Stylistic use in speech. A paragraph and a complex syntactic whole period and its structure dialogic unity

Considering the STS as a generally accepted unit of division of the text, it is worth remembering structural element, which immediately stands out visually in the text, is about a paragraph. The relationship between FCV and paragraph in different texts is ambiguous: sometimes the FCV is equal to a paragraph, sometimes the FCV consists of two or more paragraphs, and sometimes the FCV is part of a paragraph. To understand the reason for this, it is necessary to establish what the difference between these two units of text is based on.

The clearest and most common option is the coincidence of the FSC and the paragraph within their boundaries, which J. Findra (1979: 208) calls unsigned (objective) articulation. This means that there is a correspondence between the FCS and the paragraph, that is, the paragraph, like the FCS, is distinguished by thematic feature. In this case, paragraph division reflects the logic of internal relations between meaningful elements of the text. Unrecognized division, as a rule, characterizes scientific, official and business texts, where objectivity and logical presentation are required. In those journalistic and artistic texts, where the author's division is also made on the basis of the topic, paragraphs are units of perception of the finished text. Their volume, structure and functions are adapted to the analytical capabilities of the reader, and division is made either on the basis of a continuum, or on the basis of a change in characters, or due to a change in the functional-semantic type of speech, as in the text 4 below (the narrative is replaced by a description).

WHITE DOVE OF CORDOVA
Sinking into an armchair, Kordovin slowly took out his glasses from the breast pocket of his jacket, silently put them on and began to look at the canvas - from a distance.
The painting was a landscape. In the foreground is a bush, behind it one can see a gray country fence and a small section of the path along which a woman, vague at dusk, walks. In the background - the red roof of the house and a bunch of trees ...

in art and journalistic texts, where the aesthetic side and the subjective author's vision are emphasized, the boundaries of the paragraph and the FCS often do not coincide. In such texts, the external division of the text conflicts with the internal division, that is, the paragraph turns from a formal means into a functional one, becomes an important element of the compositional structure of the work (ibid.: 209). Thus, texts 5 and 6 provide striking examples of sign division.

Andrey Bely
BEGINNING OF THE CENTURY
who didn't know social status Batyushkov could not imagine that this elated man, crying out with delight, was going through the experience of poverty, labor and secretly shed tears: smooth, small, inwardly clean, outwardly shabby, he had the appearance of rolling in a sledge ... on oil.
With this, he struck the imagination - of his mother, father, us.

Andrey Bely
BEGINNING OF THE CENTURY
A mixture of red-haired Thor, who left the hairdresser Pashkov, where he cut his hair [K. Balmont. -N. Sh.], to become a Mephistopheles, smelling of a fixer, with a hidalgo who squandered his estates, even a limping intellectual, licking an ancient romance with a pick of his teeth: “For a flower ... - I don’t remember - I gave all three reals so that the beauty would kiss me for the flower.”
Lob is smart.

In the above fragments, short sentences, rendered in a separate paragraph, demonstrate the modus aspect when dividing the text, when the connotation of the sentence selected in a separate paragraph is, in relation to the previous content, a kind of psychological "stroke" - the bearer of the main meaning.

This articulation resembles the intonational design of speech, when it is important to convey the inner feeling of the speaker. This is precisely what such an “illogical” segmentation of the text is aimed at, carried out exclusively at the will of the author, which allowed some linguists to generally doubt the existence of a paragraph as a structural unit of the text: “... a paragraph as a special semantic or syntactic unit does not exist. Any sentence, any word, any STS can be highlighted in a paragraph. Highlighting paragraphs is a way of semantic-stylistic highlighting of sentences... with the aim of emphasizing them semantically...” (Loseva 1980: 85). Not everyone shares this opinion, pointing out that “the boundaries of a paragraph and a superphrasal unity do not have to coincide at all. They coincide in those cases when the subjective attitude of the author to the content of the text he creates corresponds to the objective division of the text into separate micro-themes, when his intention is to highlight, emphasize one or another detail or, conversely, combine two or more statements into one bundle, each of which has a certain unity” (Referovskaya 1983: 84). The above arguments emphasize main feature paragraph - the conditionality of the author's intention, while the division into STS is subject to the objective semantic fragmentation of the text, which is least dependent on the author's will, which can be illustrated by text 7.

7. Read the following fragment of the story and highlight the FSC in it. Compare your division into paragraphs with the proposed one.

SUNSTROKE
The market has already left. For some reason he looked like fresh manure among the carts, among the carts with cucumbers, among the new bowls and pots, and the women sitting on the ground vied with each other calling him, took the pots in their hands and knocked, rang their fingers at them, showing their quality factor, the peasants deafened him, shouted to him: “Here first-class cucumbers, your honor!” All this is so stupid, absurd that he fled from the market. // He went to the cathedral, where they were already singing loudly, cheerfully and resolutely, with the realization of a duty fulfilled, then he walked for a long time, circling around a small, hot and neglected garden on a mountain cliff, above the boundless light-steel expanse of the river ... Shoulder straps and buttons of his tunic so hot that they could not be touched. The band of the cap was wet with sweat inside, his face was on fire ... / Returning to the hotel, he entered with pleasure into the large and empty cool dining room on the lower floor, took off his cap with pleasure and sat down at a table near open window, which carried with heat, but still breathed with air, ordered botvinia with ice ...

Text 7 is a paragraph that consists of three micro-topics - STS. Combining them into one paragraph is explained by the common emotional state hero after parting with a woman and his perception of what is happening.

The given examples give grounds for the conclusion that there is a set various ways the implementation of the connection of components within the text, which is determined, first of all, by the presentation of situations that make up the general content, and also, to a large extent, by the author's position. It is important for a linguist to know possible options manifestations of textual coherence and understand the reasons for the dominance of one or another means of communication, depending on the quality of the narration (narrative or associative). To do this, attempts are made to find the most adequate grounds for classifying and generalizing the means of connection, which acts as a text-forming category.

Note that, along with the formal organization of the text, there is an opinion about the existence of methods for its actual construction. These are not random violations, but adherence to regular deformations of the formal structure, made “according to certain models and on the basis of certain means of expression” (Fateeva 2010: 10). One of these means of expression, apparently, should be considered paragraph articulation.

Lecture plan

1. The concept of a complex syntactic whole.

2. Means of interphrase communication between sentences in a complex syntactic whole:

proper lexical;

· lexico-grammatical;

grammatical.

3. Structural types of complex syntactic integers: based on a chain connection; on a parallel connection; on connection; mixed type.

4. Functional-semantic types of complex syntactic integers: narrative, descriptive: type of reasoning; mixed.

5. Paragraph and complex syntactic whole.

Basic concepts

Complex syntactic integer- this is a semantic and structural-intonation association of several independent sentences, characterized by the relative completeness of the topic (micro-theme).

Formal means of communication independent sentences in STS: intonation, the unity of the aspectual-temporal forms of verbs-predicates; use of 3rd person pronouns, demonstratives, possessive pronouns; use of synonyms lexical repetitions; the use of connecting structures; the same word order, structural parallelism in the construction of independent sentences; the use of various circumstances - words and sentences related in meaning to all sentences of the STS.

“Chain connection consists in the structural linking of sentences. Continuous movement, the development of thought from one sentence to another, is usually carried out in the repetition of the word accented in the previous sentence (member of the sentence) and its deployment in the next one. The connection of any complete sentences is impossible (with a consistent movement of thought) without repetition, the development of any member of the previous sentence ”(G. Ya. Solganik. Syntactic style. - M., 1973. - P. 58 - 59).

The parallel connection lies in the fact that the sentences are independently formed without a lexical and grammatical connection with the previous sentences. “Such proposals are built on the principle of structural parallelism. Proposals are not linked to each other, but are compared; at the same time, due to the parallelism of constructions, depending on the lexical “content”, comparison or opposition is possible ”(G. Ya. Solganik. Syntactic style. - M., 1973. - P. 132).

Anaphoric construction of the SCS- lies in the fact that structural parallelism is enhanced by the repetition of a word at the beginning of sentences.

Epiphoric construction of the SCS lies in the fact that parallelism is enhanced by the repetition of words and expressions at the end of sentences.

Connecting connection based on the use connecting structures, sequentially adjacent to the beginning of the SCS.

Narrative STS- this is a type that tells about successive events, phenomena related to the past.

Descriptive STS are characterized by the unity of aspectual-temporal forms of predicates, syntactic parallelism and a certain area of use - descriptive contexts of speech.

STS type of reasoning include elements of all types of syntactic links between sentences; they contain the author's generalization, evaluation of events and phenomena.

Paragraph And complex syntactic integer– categories of different language levels: SSC is a semantic-syntactic category, paragraph- a unit of compositional articulation of speech, i.e. a means of highlighting "meaningful and compositionally significant segments of speech."

Practical task № 12

Topic for discussion: Complex syntactic integer. Paragraph.

Target: Mastering the skills of analyzing a complex syntactic whole as a semantic-syntactic category.

Exam: Economics and Law

42. Paragraph (A) and complex syntactic whole (STS). Period and its structure. dialogic unity.

The boundaries of A and SCS, although they coincide, are not the same. A. is 1) a red line or an indent at the beginning of a line equal to 3 characters, 2) a segment of written speech from the 1st red line to the next. Signs of A. as a segment of speech: 1) A. is not a structural-semantic, but a stylistic-compositional unit, 2) A. highlights the most important groups of sentences or individual sentences in the text in order to: a) describe new stage in the development of the action, b) give a characterization of the new hero, c) make the author's digression, 3) the division of the text into paragraphs is associated with the musical features of the text, with the individual author's manner of ordering and presentation inf-ii, 4) dividing the text into A-s can serve as a means of influencing the reader's worst imagination and his emotions, and in many cases is a creative process.

A. and STS - "units different levels, but they can intersect, functionally touch, because they play a semantic-stylistic role. In this regard, they can coincide (this happens often). Such A-s are stylistically neutral. The boundaries of A. and SCS can not coincide. A-s can consist of 2-3 SCS. A. m. also consist of the 1st sentence, the entrance to the SSC, that is, A. m. break the SSC. In these cases, A.'s stylist's role will be different. A. from one sentence express the expression of selection, give events close-up, acting as a kind of headline following it STS, i.e. A in this case is the beginning (micro-theme) of the STS. One suggestion is to stand out in the department. A. and in those cases when it is the ending of the STS and plays the role of a kind of generalization. When A. consists of 2-3 STS, it serves to combine different events in one picture. In this case, several micro-topics form one common big topic, which is shown in one paragraph. Winter was warm. Beyond Revel, the sea was ice-free. Shchedrin looked for a long time from the deck of the transport at the shores shrouded in dusk. There, in Reval, his mother remained. She came from Petrograd to see off her son and stayed at an inexpensive hotel. Here A. includes 2 STS. One with a parallel connection (the first two sentences), the other with a chain connection (the last three sentences). The division of the text into A. is "an important style-forming factor. Thus, large A-s are more characteristic of an epicly calm narrative. A-s - sentences are more characteristic of a dynamic, tense narrative. Much depends on genre features produced by and from the individual style of the author. Role A in various styles different (in public style).

Period (P) and its structure

Distribution in the language of thin. literature and in public. P (Greek "circle") - special form organization of speech. P - most often various complex sentences with homogeneous, subordinate or independent sentences. In addition to complex, there are simple sentences built in the form of a period (to be chosen, to serve eternal truth, to give everything to the idea: youth, strength, health, to be ready to die for the common good - what a lofty, what a happy destiny!). P is characterized by the following signs: 1) a clear, rhythmic-intonational and semantic division of the entire sentence into 2 parts. 1st is pronounced with an increase in tone and an acceleration of the tempo, 2nd - after a deep pause - with a decrease in tone and a slowdown in tempo, 2) the 1st part usually depends on the 2nd (submits to it), is larger in volume, and most often is divided into parts of the same type ( members of P), 3) usually the members of P are built symmetrically, they are prepositions or turns of the 1st structure, with the 1st word order, with predicates of the same type in form. Monogamy (anaphora) is widely used (I will sink to the bottom of the sea, I will fly beyond the clouds, I will give you everything, everything earthly - Love me). P at the junction of parts is usually divided by a dash, zpt + dash, zpt. Any preposition is constructed in the form of P m b. "P - especially solemn, expresses excitement, emotion, elation, is widely used in poetry, in poetic prose, oratorical, journalistic styles. Form P corresponds to its content in verse - NII "When the yellowing field is agitated."

Dialogue unit (DE)

DE is a combination of replica-sentences into one structural and semantic whole, according to the patterns, to which dialogic speech is built. DE - the largest structural-but-semantic. unit of dialogue speech, consists of 2, less often 3-4 sentences - replicas, closely connected. m / in itself in meaning and structure, while the content and form of the 1st replica determines the form and content of the 2nd. It turns out that only in a combination of replicas is the necessary completeness of this part of the dialogue found for understanding:

What is your name?

My name is Leonty Petrovich.

According to their meaning and formal features, including intonation, DEs are divided into a number of types: 1) question-answer unity (most distribution), 2) unity, in which the 2nd repl continues the unfinished 1st, connection meaning with her:

Tatyana: He is beautifully dressed...

Black grouse: And cheerful.

3) unity with relations of disagreement / agreement m / y replicas:

You, Yegor, this does not concern.

No, it does.

4) unit with the relation of the statement and one or another of its qualifications:

Their tower is like a fortress.

Such a simple building.

Not all successive repls have these features. There are replicas that appear to be complete in terms of the meaning of the sentence, and they are, as it were, not connected m / with themselves:

Comrade Maksudov? the blond asked.

I'm looking for you all over the theater, - a new acquaintance spoke up. - Let me introduce myself: Director Foma Strizh.

Answered by: Maxim Berezhnov

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The period is not only a structural-syntactic phenomenon, but also a compositional-stylistic one. It is characterized by emotional richness, lyrical or journalistic orientation, harmony, musicality - the qualities of an upbeat, musical speech. Period sentences form periodic speech (as opposed to jerky). This type of speech is characterized by smoothness, musicality, completeness of expression of thought, and complex argumentation. P. is common in literary processed speech: in artistic prose, poetry, journalism, and oratory.

Complex syntactic whole as a language unit. Compositional-semantic structure of STS. Paragraph and STS.

Complex syntactic whole as a language unit.

STS - a group of sentences, united in meaning and grammatically, and expressing a more or less complete thought. It is a syntactic unit larger than a sentence. This is a language unit, like a word and a sentence, but more complex in structure.

From complex sentence(including polynomial) a complex syntactic whole is distinguished by a less close connection between the parts, their formal syntactic independence.

IN scientific literature this unit is called differently: superphrasal unity (SFU), text component, prose stanza.

The beginning of a complex syntactic whole- the first (usually) phrase structurally organizing the SCS, self-sufficient in semantic relation, which defines the SCS micro-theme.

Compositional-semantic structure of STS.

1) The beginning of STS is the beginning of thought.

2) The middle part is the development of a thought-micro-theme.

3) Ending - summing up the development of the micro-theme

The main means of connecting sentences in STS is structural and semantic correlation, it is also important to take into account the unity of tense forms of predicates in STS.

Can be:

Homogeneous composition. Parallel connection between sentences. Sentences are autosemantic, i.e. are significant in themselves, independently formed without lexical and grammatical connection with the preceding sentences.
heterogeneous composition. Chain (serial) communication. Sentences are synsemantic, (closely fused sentences, which, being isolated, lose the ability to be used independently, since they have lexico-grammatical indicators of connection with previous sentences).

Thematic progression– an abstract model of the development of the topic, which underlies the construction of the SCS / text (linear, constant, derivative, with splitting of the topic, fan, parallel, thematic jump).

Paragraph and STS.

1) Indent at the beginning of the line, red line.

2) 2 piece of text between two such indents

Syntax subject - 2nd value

The division of the test into paragraphs is associated with the functional and stylistic features of the text, as well as with the individual author's style.

Paragraph is the part of the text between two indents, or red lines. 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), but these units are intersecting, functionally contiguous, since both of them play a semantic-stylistic role. That is why a paragraph and a complex syntactic whole can coincide in their particular manifestations, correspond to each other. Such a coincidence is not accidental, but not necessarily!

· As a punctuation mark - indent at the beginning of the line; and a piece of text between two such indents

How the subject of syntax can consist of 1 sentence, of 1 STS, include several STSs

The main reasons forcing the writer to use paragraph articulation are as follows:
1) novelty of information, new micro-topic;
2) the importance of the information within the given text;
3) emotional highlighting of a detail;
4) the impossibility of further presentation of information without violating the meaning and consistency (as a result of the linear incompatibility of phrases).

General information

Paragraph

A paragraph is a piece of text between two indents, or red lines. A paragraph differs from a complex syntactic whole in that it is not a syntactic level unit. A paragraph is a means of dividing a coherent text based on a compositional-stylistic one.

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 one.

For A.M. Peshkovsky, for example, a paragraph is an intonational-syntactic unit. L.M. Loseva considers the paragraph a semantic-stylistic category), we find the same in M.P. Senkevich. For A.G. Rudnev is a syntactic unit. The latter seems absolutely unacceptable.

The functions of a paragraph in dialogic and monologue speech are different: in a dialogue, a paragraph serves to distinguish between replicas 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 and semantic, and emotionally 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 peculiarity of text design. In particular, the average length of paragraphs often depends on the style of writing.

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), but these units are intersecting, functionally contiguous, since both of them play a semantic-stylistic role. That is why a paragraph and a complex syntactic whole can coincide in their particular manifestations, correspond to each other. For example: We climbed the embankment and looked at the ground from its height. Fifty sazhens from us, where potholes, pits and heaps merged seamlessly with the darkness of the night, a dim light flickered. Behind him shone another light, behind this a third, then, receding a hundred paces, two red eyes shone side by side - probably the windows of some barracks - and a long row of such lights, becoming thicker and dimmer, stretched along a line to the very horizon, then turned left in a semicircle and disappeared into the distant mist. The lights were still. In them, in the silence of the night and in the dull song of the telegraph, something was felt in common. It seemed like some important secret was buried under an embankment, and only lights, night and wires knew about it ... (Ch.); Rain throughout the summer was medium-sized and warm. At first, people were wary of him, they stayed at home, and then the normal life in the rain, as if it were not there. People in this case acted like chickens, because there is exact omen predicting the duration of the rain: if during the rain the chickens hide in a shelter, then the rain will soon stop. If chickens, as if nothing had happened, roam the street, along the road, along the green lawns, it means that the rain has charged for a long time, in all likelihood for several days (Sol.).

Such a 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, has its own formal indicators of unity individual components also acquires on the basis of their semantic solidarity. But this coincidence is not necessary because the paragraph compositionally organizes the text, it performs not only a logical and semantic function, but also a highlighting, accentuating, emotionally expressive one. In addition, paragraph division is more subjective than syntactic.

This means that a paragraph can break a single complex syntactic whole. This is especially characteristic of literary texts, in contrast to scientific ones, where there are much more coincidences between a complex syntactic whole and a paragraph, since they are entirely focused on the logical organization of speech.

The boundaries of a paragraph and a complex syntactic whole may not coincide: a paragraph can contain one sentence (and even part of a sentence, for example, in official business literature: in the texts of laws, charters, diplomatic documents, etc.), and a complex syntactic whole - these are at least two sentences (more often - more than two); in one paragraph there can be two or more complex syntactic integers, when separate micro-topics are connected with each other. For example:

1) a complex syntactic whole is broken by a paragraph:

It would be necessary to stop, enter the hut, see the twilight of embarrassed eyes - and again go further in the noise of pines, in the trembling of autumn aspens, in the rustle of coarse sand pouring into a rut. And look at the flocks of birds that are pulled in the sky over Polissya to the dark south. And it is sweet to yearn for the feeling of one's complete kinship, one's closeness to this dense land (Paust.);

2) in one paragraph - three complex syntactic integers:

It was an August night, starry but dark. Because I had never before in my life been in such an exceptional situation as I happened to be in now, this starry night seemed to me deaf, unfriendly and darker than it really was. // I was on the line railway which is still under construction. A high, half-finished embankment, heaps of sand, clay and rubble, barracks, pits, wheelbarrows scattered here and there, flat elevations above the dugouts in which the workers lived - all this jumble, painted in darkness in one color, gave the earth some strange , a wild face, reminiscent of times of chaos. In everything that lay before me there was so little order that among the ugly pitted similar land it was somehow strange to see the silhouettes of people and slender telegraph poles, both of which spoiled the ensemble of the picture and seemed not of this world. // It was quiet, and only one could hear, as above our heads, somewhere very high, the telegraph buzzed its boring song (Ch.).

Stylistic use in speech. A paragraph and a complex syntactic whole period and its structure dialogic unity

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