “Breathe” the lines of your favorite poems? Why do you remember them?

Students read their favorite lines from memory, for example: “Whispers, timid breathing, trills of a nightingale...”, “The sea was all sparkling in the bright light, and the waves beat menacingly on the shore...”, etc. They explain that they were remembered because of the harmonious connection between meaning and sound, melody or rhythm.
The teacher announces the topic and purpose of the lesson.

Task No. 1.

Indicate the features of the sound organization of speech in an excerpt from A. Tvardovsky’s poem “House by the Road”. Highlight audio repetitions; define their aesthetic functions in context.

This is the covenant and this is the sound,
And along the braid along the sting,
Washing away the little petals,
The dew ran like a stream.
The mowing is high, like a bed,
Lay down, fluffed up,
And a wet, sleepy bumblebee,
While mowing he sang barely audibly.
And with a soft swing it’s hard
The scythe creaked in his hands.
And the sun burned
And things went on
And everything seemed to sing:
Mow, scythe,
While there is dew,
Down with the dew -
And we're home.

Indicate the shortcomings of phonics in excerpts from the works of young authors, write down the editing option. Compare it with M. Gorky's version of the edit.

Taking into account the lessons of the previous assignment and the advice of M. Gorky, from the proposed abbreviations, select the name of our school theater. Suggest your option.

1. TOU – theater organization students.
2. KIT is a club for those interested in theater.
3. TKU is a student theater club.
4. TKSH is a theater club for schoolchildren.
5. STI - school theater art.
6. STO - school theater society.
7. OTI is a theater arts society.

Determine the purpose of using onomatopoeic and sound-like words and their phonetic environment.

1. From dead head Meanwhile, the grave snake, hissing, crawled out. (P.)
2. The rustling of their peaks greeted me with a familiar noise. (P.)
3. They hunted a lot, they galloped a lot, they threw hounds from island to island. (N.)
4. Heels click like hooves - the girl runs to the water pump to get a drink. (Asc.)
5. The old hut with the jaws of the threshold chews the rough crumb of silence. E.)
6. The Neva swelled and roared, bubbling and swirling like a cauldron. (P.)

– Which authors’ dates did you recognize?
– What is the name of the method of expressiveness used by poets? Define it. (Sound writing is a technique of enhancing the visual quality of a text by constructing phrases and lines of poetry in a sound manner that would correspond to the reproduced scene, picture, or expressed mood.)

Analyzing the phonics of the poem, show the unity of the sound and semantic organization of speech. Name a technique for enhancing imagery.

Analyzing phonics, show the unity of the sound and semantic aspects of speech. Use variants of cliches: thanks to sound writing (assonance, alliteration), i.e. repetition of sounds ... the author creates a mood (joy, anger, calm, admiration, peace, bitterness, etc.), or ... conveys the beauty (ugliness, dynamism, etc.) of the world that is happening, or ... emphasizes the contrast of the depicted phenomena (events, characters, behavior, etc.)

1) Only at night do you see the universe.
Silence and darkness are needed
So that at this secret meeting,
She came without covering her face.

2) The Mazurka sounded. It happened
When the mazurka thunder roared,
Everything in the huge hall was shaking,
The parquet cracked under the heel,
The frames shook and rattled:
Now it’s not the same, and we, like ladies,
We slide on the varnished boards.

Analyze the editing of Russian poets from the point of view of phonics; indicate lexical substitutions dictated by the sound selection of words, try to justify the rejection of certain consonances and the selection of words of a certain sound coloring. Work in groups.

Compare the sound organization of speech in sentences; indicate what violates the euphony in the unedited versions. Analyze the stylistic edits and, if necessary, make adjustments to the editorial version.

Write down a poem by A.S. Pushkin. Prepare a coherent answer about the phonetic means of sound harmony in poetic speech. Indicate repeating sounds, phenomena of assonance, alliteration; explain their connection with artistic images and the content of the poem. Name the words highlighted using sound writing.

Having dropped the urn with water, the Virgin broke it on the cliff.
The virgin sits sadly, idle holding a shard.
Miracle! The water will not dry up, pouring out from the broken urn;
The Virgin, above the eternal stream, sits forever sad.

(One possible answer:

“The poem “Tsarskoe Selo Statue” by A.S. Pushkin glorifies one of the most famous sights of the Catherine Park of Tsarskoe Selo. This is the “Girl with a Jug” fountain, depicting a sitting girl with a shard in her hands and a broken jug at her feet, from which water flows in an inexhaustible stream.
The great poet managed to reproduce the image of not a motionless sculpture, but a living “Virgin”. Thanks to alliteration, we clearly hear the crash and ringing of a jug being broken on a rock: “At rn with water R O n willow, about the cliff of her Virgin R A zb silt. Voiced explosive sounds convey instantaneous, brief action. We can hear the light and quiet rustle of endlessly flowing water, its eternal murmur in the repeating sound “Ch” (“... above the eternal stream, forever sad.”) Thus, the poet, with the help of sound writing, combined in such a small poem both short-term action and eternity.)

Homework. Prepare a written, coherent answer about the phonetic means of sound harmony in the poem “On the Hills of Georgia...” Indicate repeating sounds, phenomena of assonance, alliteration; explain their connection with artistic images and the content of the poem. Name the words highlighted using sound writing.

(One of the possible options:

“In the minds of A.S. Pushkin there was always an association of Georgia with its songs. He wrote: “Georgian songs are pleasant and mostly mournful.” In the poem “On the Hills of Georgia,” this idea receives phonetic support: the sound coincidence of “Georgia” is “sad.” Alliteration in the first 3 lines: Georgia, Aragva, sad - helps create a feeling of calm confidence. The most intimate feeling – love – echoes this concept. It is present only as a sound hint (soft L) in the first line: “ l"heels." More clearly - in the third: “I’m sad and l easy; oven l b my light l and...", and is named (twice) only at the end of the poem.
Between sadness and love, sadness occupies a special place, and therefore sadness is permeated with extraordinary light, light becomes its quality. The sound image of “sadness” applies to all words with a stressed “A”: haze, Aragva, light, full. Thanks to assonance and an open stressed syllable, the poem acquires a special lyricism. The lyrical hero is open to the world.)

References:

1. Golub I.B. Exercises on the stylistics of the Russian language. M.: Iris Press, 2006.
2. Gorshkov A.I. Russian literature. M.: Education, 1995.
3. Novikov V.I. Literary criticism and stylistics. M.: Pedagogy - Press, 1997.

Grammatical means of expressiveness are less significant and less noticeable compared to lexical and phraseological ones. Grammatical forms, phrases and sentences correlate with words and, to one degree or another, depend on them.

Therefore, the expressiveness of vocabulary and phraseology comes to the fore, while the expressive capabilities of grammar are relegated to the background.

The main sources of speech expressiveness in the field of morphology are forms of a certain stylistic coloring, synonymy and cases of figurative use grammatical forms.

A variety of expressive shades can be conveyed, for example, by using one form of number of nouns instead of another. Yes, forms singular personal nouns in a collective meaning vividly convey generalized plurality. This use of singular forms is accompanied by the appearance of additional shades, most often ¾ negative: Moscow, burned by fire, was given to the French (M. Lermontov). Expressiveness is characteristic of plural forms, collective names, used metaphorically to designate not a specific person, but a typified phenomenon: We all look into the poleons (A. Pushkin); Silent people are blissful in the world (A. Griboyedov). The usual or occasional use of the plural noun singularia tantum can serve as a means of expressing disdain: I decided to go to courses, study electricity, all sorts of oxygen! (V. Veresaev).

Pronouns are characterized by a richness and variety of emotional and expressive shades. For example, the pronouns some, some, some, some, used when naming a person, introduce a shade of disdain into speech (some doctor, some poet, some Ivanov).

The uncertainty of the meaning of pronouns serves as a means of creating a joke, comedy. Here is an example from V. Pikul’s novel “I Have the Honor”: His wife had Astrakhan herring. I think ¾ why would a lady drag around Europe with our stinking herring? He cut her belly (not a lady’s, of course, but a herring), and from there, dear mother, diamond after diamond ¾ fell out like cockroaches.

Special expressive shades are created by the opposition of the pronouns we ¾ you, our ¾ your, emphasizing two camps, two opinions, views, etc.: Millions of you. We are ¾ of darkness, and darkness, and darkness. Try it and fight us! (A. Blok); We stand against society, whose interests you are ordered to defend, as irreconcilable enemies of it and yours, and reconciliation between us is impossible until we win... You cannot refuse the oppression of prejudices and habits, ¾ of the oppression that has spiritually killed you , ¾ nothing prevents us from being internally free, ¾ the poisons with which you poison us are weaker than those antidotes that you ¾ unwittingly ¾ pour into our consciousness (M. Gorky).

Verbal categories and forms with their rich synonymy, expression and emotionality, the ability to figurative use. The possibility of using one verb form instead of another makes it possible to widely use in speech synonymous replacements of some forms of tense, aspect, mood or finite forms of the verb with others. The additional semantic shades that appear in this case increase the expression of the expression. Thus, to indicate the action of the interlocutor, the 3rd person singular form can be used, which gives the statement a disparaging connotation (He is still arguing!), 1st person plural(Well, how are we resting? ¾ in the meaning ‘resting, resting’) with a shade of sympathy or special interest, an infinitive with a particle with a hint of desirability (You should rest a little; You should visit him).

The past tense of the perfect form, when used in the meaning of the future, expresses a particularly categorical judgment or the need to convince the interlocutor of the inevitability of an action: ¾ Listen, let me go! Drop me off somewhere! I'm completely lost (M. Gorky).

There are many expressive forms of moods (May there always be sunshine!; Long live world peace!). Additional semantic and emotionally expressive shades appear when one form of mood is used to mean another. For example, the subjunctive mood in the imperative sense has a connotation of a polite, cautious wish (You should go to your brother)", the indicative mood in the imperative sense expresses an order that does not allow objection, refusal (You'll call tomorrow!)); the infinitive in the imperative sense expresses categoricalness (Stop arms race!; ban testing atomic weapons!). Strengthening the expression of the verb in imperative mood particles contribute, yes, let, well, well, -ka, etc.: ¾ Come on, isn’t it sweet, my friend. // Reason in simplicity (A. Tvardovsky); Shut up!; So, say!

The expressive possibilities of syntax are associated primarily with the use of stylistic figures (turns of speech, syntactic constructions): anaphora, epiphora, antithesis, gradation, inversion, parallelism, ellipsis, silence, non-union, polyunion, etc.

The expressive capabilities of syntactic constructions, as a rule, are closely related to the elements that fill them, their semantics and stylistic coloring. So, stylistic figure antithesis, as noted above, is often created by using antonym words; The lexical basis of antithesis is ¾ antonymy, and the syntactic basis is ¾ parallelism of construction. Anaphora and epiphora are based on lexical repetitions:

In the silence and darkness of the forest

I think about life under a pine tree.

That pine tree is clumsy and old,

That pine is harsh and wise,

That pine tree is sad and calm,

Quieter than the streams in a big, big river,

Like a mother

me with a pine palm

Carefully strokes his cheek.

(V. Fedorov)

Stringing synonymous words can lead to gradation, when each subsequent synonym strengthens (sometimes weakens) the meaning of the previous one: She [the German woman] was there in hostile world, which he did not recognize, despised, did not see (Yu. Bondarev).

The expressiveness of speech depends not only on the semantic volume and stylistic coloring of the word, but also on the methods and principles of their combination. See, for example, how and what words V. Vysotsky combines into phrases:

Trusting Death was wrapped around his finger, She hesitated, forgetting to wave her scythe.

The bullets were no longer catching up with us and were falling behind.

Will we be able to wash ourselves not with blood, but with dew?!

Death is ¾ trusting; death was wrapped around the finger (i.e. deceived); the bullets did not catch up, but lagged behind; wash with dew and wash with blood.

The search for fresh, apt combinations, expansion, renewal of lexical compatibility are characteristic primarily of artistic and journalistic speech: She is a ¾ young woman, Greek, suspected of loving freedom (from newspapers). The phrase suspected of loving freedom gives a clear idea of ​​the situation in which love of freedom is considered a very suspicious quality.

Ever since Ancient Greece a special semantic type of phrases is known: ¾ oxymoron (Greek.

Oxymoron ¾ witty-silly), i.e. "a stylistic figure consisting of a combination of two concepts that contradict each other, logically excluding one another" ( hot Snow, ugly beauty, truth of lies, ringing silence). An oxymoron allows you to reveal the essence of objects or phenomena, emphasizing their complexity and inconsistency. For example:

(V. Fedorov)

A widely used oxymoron in fiction and in journalism as a bright, catchy headline, the meaning of which is usually revealed by the content of the entire text. Thus, in the newspaper "Soviet Sport" a report from the World Team Chess Championship was entitled "Original Template." The original template is the attempt of grandmaster Polugaevsky to make wider use of the typical positions that appeared on the board, analyzed in detail in textbooks on chess theory, knowledge of which makes it easier for the athlete to find a way out.

According to the apt definition of A.S. Pushkin, “language is inexhaustible in combining words,” therefore, his expressive capabilities. Updating connections between words leads to updating verbal meanings. In some cases this manifests itself in the creation of new, unexpected metaphors, in others - in an almost imperceptible shift in verbal meanings. Such a shift can be created not by short-range, but by long-range connections of words, in separate parts text or the entire text as a whole. This is how, for example, the poem by A.S. is constructed. Pushkin’s “I loved you”, which is an example of expressiveness of speech, although it mainly uses words that do not have a bright expressive coloring and semantic connotations, and only one periphrasis (Love, perhaps, // In my soul has not completely faded away). The poet achieves extraordinary expressiveness through the methods of combining words within the entire poem, organizing its speech structure as a whole and individual words as elements of this structure.

The syntax of the Russian language, in addition, has many emotionally and expressively colored constructions. Thus, various modal-expressive meanings characterize infinitive sentences that have a colloquial coloring: You will not see such battles (M. Lermontov); You can’t hide // You can’t hide your amazement // Neither forges nor masters (V. Fedorov).

An emotional-evaluative attitude to the content of a statement can be expressed using exclamatory sentences: How beautiful life seems to me when I meet in it restless, caring, enthusiastic, seeking, generous in soul of people! (V. Chivilikhin); sentences with inversion: Fate has reached its conclusion! (M. Lermontov), ​​segmented and parceled structures: Winter ¾ is so long, so endless; Tal, where we will live, is a real forest, not like our grove... With mushrooms, with berries (V. Panova), etc.

Enlivens the narrative, allows you to convey the emotional and expressive features of the author’s speech, and show it more clearly internal state, attitude to the subject of the message, direct and improperly direct speech. It is more emotional, expressive and persuasive than indirect. For example, compare an excerpt from the story of A.P. Chekhov" Dear Lessons"in the first and second editions:

They give liveliness to the statement, emphasize the dynamism of the presentation of definitely personal proposals; Nominatives have great semantic capacity and expressiveness; various emotions are expressed by vocative and other sentences: The people of the whole earth // Let the alarm sound: // Let us take care of the world! // Let's stand as one, ¾ // Let's say: we won't let // The war start again (A. Zharov); Oh, roads! // Dust and fog, // Cold, anxiety // Yes, steppe weeds (L. Oshanin); ¾ Verochka, tell Aksinya to open the gate for us! (Pause.) Verochka! Don't be lazy, get up, honey! (A. Chekhov).

The expressive capabilities of syntactic (as well as other) language means are updated thanks to various stylistic devices using them in speech. Interrogative sentences, for example, are a means of expressiveness if they not only contain an incentive to obtain information, but also express a variety of emotionally expressive shades (Is it morning?; So you won’t come?; Again this nasty rain?); awaken the recipient’s interest in the message, make them think about the question posed, emphasize its significance: How far will you swim on the wave of the crisis?; Is the postman's bag heavy?; Is it warm for us?; Will the CIS strengthen its position? (these are some article titles). Attracting the addressee’s attention and enhancing the impact of speech on his feelings helps rhetorical questions, widely used in public speaking: Don't we have overflowing creativity? Do we not have an intelligent, rich, flexible, luxurious language, richer and more flexible than any of the European languages?

Why should we creak our feathers in a boring way when our ideas, thoughts, images should thunder like the golden trumpet of a new world? (A.N. Tolstoy)

In the practice of oratory, I have developed special welcome use of interrogative sentences ¾ question-and-answer move (the speaker poses questions and answers them himself): How did these ordinary girls become extraordinary soldiers? They were ready for heroism, but were not ready for the army. And the army, in turn, was not ready for them, because most of the girls went voluntarily (S. Alexievich).

The question-and-answer course dialogues monologue speech, makes the addressee an interlocutor of the speaker, activates his attention. Dialogization enlivens the narrative and gives it expressiveness.

Thus, the expressiveness of speech can be created by the most ordinary, stylistically unmarked linguistic units thanks to their skillful, most appropriate use in the context in accordance with the content of the utterance, its functional and stylistic coloring, general expressive orientation and purpose.

Deviations from norms are deliberately used as means of verbal expressiveness in a certain situation. literary language: the use in one context of units of different stylistic colors, the collision of semantically incompatible units, non-normative formations of grammatical forms, non-normative construction of sentences, etc. Such use is based on a conscious choice linguistic means based on deep knowledge of the language.

It is possible to achieve speech expressiveness only with the correct correlation of the main aspects of speech - logical, psychological (emotional) and linguistic, which is determined by the content of the statement and the author’s goal setting.