General information
Paragraph
A paragraph is the portion of text between two indents, or red lines. A paragraph differs from a complex syntactic whole in that it is not a unit of the syntactic level. A paragraph is a means of dividing a coherent text based on compositional and stylistic principles.
Note. The paragraph is considered in this case only in connection with the identification and characterization of a complex syntactic whole: in order to distinguish between these concepts, since they are often confused.
However, there are other opinions regarding the paragraph as a unit of text: it is considered either a syntactic unit, or a logical, or a stylistic unit.
For A.M. Peshkovsky, for example, a paragraph is an intonation-syntactic unit. L.M. Loseva considers the paragraph to be a semantic-stylistic category), we find the same in M.P. Senkevich. For A.G. Rudneva is a syntactic unit. The latter seems completely unacceptable.
The functions of a paragraph in dialogical and monologue speech are different: in a dialogue, a paragraph serves to distinguish the remarks of different persons, i.e. performs a purely formal role; in monologue speech - to highlight compositionally significant parts of the text (both from the point of view of logical-semantic and emotional-expressive). The functions of a paragraph are closely related to the functional and stylistic affiliation of the text and its stylistic coloring; at the same time, they also reflect the individual author’s peculiarities of text design. In particular, the average length of paragraphs often depends on the writing style.
A paragraph and a complex syntactic whole are units of different levels of division, since the bases 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 touching, since both of them play a semantic-stylistic role. That is why a paragraph and a complex syntactic whole can, in their particular manifestations, coincide and correspond to each other. For example: We climbed the embankment and looked at the ground from its height. Fifty fathoms from us, where potholes, holes and heaps merged completely with the darkness of the night, a dim light blinked. Behind it, another light shone, followed by a third, then, retreating about a hundred paces, two red eyes shone next to each other - probably the windows of some barracks - and a long row of such lights, becoming thicker and dimmer, stretched along the line to the very horizon, then turned 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 dull song of the telegraph, something in common was felt. It seemed that some important secret was buried under the embankment, and only lights, night and wires knew about it... (Ch.); The rain was light and warm throughout the summer. At first people were wary of it, stayed at home, and then normal life began in the rain, as if it had never happened. In this case, people acted like chickens, for there is an exact sign for predicting the duration of the rain: if during the rain the chickens hide in a shelter, it means the rain will soon stop. If chickens, as if nothing had happened, wander along the street, along the road, along green lawns, it means the rain has been falling for a long time, in all likelihood for several days (Sol.).
This coincidence, although not accidental, is by no means necessary. It is no coincidence, because the paragraph division of the text is subordinated primarily 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 emphasis, accent, and emotional-expressive function. In addition, paragraph division is more subjective than syntactic division.
This means that a paragraph can break up a single complex syntactic whole. This is especially true 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 part of a sentence, for example in official business literature: in the texts of laws, charters, diplomatic documents, etc.), and a complex syntactic whole - this is at least two sentences (usually more than two); in one paragraph there can be two or more complex syntactic wholes when individual micro-topics are connected with each other. For example:
1) a complex syntactic whole is broken by a paragraph:
You should stop, enter the hut, see the gloom of confused eyes - and again drive on in the noise of pine trees, in the trembling of autumn aspens, in the rustle of coarse sand pouring into the ruts. And look at the flocks of birds that fly in the heavenly darkness 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:
The night was August, starry, but dark. Because before in my life I had never been in such an exceptional environment as I found myself in by chance now, this starry night seemed dull, inhospitable and darker to me 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 - this whole jumble, painted in the same color in the darkness, gave the land some kind of strange , a wild face reminiscent of times of chaos. There was so little order in everything that lay in front of me that among the hideously pitted, unlike anything else, it was somehow strange to see the silhouettes of people and slender telegraph poles, both of them spoiled the ensemble of the picture and seemed out of this world . // It was quiet, and we could only hear the telegraph humming its boring song above our heads, somewhere very high (Ch.).
Relationship between STS and paragraph
| Parameter name | Meaning |
| Article topic: | Relationship between STS and paragraph |
| Rubric (thematic category) | Literature |
1. Paragraph and STS can be the same. Such paragraphs, equal to STS, are stylistically neutral and are often used in scientific, official business styles, and are the norm in literary storytelling, usually in prose. This structure is focused on an emphatically logical organization of speech.
2. The paragraph is not equal to the SSC, and the following relationship options are possible:
a) The STS must be broken by a paragraph - STS 1. And in this case, the paragraph emphasizes the emotional and expressive qualities of the text, this is typical of literary texts. In this case, the paragraph performs an accentuating function: it focuses attention on individual links of the overall structure.
b) One paragraph may contain several STS.
The discrepancy between the boundaries of the STS and the paragraph is due to the fact that the paragraph and the STS are units of different levels of division: A paragraph does not have a special syntactic design, unlike the STS, the paragraph division of the text is subordinated primarily to semantic division, and the STS has its own formal linguistic means organizations.
LECTURE No. 12. COMPLEX FORMS OF SPEECH ORGANIZATION.
PERIOD.
PLAN:
1. General concept of 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 hours. Part 2 - M., 2001.
Question 1. General concept of period. Period structure.
The term “period” itself goes back to the Latin periodos– “circle”, figuratively - “rounded”, 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 acceleration of the tempo until a pause separates it from the second part.
The second part is pronounced with a sharp decrease in tone and at a slower tempo. There is a long pause between parts.
The junction between promotion and demotion 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 around home
I wanted to limit
When would I be a father, a husband?
A pleasant lot commanded,
When would a family picture
I was captivated for just one moment, -
That would be true, except for you alone,
I was looking for no other bride(Pushkin).
The main part of the period is pronounced with a rising tone. It is often larger in volume and, in turn, is divided into smaller parts (members of the period). The terms of a period are separated from each other by pauses (and in writing by commas or semicolons). Their structure is usually symmetrical and is 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 gifts of people, the brighter life burns, the richer it is in the facts of creativity, the faster its movement towards the great goal(M. Gorky).
Question 2. Types of periods.
Types of periods are determined by structural characteristics.
| Period | Type by structure |
| What was bitter for me, what was hard and what gave me strength, what life was rushing me to cope with - I brought everything here. (Tvardovsky). | |
| But in the quiet hour of the autumn sunset, When the wind falls silent in the distance, When, embraced by a weak radiance, the blind night descends to the river, When, tired of the violent movement, From useless hard work, In the anxious half-sleep of exhaustion The darkened water Calms down, When the vast world of contradictions Filled with fruitless play, - As if a prototype of human pain, Zabolotsky rises before me from the abyss of water). | |
| I will sink to the bottom of the sea, I will fly beyond the clouds, I will give you everything, everything earthly - Love me. (Lermontov). | |
| Whether the melancholy that suddenly came over him gave him the opportunity to see everything in this way, or whether the inner fresh feeling of the Italian was the reason for this, one or the other, only Paris, with all its splendor and noise, soon became a painful desert for him (Gogol ). | |
| If the old foliage rustled under your feet, if different branches turned red, if the willows turned around, then it means there is movement in the birch trees, and there is no point in spoiling the birch (Prishvin). | |
| To be the chosen one, to serve the eternal truth... to give everything to an idea - youth, strength, health, to be ready to die for the common good - what a high, what a happy destiny! (Chekhov). |
Question 3. Stylistic properties of the period.
Period is 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, and rhythmic harmony. In terms of content, the period is distinguished by greater completeness and completeness of 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 artistic prose and journalism (oratory).
Many poetic works are entirely constructed in the form of an expanded period (M.Yu. Lermontov’s poem “When the yellowing field is agitated”). In this case, the period is used as an artistic and compositional device.
LECTURE No. 13. COMPLEX FORMS OF SPEECH ORGANIZATION.
DIALOGICAL UNITY (DE).
1. General characteristics of dialogic unity (DU). DE structure.
2. Means and methods of communicating replicas in the DU.
3. Varieties of dialogic unities.
Literature:
1. Valgina N.S. Modern Russian language. Syntax. - M., 2003.
2. Modern Russian language. At 3. Part 3. Syntax. Punctuation / V.V. Babaytseva, L.Yu. Maksimov. – M., 1987.
4. Modern Russian language / P.A. Lekant, E.I. Dibrova, L.L. Kasatkin et al.; edited by P.A. Lekanta. – M., 2007.
Question. 1. General characteristics of dialogic unity. DE structure.
The subject of syntax is the forms of organization of not only monologue, but also dialogic speech. The basic unit of dialogical speech is dialogical unity.
Dialogical unity – ______________________________________________________
DE usually consists of two, less often three or four sentences-replicas; each of them represents a speech act. In this case, the content and form of the first replica determine the content and form of the replica following it, etc., in this regard, only in the combination of replicas is the completeness necessary for understanding the meaning revealed.
The replicas that make up the DU are divided into
Stimulus cue- ϶ᴛᴏ first replica DE. It represents an independent speech act. This should be a question that requires an answer, a call to action, a statement that initiates a topic that needs clarification and explanation. The stimulus cue determines the content and form of the response cue:
- Did you arrive yesterday?
- At ten o'clock(Chekhov).
In this example, the stimulus cue is a question. It determines both the content of the next replica (answer) and its structure - an incomplete contextual sentence in which the subject and predicate are omitted, because in conjunction with the first remark, their use is redundant.
The second replica DE is usually called response-replica. It may contain an answer to a question, a question again, express agreement // disagreement, objection, assumption, refutation, refusal, may contain clarification, explanation, commentary on the first remark:
Podkolesin: Do you, madam, like to ride?
Agafya Tikhonovna: How to ride?
Podkolesin: It’s very nice to ride a boat at the dacha (Gogol).
In this example, the stimulus cue is a question. A response response is a counter question, a clarification, this is a quotation question, indicating an insufficient understanding of the first statement. The third remark is an answer-clarification.
Reaction remarks, 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 comment or from the situation is reduced:
- When did you meet him?
- Recently.
- Where?
- In the capital.
Replica-reaction - answer - an incomplete sentence in which only a circumstance is presented; all missing members of the sentence are restored from the context. The third replica is a question - an interrogative incomplete sentence (the basis is in the first replica). The fourth replica - an incomplete sentence - consists of a circumstance, which represents the answer to the question contained in the third replica.
In dialogic unity, all types of narrative, interrogative and incentive sentences are represented, but sentences with minimal syntactic complexity predominate.
Question 2. Means and methods of communication of DU replicas.
The main constructive means of communication of replicas in DA are:
1) __________________________________________________________________________
2) ___________________________________________________________________________
- Do you remember Anatoly, he worked for us as a watchman...
- Yes, who? his does not remember!
3) ___________________________________________________________________________
Khlestakov: You don’t have money?
Bobchinsky: - Money? How money?
Khlestakov: - Borrow a thousand rubles(Gogol).
4) ___________________________________________________________________________
- We ask our dear guests for forgiveness. We keep things simple today. Potato, herring…
- Once Italian pizza they gave! Anchovies! (Roshchin).
5) ___________________________________________________________________________
- Rebellion against things is modern.
- But not typical!(Roshchin).
6) ___________________________________________________________________________
- Will you come by today?
-Certainly, I'll stop by.
7) __________________________________________________________________________
- Hello, Boris!
- Hello Svetlana!(formulas of speech etiquette).
8) a universal means of communication of replicas is intonation.
Ways to connect replicas in dialogic unity.
There are two basic methods: 1) chain; 2) parallel.
In case of chain connection _____________________________________________________________________
-Which fence do you have facing the vacant lot?
- This one over there.
- You need to measure how many fathoms from the house.
- For what?
- For the sake of order.
- Well, well, you can(A. Ostrovsky).
In parallel communication ______________________________________________________________
- Great, lad!
- Go with God!
- You're too dirty
As I see it!(Nekrasov).
Question 3. Types of dialogic unities
Classification of DUs is carried out on various grounds: based on the speakers’ goals, methods of communication of remarks, meaning.
In the manual edited by E.I. Dibrova (section written by N.A. Nikolina) presents a classification of DU based on the speakers’ goals:
1. Informative DE: _________________________________________________________________
2. Directive DE: _____________________________________________________________________
__________________________________________________________________________________________________________________________________________________________________________
- Mom, give Nadya a towel to wash herself.
- Now, baby(L. Petrushevskaya).
3. Opinion exchange: __________________________________________________________________
__________________________________________________________________________________________________________________________________________________________________________
- You know, now everyone wants to grab a fatter piece of the overall 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 most importantly, he is a good person.
6. Phatic dialogue: _________________________________________________________________
_____________________________________________________________________________________
Phatic MUs are widely represented at the beginning of telephone conversations, congratulations, greetings, and routine conversations about health or the weather. Replies in phatic DUs are standardized and clichéd in nature, while the amount of information reported is minimal:
- Good afternoon. How are you doing?
- Thank you excellent.
In the textbook Babaytseva V.V., Maksimova L.Yu. ʼʼModern Russian language. Syntax. Punctuation presents another classification of DUs: by meaning and by structural features:
1) question-answer unities;
2) unity, in which the second replica continues the unfinished first:
- How beautifully he speaks...
- And he’s handsome too(Serafimovich).
3) unities in which replicas are connected by one subject of thought:
- Just as a bright oncoming light blinds a driver, so a person becomes blind from a strong feeling.
- And, as they say in the police, a prerequisite for an emergency situation arises(Kozhevnikov).
4) unity of agreement / disagreement:
- Let's climb into the first stack 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 the structural and semantic community unites the replicas into a dialogical unity.
LECTURE No. 14. WAYS OF TRANSMITTING ANOTHER SPEECH
PLAN
1. The concept of someone else’s speech and methods of its transmission.
2. Direct speech as the reproduction of the content and form of someone else's speech. Constructions with direct speech, types of their structure.
3. Indirect speech as a form of conveying the content of someone else’s speech. Rules for converting direct speech into 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 hours. Part 2 - M., 2001.
4. Modern Russian literary language / Ed. P.A. Lekanta. - M., 1988.
5. Russian language: Encyclopedia / Ed. Yu.N. Karaulova. – M., 1997.
Question. 1. The concept of someone else’s speech and methods of its transmission.
In the process of communication, we often find it extremely important to convey someone else’s speech.
Under h snake 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, the language has developed special ways of transmitting someone else's speech:
1) forms of direct speech transmission – direct speech ;
2) forms of indirect speech transmission – indirect speech .
Sentences with direct speech are intended for accurate, word-for-word 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 come together, a special form is formed - improperly direct speech , which literally reproduces someone else’s speech, but is not formally distinguished from the author’s narrative.
Constructions with direct speech, types of their structure.
Direct speech usually called _____________________________________________________
____________________________________________________________________________________
Direct speech conveys:
1) __________________________________________________________________________________
ʼʼ What happened? - Ivan asked in surprise.
I say: “What does he need?”
Only then did I think: “What should I do now?”
According to the structure, sentences with direct speech are a non-union (intonation and semantic) combination of two parts: 1) the 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, inquire, answer, think, notice, speak, object, shout, address, exclaim, whisper and etc.; such words usually require mandatory distribution, 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, assent, advise and etc.; such words usually do not require mandatory dissemination; therefore, the connection between the author’s words and direct speech in this case is less close.
3) ____________________________________________________________________________:
smile, be upset, be surprised, be offended, be indignant etc., in such cases direct speech has a pronounced emotional connotation: “Where are you going?” the old man was surprised.
4) ___________________________________________________________________________:
word, exclamation, question, exclamation, whisper and etc.: “Has the boy gone to bed?” Panteley’s whisper was heard a minute later.
The author's words most often represent a DSP with a subject, naming the person to whom the speech belongs, and a predicate, an expressed verb. But sometimes the author’s words are an incomplete sentence: And he: “I know that.”
1. During postposition using the 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. At the same time, in the author’s speech, as a rule, the reverse word order is observed:
“Today is Sunday!” - Nadezha Fedorovna remembered with pleasure.
And only when he whispered: “Mom, mom!” - he seemed to feel better...
In such cases, direct speech explains, reveals the content of the word in front of it with the meaning of speech and thought.
“This is completely stupid,” I thought. “You can’t think of anything more stupid.”
Direct speech is intended to accurately reproduce someone else's speech in form. Direct speech may include one or more sentences that differ in structure, intonation, modality, and 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 conveying the content of someone else’s speech.
Indirect speech - ϶ᴛᴏ ___________________________________________________________
_____________________________________________________________________________________
The structure of indirect speech is _____________________________________________________
_____________________________________________________________________________________
Father said he'll 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 part containing indirect speech refers to one word of the main part that needs to be expanded: these are verbs or nouns with the meaning of speech, thought ( speak, say, think, order, question, thought…).
Differences between indirect speech and direct speech:
1) ___________________________________________________________________________________
2) __________________________________________________________________________________
____________________________________________________________________________________
3) __________________________________________________________________________________
4) ___________________________________________________________________________________
_____________________________________________________________________________________
Rules for converting direct speech into indirect speech.
When replacing direct speech with indirect speech, their structural and semantic changes should be taken into account:
1. Conjunctions and allied words introducing 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.” ____________________________________________________
AS FELL AS, AS IF - when replacing a declarative sentence, but with a tinge of uncertainty, assumption.
Someone told him: “The general seems to be no longer alive.” ____________________________________
_____________________________________________________________________________________
SO – when replacing an incentive offer.
The guys shout: “Help us tie down the grass.” ___________________________________________
_____________________________________________________________________________________
LI (conjunction-particle) - when replacing a general interrogative sentence in which there are no special interrogative words - pronouns and adverbs).
They asked me: “Will you agree to come to the conference?” _______________________________
____________________________________________________________________________________
Interrogative-relative pronouns and adverbs will remain when replacing the interrogative sentence.
The messenger asked: “Where is the headquarters?” _________________________________
____________________________________________________________________________________
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 to whom the speech belongs. In this case, it is necessary to take into account whether the person named in indirect speech is a participant in the dialogue or not.
Petya told me: “ I'll take yours bookʼʼ - Petya told me that he'll take mine book.
Petya said: “Seryozha, I I'll take it yours 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, addresses, introductory modal words... Their meanings are sometimes only conveyed by other words, more or less close in meaning. In this case, we get an approximate, less emotional retelling of direct speech:
He leaned over to her and asked: “Dog, 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 it was from, if he had hurt it, asked not to be angry, and said that he was to blame.
Question 4. Improperly direct speech.
Improperly direct speech - ϶ᴛᴏ _________________________________________________
_____________________________________________________________________________________
Improperly direct speech combines the characteristics of direct and indirect speech.
Similarities with direct speech:
1) __________________________________________________________________________________
2) ___________________________________________________________________________________
__________________________________________________________________________________________________________________________________________________________________________
Similarities with indirect speech:
1) __________________________________________________________________________________
2) ___________________________________________________________________________________
_____________________________________________________________________________________
Friends visited the theater. They really liked this performance.- improperly direct speech.
Improper direct speech is a stylistic figure of expressive syntax. It is widely used in fiction as a method of bringing the author’s narrative closer to the speech of the characters. This method of conveying someone else’s speech allows one to preserve the natural intonations and nuances of direct speech and at the same time makes it possible not to distinguish this speech from the author’s narrative.
Question 5. Quotation and its forms.
Quote (Latin сito – I call, I bring) – ___________________________________________
_____________________________________________________________________________________
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 - strengthen what was said earlier, give it a particularly expressive character;
4) the quotation must be a source, a starting point for reasoning (for example, in literary or linguistic-stylistic analysis);
5) quotes can serve as illustrative material in linguistic research, incl. presented as examples of certain linguistic facts in dictionaries, grammars, etc.
Posted on ref.rf
scientific works.
By its structure the quotation must be one sentence (simple or complex), several sentences, part of a sentence, down to individual phrases and words.
Eg: But if the homeland is as Lermontov said about it in the poem “Farewell, Unwashed Russia,” then where does “strange love” come from, in defiance of consciousness, “in defiance of reason,”?
1. The quotation is framed as direct speech. In this case, it is a sentence consisting of two parts: the words of the author - a quote. But a quotation differs from direct speech in its special purpose and special precision in indicating the source of the quoted statement. In this case, punctuation marks are placed as in sentences with direct speech:
Belinsky wrote: “Nature creates man, but society develops and forms him.”
“Language,” A.P. pointed out. Chekhov, - should be simple and elegant.
If a sentence representing a quotation is not given in full, an ellipsis is placed 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 was 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 possess all the richness of Russian speech.”
3) the quotation is an unfinished sentence: N.V. Gogol admitted: “I still, no matter how hard I fight, cannot process my syllable and language... “
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 source of the quotation is given in a footnote or in a parenthesis after the quotation.
Comedy gives Chatsky “a million torments” (Goncharov).
The differences in the genres of literary artistic speech depend on the differences in the methods of depicting characters - lyrical, epic and dramatic. “In a literary work, the language of the people depicted in it is primarily motivated by the characters with which it is associated, the properties of which it individualizes ...” (L.I. Timofeev).
3. Quotations can be introduced into indirect speech. In this case, the quotation usually follows the explanatory conjunction and begins with a lowercase letter: M.V. Lomonosov wrote that “the beauty”, the splendor, strength and richness of the Russian language is evident from the books written in past centuries... “.
4. The quotation can be entered with special introductory words and sentences indicating the source quoted: According to V.A. Hoffman, “Khlebnikov’s linguistic position through and through is fundamentally archaistic”.
A special type of quotations (both in their function and in their place in the text) is epigraph . Epigraphs are placed before 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.
Topic for independent work:
BASICS OF MODERN RUSSIAN PUNCTUATION
PLAN
1. The concept of punctuation and the history of its study.
2. 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 placement of punctuation marks.
Literature:
1. Modern Russian language. At 3. Part 3. Syntax. Punctuation / V.V. Babaytseva, L.Yu. Maksimov. – 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 hours. Part 2 - M., 2001.
4. Modern Russian language / P.A. Lekant, E.I. Dibrova, L.L. Kasatkin et al.; edited by P.A. Lekanta. – M., 2007.
5. Shapiro A.B. Modern Russian language. Punctuation. – M., 1977.
6. Valgina N.S., Svetlysheva V.N. Spelling and punctuation. Directory. - M., 1993.
7. Rosenthal D.E. Handbook of punctuation: Dictionary-reference book. – M., 1997.
Question 1. The concept of punctuation and the history of its study.
Punctuation - This:
1) ________________________________________________________________________________
2) ________________________________________________________________________________
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Punctuation marks are used to indicate such a division of written speech, which should not be conveyed either by morphological means or by the order of words.
What an important cultural achievement the introduction and development of the system of punctuation marks was can be judged by comparing the design of ancient monuments with modern written texts. As you know, ancient Slavic texts did not have not only punctuation marks, but also no division into words. It is easy to imagine how difficult it was to perceive such texts.
The gradual introduction of division into words and the design of a punctuation system in Russian writing is associated with the second half of the 16th century - with the activities of the pioneer printer Ivan Fedorov and his associates, and in general with the development of book printing and school education. At the same time, a system of punctuation marks close to the modern one was formed only in the 18th century, but the 18th century is also characterized by not yet fully established punctuation norms, the confrontation of different normative tendencies, incomplete compared to the modern composition of punctuation marks (there was not yet, for example, a dash , dots, quotation marks).
The first attempts to understand punctuation in Rus' are associated with the names of Maxim the Greek, Lavrentiy Zizaniy, then Meletiy Smotritsky.
The theoretical development of the issue of punctuation was first presented in “Russian Grammar” by M.V. Lomonosov (1755 ᴦ., published in 1757 ᴦ.), who gave a list of punctuation marks (ʼʼlowercaseʼʼ characters) and outlined rules their use. Lomonosov formulated the basic principle of punctuation: the semantic side of speech and its structure (Lomonosov wrote: “Lowcase characters are placed according to the strength of the mind and according to its location and conjunctions.”). The meanings of punctuation marks defined in Lomonosov’s theory are sufficiently clear and differ little from the basic meanings of marks in modern punctuation, which indicates its stability.
N. Kurganov, A.A. Barsov, N.I. Grech expands the general rules proposed by Lomonosov, gives more detailed characteristics of the meanings of individual signs and the rules for their placement.
Further, the development of punctuation issues is related to the names of A.Kh. Vostokova, I.I. Davydov and, finally, Y.K. Grota. It is in Groth’s work “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. Grot saw the basis of punctuation in the logical division of speech, conveyed 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. Shcherby.
The basis of punctuation for Peshkovsky is the rhythmic and melodic side of speech; he believes that punctuation reflects not grammatical, but “declamatory-psychological division of speech.”
L.V. Shcherba also sees in “phrase intonation” the basis for arranging 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).
Subsequently, the development of issues in the theory of punctuation took the path of identifying not just any one principle, but a set of principles operating in the practice of printing. These principles are formal-grammatical, semantic and intonation.
Question 2. Principles of Russian punctuation: grammatical, semantic
and intonation, their hierarchy and interaction.
Stand out three basic principles of Russian punctuation: grammatical (N.S. Valgina – formal grammatical); semantic; intonation.
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 relationship between the SSC and the paragraph - concept and types. Classification and features of the category “Ratio of SSC and paragraph” 2017, 2018.
A paragraph and a complex syntactic whole are units of different levels of division, since the bases 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 touching, since both of them play a semantic-stylistic role. That is why a paragraph and a complex syntactic whole can, in their particular manifestations, coincide and correspond to each other. For example:
We climbed the embankment and looked down at the ground from its height. Fifty fathoms from us, where potholes, holes and heaps merged completely with the darkness of the night, a dim light blinked. Behind it, another light shone, followed by a third, then, retreating about a hundred paces, two red eyes shone next to each other - probably the windows of some barracks - and a long row of such lights, becoming thicker and dimmer, stretched along the line to the very horizon, then turned 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 dull song of the telegraph, something in common was felt. It seemed that some important secret was buried under the embankment, and only lights, night and wires knew about it... (Ch.);
The rain was light and warm throughout the summer. At first people were wary of it, stayed at home, and then normal life began in the rain, as if it had never happened. In this case, people acted like chickens, for there is an exact sign for predicting the duration of the rain: if during the rain the chickens hide in a shelter, it means the rain will soon stop. If chickens, as if nothing had happened, wander along the street, along the road, along green lawns, it means the rain has been falling for a long time, in all likelihood for several days (Sol.).
This coincidence, although not accidental, is by no means necessary. It is no coincidence, because the paragraph division of the text is subordinated primarily 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 emphasis, accent, and emotional-expressive function. In addition, paragraph division is more subjective than syntactic division.
This means that a paragraph can break up a single complex syntactic whole. This is especially true 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 part of a sentence, for example in official business literature: in the texts of laws, charters, diplomatic documents, etc.), and a complex syntactic whole - this is at least two sentences (usually more than two); in one paragraph there can be two or more complex syntactic wholes when individual micro-topics are connected with each other. For example:
1) a complex syntactic whole is broken by a paragraph:
You should stop, enter the hut, see the gloom of confused eyes - and again drive on in the noise of pine trees, in the trembling of autumn aspens, in the rustle of coarse sand pouring into the ruts.
And look at the flocks of birds that fly in the heavenly darkness 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:
The night was August, starry, but dark. Because before in my life I had never been in such an exceptional environment as I found myself in by chance now, this starry night seemed dull, inhospitable and darker to me 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 - this whole jumble, painted in the same color in the darkness, gave the land some kind of strange , a wild face reminiscent of times of chaos. There was so little order in everything that lay in front of me that among the hideously pitted, unlike anything else, it was somehow strange to see the silhouettes of people and slender telegraph poles, both of them spoiled the ensemble of the picture and seemed out of this world . // It was quiet, and we could only hear the telegraph humming its boring song above our heads, somewhere very high (Ch.).
Valgina N.S., Rosenthal D.E., Fomina M.I. Modern Russian language - M., 2002.
Our thoughts, expressions of will and feelings can be expressed monologically (from the Greek monologos - from monos - “one” and logos - “speech”) or dialogically (from the Greek dialogоs from dia - “two” and logos - “speech” ) form.
Speech has a monologue 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 during the speech; its addressee (listening, reading) is, as it were, distant: he is not a participant in the speech, but only its receiver.
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 successively turns out to be either a speaker or a listener (addresser and addressee); at the same time, the statements of one are closely related in meaning and form to the statements of the other and turn out to be interdependent
Monologue speech is usually speech prepared in advance, hence its properties such as logical dissection and consistency in presentation; special on the 6op most suitable lexical material and grammatical forms in this case for expressing the necessary content, i.e. special motivation, focus; finally, comparative independence from the speech situation, completeness of linguistic expression. The main area of use of monologue speech is the written variety of literary language (various documents, scientific research, articles, letters, etc.). However, 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, the absence of a pre-thought-out organization, connection with the situation, the participation of facial expressions, gestures, relative freedom in choosing the means of logical formulation of speech, etc.
In the language of fiction there is usually both a monologue form (the speech of the author or a conventional narrator) and a dialogic one. Dramatic works take the form of dialogue (sometimes interspersed with monologue speech: the hero’s speech to the audience - to the side - or to himself). However, in any case, both monologue and dialogic forms of speech in fiction perform a special, aesthetic function: the writer organizes both monologue and dialogue, based on the main task of the work of art - the aesthetic impact on the reader
In both monologue and dialogic speech, specific forms of combining sentences can be distinguished for each of them. This is a complex syntactic whole in monologue speech, and dialogical unity in dialogical speech.
The identification of a unit called a complex syntactic whole (supra-phrase unity) involves taking into account not only the volume, but also the structure and content of the text, therefore a complex syntactic whole can be considered a special structural and semantic component.
The main structural-semantic unit of text division does not have an unambiguous terminological definition in science (complex syntactic whole (CCW), superphrasal unity, interphrase unity, text component, communicative block, prose stanza, syntactic complex, microtext). The term complex syntactic whole is more often used.
SSC is a complex structural unity (semantic, thematic block), consisting of more than one sentence, possessing semantic integrity in the context of coherent speech. Each superphrasal unity contains a microtheme.
Unlike a paragraph, the SSC does not have a specific quantitative characteristic; its boundaries are not marked graphically, which causes difficulties in identifying this unit of division. The transition from one smallest theme (microtheme) to another reveals the boundary of interphrase communication.
One of the ways to check the volume of the STS follows from the position that parts of a superphrasal unity are easily combined into a complex sentence if other punctuation marks are placed in place of the dots (a paragraph does not lend itself to such an experiment, unless, of course, it coincides with the STS).
In the structure of the SSC, the first phrase plays a big role - the beginning. It is this that sets the thematic and structural perspective of unity. This phrase is self-sufficient in terms of content; it seems to absorb all the other statements of the SSC. Often it contains keywords that include the entire content of the sequentially listed components of superphrasal unity.
Each opening phrase is a new micro-theme. If you sequentially combine all the initial phrases of the STS (that is, all the micro-themes) of one text, you will get a condensed story without details and explanations. This experiment demonstrates the role of the starting phrase in the process of text formation. The connection of sentences within a complex syntactic whole is carried out primarily by intonation.
The onset of SSC involves a greater increase in tone and some change in the timbre of the voice. The decrease in tone at the end of the sphere-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 (primarily the nature of a conjunction or non-conjunction, the presence of adverbial determinants that relate directly to a number of sentences of one STS, parallelism in the structure of sentences, introductory words, type-temporal unity).
The boundaries of the SSC may 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 the logical-semantic principle.
Golovkina S.Kh., Smolnikov S.N.
Linguistic text analysis - Vologda, 2006.
