What is a literary language definition. Literary language is not used. Forms of current control
“ A vast magnificence is right in front of you, the Russian language! The delight calls you, the delight will be delving into the entire immensity of the Russian language and it will capture miraculous laws of Russian”, said Nikolay Vasilyevich Gogol (1809-1852), whose Undercoat is where we all come from.
The standard well-known form of Russian is generally called the Contemporary Russian Literary Language(Modern Russian literary language). It arose in the beginning of the XVIII century with the modernization reforms of the Russian state by Peter the Great. It developed from the Moscow (Middle or Central Russian) dialect substratum under some influence of the Russian chancellery language of the previous centuries. It was Mikhail Lomonosov who first compiled a normalizing grammar book in 1755. In 1789 the first explanatory dictionary of Russian by the Russian Academy was initiated. During the end of the XVIII and XIX centuries Russian went through the stage (known as "The Golden Age") of stabilization and standardization of its grammar, vocabulary and pronunciation, and of the flourishing of its world-famous literature, and became the nationwide literary language. Also until the XX century its spoken form was the language only of the upper noble classes and urban population, Russian peasants from the countryside continued speaking in their own dialects. By the middle of the XX century Standard Russian finally forced out its dialects with the compulsory education system, established by the Soviet government, and mass-media (radio and TV).
"What is language? First of all, it is not only a way to express your thoughtsbut also create your thoughts. Language has the opposite effect. Personwho turns his thoughts, your ideas, their feelings in the language ... it is also, as it were, permeated with this way of expression ".
- A. H. Tolstoy.
Modern Russian is the national language of the Russian people, a form of Russian national culture. It is a historically established linguistic community and unites the entire set of linguistic means of the Russian people, including all Russian dialects and dialects, as well as various jargons. The highest form of the national Russian language is the Russian literary language, which has a number of features that distinguish it from other forms of language existence: processing, normalization, the breadth of social functioning, universal obligation for all members of the team, a variety of speech styles used in various areas of communication.
Russian language is included in the group Slavic languages that form a separate branch in the Indo-European family of languages and are divided into three subgroups: eastern(Russian, Ukrainian, Belarusian); western(Polish, Czech, Slovak, Lusatian); southern(Bulgarian, Macedonian, Serbo-Croatian [Croatian-Serbian], Slovenian).
is the language of fiction, science, press, radio, television, theater, school, state acts. Its most important feature is normalization, which means that the composition of the dictionary of the literary language is strictly selected from the general treasury of the national language; the meaning and use of words, pronunciation, spelling, and the formation of grammatical forms follow a generally accepted pattern.
Russian literary language has two forms − oral and written, which are characterized by features both from the side of the lexical composition and from the side of the grammatical structure, since they are designed for different types of perception - auditory and visual. The written literary language differs from the oral one in the greater complexity of syntax, the predominance of abstract vocabulary, as well as terminological vocabulary, mainly international in its use.
The Russian language performs three functions:
1) the national Russian language;
2) one of the languages of interethnic communication of the peoples of Russia;
3) one of the most important world languages.
The course of the modern Russian language includes a number of sections:
■ Vocabulary and phraseology study the vocabulary and phraseological (stable phrases) composition of the Russian language.
■ Phonetics describes the sound composition of the modern Russian literary language and the main sound processes occurring in the language.
■ Graphics introduces the composition of the Russian alphabet, the relationship between sounds and letters.
■ Spelling defines the rules for the use of alphabetic characters in the written transmission of speech.
■ Orthoepy studies the norms of modern Russian literary pronunciation.
■ word formation explores the morphemic composition of words and the main types of their formation.
■ Grammar - a section of linguistics containing the doctrine of the forms of inflection, the structure of words, types of phrases and types of sentences. Includes two parts: morphology and syntax.
■ Morphology - the doctrine of the structure of the word, forms of inflection, ways of expressing grammatical meanings, as well as the main lexical and grammatical categories of words (parts of speech).
■ Syntax - The study of phrases and sentences.
■ Punctuation - a set of rules for punctuation marks
The Russian language is the subject of a number of linguistic disciplines that study its current state and history, territorial and social dialects, and vernacular.
This definition requires clarification of the following terms: national language, national Russian language, literary language, modern Russian literary language.
Combination Russian language first of all, it is closely connected with the most general concept of the national Russian language.
National language- a socio-historical category denoting the language, which is the means of communication of the nation.
The national Russian language, therefore, is the means of communication of the Russian nation.
Russian national language is a complex phenomenon. It includes the following varieties: literary language, territorial and social dialects, semi-dialects, vernacular, jargons.
Among the varieties of the national Russian language, the literary language plays a leading role. Being the highest form of the national Russian language, the literary language has a number of features.
Unlike territorial dialects, it is supra-territorial and exists in two forms - written (bookish) and oral (colloquial).
Literary language is a national language, processed by masters of the word. It is a normative subsystem of the national Russian language.
H ormativity is one of the most important features of the literary language .
Language norm(literary norm) - the rules of pronunciation, word usage, use of grammatical and stylistic language means selected and fixed in the process of public communication. Thus, the language norm is a system of particular norms (orthoepic, lexical, grammatical, etc.), which are perceived by native speakers not only as mandatory, but also as correct, exemplary. These norms are objectively fixed in the language system and are implemented in speech: the speaker and the writer must follow them.
The language norm provides stability (stability) and traditional means of linguistic expression and allows the literary language to most successfully perform the communicative function. Therefore, the literary norm is consciously cultivated and supported by society and the state (codified). The codification of a language norm involves its ordering, bringing it into unity, into a system, into a set of rules that are fixed in certain dictionaries, language guides, and textbooks.
Despite the stability and traditional character, the literary norm is historically changeable and mobile. The main reason for the change in the literary norm is the development of the language, the presence in it of various variants (orthoepic, nominative, grammatical), which often compete. Therefore, over time, some of the options may become obsolete. So, the norms of the old Moscow pronunciation of unstressed endings of verbs of the II conjugation in the 3rd person plural can be considered obsolete: dy[jester] , ho[d‘ut] . Wed modern Novomoskovsk pronunciation ho[d‘int], dy[shut] .
The Russian literary language is multifunctional. It serves various spheres of social activity: science, politics, law, art, the sphere of everyday, informal communication, therefore it is stylistically heterogeneous.
Depending on what sphere of social activity it serves, the literary language is divided into the following functional styles: scientific, journalistic, official business, style of artistic speech, which have a predominantly written form of existence and are called bookish, and colloquial style, which is used mainly in oral form. . In each of the listed styles, the literary language performs its function and has a specific set of language tools, both neutral and stylistically colored.
In this way, literary language- the highest form of the national language, characterized by supra-territoriality, processing, stability, normativity, mandatory for all native speakers, multifunctionality and stylistic differentiation. It exists in two forms - oral and written.
Since the subject of the course is the modern Russian literary language, it is necessary to define the term modern. Term modern Russian literary language is usually used in two meanings: broad - the language from Pushkin to the present day - and narrow - the language of recent decades.
Along with these definitions of this concept, there are other points of view. Thus, V.V. Vinogradov believed that the system of the "language of the new time" was formed in the 90s of the 19th - early 20th centuries, i.e. the conditional boundary of the concept of "modern" considered the language from A.M. Gorky to the present day. Yu.A. Belchikov, K.S. Gorbachevich as the lower boundary of the modern Russian language, the period from the late 30s - early 40s is noted. XX century, i.e. considered "modern" language since the late 30-40s. XX century to the present day. Analysis of the changes taking place in the system of literary norms, lexical and phraseological composition, partly in the grammatical structure of the literary language, its stylistic structure in the 20th century, allows some researchers to narrow the chronological scope of this concept and consider the language of the middle and second half of the 20th century to be “modern”. (M. V. Panov).
It seems to us that the most reasonable point of view of those linguists who, when defining the concept of “modern”, note that “the language system does not change at once in all its links, its basis is preserved for a long time”, therefore, by “modern” we mean a language from the beginning of the XX century. v. to the present day.
The Russian language, like any national language, has developed historically. Its history spans centuries. The Russian language goes back to the Indo-European parent language. This single language source fell apart already in the 3rd millennium BC. The ancient homeland of the Slavs is called the land between the Oder and the Dnieper.
It is customary to call the northern border of the Slavic lands Pripyat, beyond which the lands inhabited by the Baltic peoples began. In the southeast direction, the Slavic lands reached the Volga and joined the Black Sea region.
Until the 7th century the Old Russian language - the predecessor of modern Russian, Ukrainian and Belarusian languages - was the language of the Old Russian people, the language of Kievan Rus. In the XIV century. the division of the East Slavic group of dialects into three independent languages \u200b\u200b(Russian, Ukrainian and Belarusian) is planned, therefore, the history of the Russian language begins. Feudal principalities rallied around Moscow, the Russian state was formed, and with it the Russian nation and the Russian national language were formed.
Based on historical facts in the development of the Russian language , usually there are three periods :
1) VIII-XIV centuries. - Old Russian language;
2) XIV-XVII centuries. - the language of the Great Russian people;
3) XVII century. - the language of the Russian nation.
Big Academic Dictionary describes modern Russian literary language. What is literary language?
Each national language develops its exemplary form of existence. What is it characterized by?
Literary language has:
1) developed writing;
2) the generally accepted norm, that is, the rules for the use of all linguistic elements;
3) stylistic differentiation of a linguistic expression, that is, the most typical and appropriate linguistic expression, determined by the situation and the content of speech (publicistic speech, business, official or casual speech, a work of art);
4) the interaction and interconnection of the two types of existence of the literary language - bookish and colloquial, both in written and oral forms (article and lecture, scientific discussion and dialogue of friends who met, etc.).
The most essential feature of the literary language is its general acceptance and therefore general intelligibility. The development of the literary language is determined by the development of the culture of the people.
Formation of the modern Russian literary language . The earliest period of the Old Russian literary language (XI-XIV centuries) is determined by the history of Kievan Rus and its culture. How is this time marked in the history of the Old Russian literary language?
In the XI-XII centuries. Fiction, journalistic and narrative-historical literature is being formed. The previous period (from the 8th century) created the necessary conditions for this, when the Slavic enlighteners - the brothers Cyril (about 827-869) and Methodius (about 815-885) compiled the first Slavic alphabet.
The Old Russian literary language developed on the basis of the spoken language due to the existence of two powerful sources:
1) Old Russian oral poetry, which turned the spoken language into a processed poetic language (“The Tale of Igor's Campaign”);
2) the Old Church Slavonic language, which came to Kievan Rus along with church literature (hence the second name - Church Slavonic).
Old Church Slavonic enriched the emerging literary Old Russian language. There was an interaction of two Slavic languages (Old Russian and Old Slavonic).
Since the 14th century, when the Great Russian nationality stands out and its own history of the Russian language begins, the literary language develops on the basis of the Moscow Koine, continuing the traditions of the language that developed at the time of Kievan Rus. In the Moscow period, there is a clear convergence of the literary language with colloquial speech, which is most fully manifested in business texts. This rapprochement intensified in the 17th century. In the literary language of that time, on the one hand, there is considerable diversity (folk-colloquial, bookish-archaic and elements borrowed from other languages are used), and on the other hand, there is a desire to streamline this linguistic diversity, that is, to language normalization.
One of the first normalizers of the Russian language should be called Antioch Dmitrievich Kantemir (1708-1744) and Vasily Kirillovich Trediakovsky (1703-1768). Prince Antioch Dmitrievich Kantemir is one of the most prominent educators of the early 18th century, he is the author of epigrams, fables, poetic creations (satire, the poem "Petrida"). Peru Cantemir owns numerous translations of books on various issues of history, literature, philosophy.
Artistic and creative activity of A.D. Cantemira contributed to the ordering of word usage, enrichment of the literary language with words and expressions of folk colloquial speech. Kantemir spoke about the need to free the Russian language from unnecessary words of foreign origin and from archaic elements of Slavic writing.
Vasily Kirillovich Trediakovsky (1703-1768) - the author of a large number of works on philology, literature, history. He tried to solve the cardinal problem of his time: the rationing of the literary language (the speech “On the purity of the Russian language”, delivered on March 14, 1735). Trediakovsky renounces church-bookish expressions, he seeks to lay the foundations of a literary language on the basis of folk speech.
In the 18th century, the Russian language was updated and enriched at the expense of Western European languages: Polish, French, Dutch, Italian, German. This was especially evident in the formation of the literary language, its terminology: philosophical, scientific-political, legal, technical. However, excessive enthusiasm for foreign words did not contribute to the clarity and accuracy of the expression of thought.
M.V. Lomonosov played a significant role in the development of Russian terminology. As a scientist, he was forced to create scientific and technical terminology. He owns words that have not lost their significance at the present time: atmosphere, fire, degree, matter, electricity, thermometer, etc. With his numerous scientific works, he contributes to the formation of a scientific language.
In the development of the literary language of the XVII - early XIX centuries. increases and becomes the determining role of individual-author's styles. The greatest influence on the process of development of the Russian literary language of this period was exerted by the work of Gavriil Romanovich Derzhavin, Alexander Nikolaevich Radishchev, Nikolai Ivanovich Novikov, Ivan Andreevich Krylov, Nikolai Mikhailovich Karamzin.
M.V. did a lot to streamline the Russian language. Lomonosov. He was "the first founder of Russian poetry and the first poet of Russia ... His language is pure and noble, the style is precise and strong, the verse is full of brilliance and soaring" (V. G. Belinsky). In the works of Lomonosov, the archaism of the speech means of the literary tradition is overcome, and the foundations of normalized literary speech are laid. Lomonosov developed a theory about three styles (high, medium and low), he limited the use of Old Slavonicisms, which at that time were incomprehensible and complicated, made speech heavier, especially the language of official, business literature.
The works of these writers are characterized by an orientation towards living speech use. The use of folk colloquial elements was combined with the stylistically purposeful use of book Slavonic words and turns of speech. The syntax of the literary language has been improved. A major role in the normalization of the Russian literary language of the late XVIII - early XIX centuries. played an explanatory dictionary of the Russian language - "Dictionary of the Russian Academy" (parts 1-6, 1789-1794).
In the early 90s. 18th century the novels of Karamzin and Letters of a Russian Traveler appear. These works constituted a whole epoch in the history of the development of the Russian literary language. They cultivated the language of description, which was called the "new syllable" as opposed to the "old syllable" of the archaists. The "new style" was based on the principle of convergence of the literary language with the spoken language, the rejection of the abstract schematism of the literature of classicism, and interest in the inner world of a person, his feelings. A new understanding of the role of the author was proposed, a new stylistic phenomenon was formed, which was called the individual author's style.
A follower of Karamzin, writer P.I. Makarov formulated the principle of convergence of the literary language with the spoken one: the language should be the same "equally for books and for society, in order to write as they say and speak as they write" (Moscow Mercury magazine, 1803, No. 12).
But Karamzin and his supporters in this rapprochement were guided only by the "language of high society", the salon of "dear ladies", that is, the principle of rapprochement was implemented distortedly.
But the question of the norms of the new Russian literary language depended on the solution of the question of how and on what grounds the literary language should approach the spoken language.
19th century writers made a significant step forward in bringing the literary language closer to the spoken language, in substantiating the norms of the new literary language. This is the work of A.A. Bestuzheva, I.A. Krylova, A.S. Griboyedov. These writers showed what inexhaustible possibilities live folk speech has, how original, original, rich the language of folklore is.
The system of three language styles of the literary language from the last quarter of the 18th century. transformed into a system of functional speech styles. The genre and style of a work of literature were no longer determined by the rigid attachment of a lexeme, turn of speech, grammatical norm and construction, as required by the doctrine of the three styles. The role of a creative linguistic personality has increased, the concept of "true linguistic taste" in the individual author's style has arisen.
A new approach to the structure of the text was formulated by A.S. Pushkin: true taste is revealed “not in the unconscious rejection of such and such a word, such and such a turn, in a sense of proportionality and conformity” (Poln. sobr. soch., vol. 7, 1958). In the work of Pushkin, the formation of the national Russian literary language is completed. In the language of his works, for the first time, the basic elements of Russian writing and oral speech came into balance. The era of the new Russian literary language begins with Pushkin. In his work, unified national norms were developed and consolidated, which linked into a single structural whole both book-written and oral-colloquial varieties of the Russian literary language.
Pushkin completely destroyed the system of three styles, created a variety of styles, stylistic contexts, welded together by theme and content, opened up the possibility of their endless individual artistic variation.
Pushkin's language is the source of the subsequent development of all styles of the language, which were further formed under his influence in the language of M.Yu. Lermontova, N.V. Gogol, N.A. Nekrasov, I.S. Turgenev, L.N. Tolstoy, F.M. Dostoevsky, A.P. Chekhov, I.A. Bunina, A.A. Blok, A.A. Akhmatova, and others. Since Pushkin, a system of functional speech styles was finally established in the Russian literary language, and then improved, which still exists with slight changes.
In the second half of the XIX century. there is a significant development of journalistic style. This process is determined by the rise of the social movement. The role of a publicist as a social personality is growing, influencing the formation of public consciousness, and sometimes determining it.
Publicistic style begins to influence the development of fiction. Many writers simultaneously work in the genres of fiction and in the genres of journalism (M.E. Saltykov-Shchedrin, F.M. Dostoevsky, G.I. Uspensky and others). Scientific-philosophical, socio-political terminology appears in the literary language. Along with this, the literary language of the second half of the XIX century. actively absorbs a variety of vocabulary and phraseology from territorial dialects, urban vernacular and socio-professional jargons.
Throughout the 19th century there is a process of processing the national language in order to create unified grammatical, lexical, spelling, orthoepic norms. These norms are theoretically substantiated in the works of Vostokov, Buslaev, Potebnya, Fortunatov, Shakhmatov.
The richness and diversity of the vocabulary of the Russian language is reflected in dictionaries. Well-known philologists of that time (I.I. Davydov, A.Kh. Vostokov, I.I. Sreznevsky, Ya.K. Grot and others) publish articles in which they determine the principles of the lexicographic description of words, the principles of collecting vocabulary, taking into account the goals and vocabulary tasks. Thus, questions of the theory of lexicography are being developed for the first time.
The largest event was the publication in 1863-1866. the four-volume "Explanatory Dictionary of the Living Great Russian Language" by V.I. Dahl. The dictionary was highly appreciated by contemporaries. Dahl received the Lomonosov Prize of the Russian Imperial Academy of Sciences in 1863 and the title of honorary academician. (The dictionary contains over 200 thousand words).
Dal did not just describe, but indicated where this or that word exists, how it is pronounced, which means, in what proverbs, sayings it occurs, what derivatives it has. Professor P.P. Chervinsky wrote about this dictionary: “There are books that are destined not just for a long life, they are not just monuments of science, they are eternal books. Eternal books because their content is not subject to time, neither social, nor political, nor even historical changes of any scale have power over them.
Term literary language in Russia began to spread from the second half of the XIX century. Pushkin widely uses the adjective "literary", but this definition does not apply to the language and in the sense of the literary language he uses the phrase "written language". Belinsky also usually writes about the "written language". It is interesting to note that when writers and philologists of the first half and middle of the 19th century. evaluate the language of Russian prose writers and poets, then they correlate it in general with the Russian language, without defining it either as bookish, or as written, or as literary. “Written language” usually appears in cases where it is required to emphasize its correlation with the spoken language, for example: “Can a written language be completely similar to a spoken language? No, just as a spoken language can never be completely similar to the written one ”(A.S. Pushkin).
V Church Slavonic and Russian Dictionary1847. the phrase "literary language" is not noted, but in philological works of the middle of the 19th century. it is found, for example, in the article by I.I. Davydov "On the new edition of the Russian dictionary". The name of the famous work of Ya.K. Grot "Karamzin in the history of the Russian literary language" (1867) testifies that by that time the phrase "literary language" had become quite common. Initially literary language understood primarily as the language of fiction. Gradually, ideas about the literary language expanded, but did not acquire stability, certainty. Unfortunately, this situation continues to this day.
At the turn of the XIX-XX centuries. a number of works appear in which the problems of the literary language are considered, for example, “Essay on the literary history of the Little Russian dialect in the 17th century” by P. Zhitetsky (1889), “The main trends in the Russian literary language” by E.F. Karsky (1893), "Church Slavonic Elements in the Modern Literary and Folk Russian Language" by S.K. Bulich (1893), “From the history of the Russian literary language of the late 18th and early 19th centuries E.F. Buddha (1901), his own "Essay on the history of the modern Russian literary language" (1908).
In 1889, L. I. Sobolevsky created his “History of the Russian literary language”, in which he stated that “due to the almost complete absence of development, we do not even have an established concept of what our literary language is.” Sobolevsky did not offer his own definition of the literary language, but indicated a range of monuments,
whose language is understood as literary: “Under the literary language, we will mean not only the language in which works of literature were written and are being written in the usual use of this word, but in general the language of writing. Thus, we will talk not only about the language of teachings, annals, novels, but also about the language of all kinds of documents like bills of sale, mortgages, etc. ”
Disclosure of the meaning of the term literary language through its correlation with the range of texts recognized as literary, in Russian philology it can be considered traditional. It is presented in the works of D.N. Ushakova, L.P. Yakubinsky, L.V. Shcherby, V.V. Vinogradova, F.P. Filina, A.I. Efimova. Understanding literary language as a language of literature (in the broadest sense) firmly connects it with a specific "linguistic material", the material of literature and predetermines its universal recognition as an unquestionable linguistic reality.
As already noted, initially the concepts of our writers and philologists about the literary language (whatever it was called) were associated most of all with the language of works of art. Later, when linguistics "resolutely focused its attention on dialects, namely, mainly on their phonetic study", literary language began to be perceived primarily in terms of correlation with dialects and opposition to them. The belief in artificiality spread literary language. One of the philologists of the early XX century. wrote: "The literary language, the legitimization of academic grammar, is an artificial language that combines the features of several dialects and is influenced by writing, school, and foreign literary languages." Linguistics of that time turned mainly to individual linguistic facts, phenomena, mainly phonetic. This led to the fact that language remained in the shadow as a functioning system, as a real means of human communication. Naturally, as literary language little has been studied from the functional side; sufficient attention has not been paid to those properties and qualities of the literary language that arise as a result of the peculiarities of its use in society.
But gradually these aspects are of increasing interest to researchers. As is known, questions of the theory of the literary language have occupied a significant place in the activities of the Prague Linguistic Circle, addressed, of course, primarily "to the nature and requirements of Czech language practice."
But the generalizations of the Prague school were also applied to other literary languages, in particular, to Russian. The sign of the normalization of the language and the codification of the norm was brought to the fore. As important features of the literary language, its stylistic differentiation and multifunctionality were also named.
The most important sign for the Prague school, the sign of the standardization of the literary language, Soviet scientists supplemented with the sign of processing - in accordance with the well-known statement of M. Gorky: "The division of the language into literary and folk only means that we have, so to speak," raw "language and processed by masters" . In our modern dictionaries and textbooks literary language is usually defined as a processed form of the national language, which has written norms. In the scientific literature, there is a tendency to establish as many features as possible literary language. For example, F.P. Owl reads seven of them:
■ processing;
■ normativity;
■ stability;
■ mandatory for all members of the team;
■ stylistic differentiation;
■ versatility; and
■ availability of oral and written versions.
Of course, one or the other literary language, in particular, modern Russian literary language can be defined as having the listed features. But this raises at least two questions:
1) why the totality of these signs is generalized in the concept of "literary" - after all, none of them contains a direct reference to literature,
2) whether the set of these features corresponds to the content of the concept of "literary language" throughout its historical development.
Despite the importance of disclosing the content of the term literary language through a set of specific features, it seems very undesirable to separate it from the concept of "literature". This separation gives rise to attempts to replace the philological term literary term standard. Criticisms about the term standard language were once made by the author of these lines, F.P. Filin, R.A. Budagov. It can be said that an attempt to replace the term literary language term standard language in our philological science has failed. But it is indicative as an expression of a tendency to dehumanize linguistics, to replace substantive categories in this science with formal ones.
Along with the term literary language and instead of it, the terms normalized language and codified language. Term normalized language of all sign literary language leaves and absolutizes only one, although important, but in isolation from other signs, which does not reveal the essence of the designated phenomenon. As for the term codified language, then it can hardly be considered correct at all. A language norm can be codified, but not a language. The explanation of the named term as an ellipsis (a codified language is a language that has codified norms) is not convincing. In the use of the term codified language there is a tendency towards abstractionism and subjectivism in the interpretation of such
the most important social phenomenon literary language. Neither the norm, nor even more so its codification, can and should not be considered in isolation from the totality of the real properties of the really existing (i.e., used in society) literary language.
Functioning and development literary language is determined by the needs of society, a combination of many social factors that are superimposed on the “internal laws” of the development of each specific language The codification of a norm (not a language!) Is, even if it is carried out not by one person, but by a scientific team, essentially a subjective act. If codification meets social needs, it “works”, it brings benefits. But all the same, the codification of the norm is secondary in relation to language development, they can contribute to the better functioning of the literary language, can have a certain influence on its development, but cannot be a decisive factor in the historical transformations of the literary language.
Reformer Russian literary language, who approved his norms, was not some "codifier" (or "codifiers"), but Alexander Sergeevich Pushkin, who, as you know, did not make scientific descriptions of the norms of the Russian literary language, did not write a register of prescriptive rules, but created exemplary literary texts of various types. The normative aspect of Pushkin's literary and linguistic practice was linguistically flawlessly defined by B.N. Golovin: “Having understood and felt the new requirements of society for the language, relying on folk speech and the speech of writers - his predecessors and contemporaries, the great poet revised the methods and methods of using the language in literary works, and the language shone with new, unexpected colors. Pushkin's speech became exemplary and, thanks to the literary and public authority of the poet, was recognized as the norm, an example to follow. This circumstance seriously affected the development of our literary language in the 19th-20th centuries. .
Thus, the generalization of signs that do not contain direct indications of literature, as signs of a literary language, turns out to be unsteady. But, on the other hand, attempts to replace the term literary language terms standard language, normalized language, codified language lead to a clear impoverishment and distortion of the essence of the designated phenomenon. It is no better to define it in terms of a set of features when considering literary language from a historical perspective. Since the above features in their entirety are inherent in the modern Russian literary language, some philologists “consider it impossible to use the term literary in relation to the Russian language before the 18th century. At the same time, they are not embarrassed by the fact that the existence of Russian literature since the 11th century has never been in doubt. “The historical contradictions in such a restrictive use of the term “literary language,” wrote Vinogradov, “are obvious, since it turns out that pre-national literature (for example, Russian literature of the 11th-17th centuries, English literature of the pre-Shakespearean period, etc.) did not use literary language, or rather, written in non-literary language.
Scientists abandoning the term literary language in relation to the pre-national era, they follow a path that can hardly be recognized as logical: instead of taking into account the historical limitations of understanding literary language as a phenomenon that has a complex of the above features, they limit the very concept of national development to the era of national development. literary language. Although the inconsistency of such a position is obvious, in the specialized literature we constantly encounter the terms written language, book language, bookish— written language etc., when it comes to the Russian language of the 11th-17th centuries, and sometimes even the 18th century.
It seems that this terminological inconsistency is not justified. O literary language one can safely speak in relation to any time when literature exists. All signs literary language developed in the literature. They are not developed immediately, so it is useless and anti-historical to look for them all at any time. It is necessary, of course, to take into account the fact that the content and scope of the very concept of "literature" is changing historically. However, the connection between the concepts of "literary language" and "literature" remains unchanged.
Use instead of a term literary language any other - standard language, normalized language, codified language means the substitution of one concept for another concept. Of course, speaking abstractly, one can construct "constructs" corresponding to the terms standard language, normalized language, codified language, but these "constructs" cannot be identified with literary language as a linguistic reality.
Based on the features of the literary language listed above, many oppositions can be built that characterize the relationship between the literary and non-literary language: processed - unprocessed, normalized - unnormalized, stable - unstable, etc. But such oppositions determine only certain aspects of the phenomena under consideration. What is the most common opposition? What exactly acts as a non-literary language?
“Any concept is best elucidated from oppositions, and it seems obvious to everyone that the literary language is first of all opposed to dialects. And in general this is true; however, I think that there is a deeper opposition, which in essence determines those that seem obvious. This is the opposition of literary and spoken languages. Of course, Shcherba is right that the opposition between literary and colloquial languages is deeper (and broader) than the opposition between literary language and dialects. The latter exist, as a rule, in colloquial use and thus are included in the sphere of spoken language. The correlation of the literary language with the spoken language (including dialects) in historical terms was constantly emphasized by B.A. Larin.
On the correlation of literary and spoken languages. Shcherba also pointed out the basis of the structural differences between these varieties of linguistic use: “If we think deeper into the essence of things, we will come to the conclusion that the literary language is based on a monologue, a story, opposed to dialogue - colloquial speech. This latter consists of mutual reactions of two individuals communicating with each other, normally spontaneous reactions determined by the situation or the statement of the interlocutor. Dialog- in essence, a chain of replicas. Monologue- this is an already organized system of thoughts clothed in a verbal form, which is by no means a replica, but a deliberate influence on others. Every monologue is a literary work in its infancy.
Of course, one must clearly understand that, putting forward the concept of dialogue and monologue, Shcherba had in mind the two main varieties of the use of language, and not the special forms of their reflection in fiction. “If you think deeper into the essence of things,” as Shcherba thought, then it is impossible to deny that most of the signs of the literary language that were discussed above arose as a result of the monologic (prepared, organized) use of the language. The processing and then normalization of the language is undoubtedly carried out in the process of constructing a monologue. And on the basis of processing and normalization, universality and universality are developed. As soon as "an organized system of thoughts put into a verbal form" is always associated with a certain sphere of communication and reflects its features, the prerequisites for functional and stylistic differentiation are created. literary language. The stability and traditional character of the literary language are also associated with monologue use, since the monologue “flows more within the framework of traditional forms, the recollection of which, with complete control of consciousness, is the main organizing principle of our monologue speech” .
The concept of the correlation of dialogue - monologue as the basis for the correlation of conversational and literary language well explains the very process of origin, the emergence of the literary language. This process is based on the transformation of unprepared dialogic use of language into prepared monologue use.
Since opposition is recognized literary language- colloquial language, then it seems to be an illegal term literary colloquial language. The spoken language remains colloquial even in those cases when native speakers of the literary language speak (if we are talking about a real conversation, that is, an unprepared, spontaneous exchange of remarks), and does not become "literary" only because the interlocutors do not speak a dialect . Another thing is the oral form of the literary language. It, of course, leaves a certain imprint on the literary language, leads to the appearance of some specific features of the construction of a monologue, but the monologue nature is obvious.
All of the above related to the component literary in term literary language. Now we need to talk about the component language. Of course, when they speak and write literary language, spoken language, they do not mean different languages, but the two main varieties of the national language (otherwise the ethnic language or ethno-language). More precisely, we mean the varieties of language use: literary and colloquial. So, in the interests of accuracy, one should use the terms literary variety of language use, colloquial use of language. But due to the wide distribution and universal recognition, as well as the greater brevity of the terms literary language and colloquial language, one has to put up with their incompleteness and some ambiguity (the understanding that appears in our specialized literature of the opposition of the Russian literary language and the Russian dialect language, the Russian literary language and the Russian spoken language precisely as an opposition of different Russian languages).
Application of the term literary language in modern Russian studies is not distinguished by unity. The most striking manifestation of this situation is attempts to replace the term literary language with other terms or “add” one or another refinement to the term literary language (codified literary language). There can be only one way to stabilize the meaning of the term literary language - this is the way of specific comprehensive studies of the phenomenon that is called the literary language and which appears as "an undoubted linguistic reality" in literary texts from the time of their appearance to the present day.
Literary language
- the main form of existence of the national language, accepted by its speakers as an exemplary one; a historically established system of commonly used linguistic means that have undergone a long cultural processing in the works of authoritative masters of the word, in the oral communication of educated native speakers of the national language. Functional purpose and internal organization of L. Ya. are due to the tasks of ensuring speech communication in the main areas of activity of the entire historically established team of people who speak this national language. According to its cultural and social status, L. Ya. opposed to folk-colloquial. speech: territorial and social dialects used by limited groups of people living in a certain area or united in relatively small social groups, and vernacular - supra-dialect non-codified oral speech of limited topics. There is a relationship between the forms of the national language: L. i. constantly replenished at the expense of the people-colloquial. speech.
L. i. trace are inherent. the main features that distinguish it from other forms of existence of the national language:
1. Normalization. The language norm is a generally accepted use that is regularly repeated in the speech of speakers and is recognized at this stage of development of L. Ya. correct, exemplary. Lit. norms cover all aspects (levels) of the language system and therefore they themselves represent a certain system: lexical, phraseological, morphological, syntactic, word-formation, orthoepic, spelling norms. The presence of language norms is a condition for the universality of L. I. “To be generally accepted, and therefore generally understandable” is the main property of L. Ya., which “in essence makes it literary” ( L.V. Shcherba).
2. Codification. Codification - a scientific description of the norms, fixing them in grammars, reference books, dictionaries; the most explicit and objectified form of recognition of the normativity of a linguistic phenomenon. Codification lit. norms are updated as changes are made both in the language itself and in the assessments of its means by speakers. In modern society codification lit. norms takes place with the active participation of the scientific, pedagogical, literary community, and the media.
3. Relative stability (historical stability, tradition). Without this quality L. I. the exchange of cultural values between generations would be impossible. Stability L. I. is ensured, firstly, by the action of generally binding codified language norms, and secondly, by the maintenance of stylistic traditions thanks to written texts, i.e. is connected with one more sign of L. I. - the presence of its written fixation. Russian stability. L. i. also contributes to its integrity, the absence of significantly different local options.
4. Multifunctionality. The main forms of L. Ya., which is a dichotomous system, are colloquial and literary and bookish and literary speech (see. literary and colloquial style of speech,), opposed to each other as the largest functional and stylistic spheres. In turn, book speech demonstrates a functional and stylistic stratification into scientific, official business, journalistic, and artistic speech. The concept of "L. I." and "Language of Fiction" are not identical. The first is broader in the sense that it combines several functional and stylistic varieties of the language, the second is broader in another respect - in artistic. works are included, in addition to lit. language means, elements of folk-colloquial. speech (dialectisms, jargon, etc.). Besides, L. I. focused on universality, and artistic. language - on the creative individual originality.
5. Developed variability and flexibility, which provides parallel ways of expression and linguistic freedom of the individual. Formation of various means of expression in the field of vocabulary, phraseology, word formation, grammatical variation in the process of evolution L. Ya. contributed to the expansion of its functions. Gradually, it begins to serve all spheres of human activity, and this process is accompanied by a functional and stylistic stratification of L. I. The variety of replenishing L. I. styles generates a rich synonymy of linguistic means within a single language, makes it a complex, branched system of functions. varieties, which is of interest both for the theory of linguistics and for stylistics, the area of interaction of these linguistic disciplines, the intersection of their problems. Stylistic (expressive-stylistic, functional-stylistic) richness of L. Ya. constitutes the stylistic aspect of L. Ya., the source of the formation and development of stylistics as a science.
L. i. goes through several stages in its development, connected with the history of the people. In the development of Russian L. i. two main eras are distinguished: pre-national, which ends in the 17th century, and national. More detailed periodization of L. I. can be presented next. form: 1) L. I. Old Russian people (XI-beginning of the XIV century); 2) L. I. Great Russian people (XIV-XVII centuries); 3) L. I. period of formation of Russian. nations (from the middle–2nd half of the 17th century to Pushkin); 4) modern. L. i. (from Pushkin to our time). In a narrower sense, the term "modern. Russian. L. Ya." denotes the language of the XX-XXI centuries. (since 1917). An even narrower interpretation is L. I. new Russia (post-Soviet period).
L. i. - the concept is historical, since at different stages of the development of L. I. its symptoms change. With regard to Russian L. i. these changes were as follows: 1. L. I. originated as a written language (lat. littera - letter, letter). Under the old Russian L. I. refers to the language that has come down to us in the written monuments of the 11th-13th centuries, belonging to various genres, namely: the genres of secular narrative literature (literary and artistic work "The Tale of Igor's Campaign", chronicle narratives, etc.), business written language (code of laws "Russian Truth", contractual, bills of sale, letters of commendation and other letters), church-religious literature (sermons, lives). Rus. L. i. functioned only as a written language throughout the pre-national period. 2. L. i. pre-national era was not uniform: there were several of its types, among which were formed not only on the basis of the language of the Old Russian people, but also on the basis of the Church Slavonic language. 3. In the history of Russian. L. i. such an essential sign of L. I underwent changes, as the norm. Norms in the pre-national period had a spontaneous character, were not codified (before the appearance of the first Russian grammars), strictly binding. For each type of L. I. (for example, folk-literary or church-bookish) developed their own norms. They were related only to the written form of the language, since L. Ya. was written. 4. L. I. the pre-national period was distinguished by the narrowness of its use and its functions. It was owned by a limited part of society - representatives of the highest circles and monks. L. i. was primarily the language of.-cases. communication (some researchers, for example, A.I. Gorshkov, do not believe that in the early stages of development of L. Ya. business language can be recognized as L. Ya.); in addition, it was used in art. literature and chronicles. The formation of a system of func. styles within a single L. I. occurs later, at the end of XVIII-beginning. 19th century Patterns of the use of language units are gradually formed depending on the goals of communication in a particular function. sphere (see , ).
In the history of L. I. the work of outstanding masters of the word plays an important role. So, A.S. Pushkin, guided by the principles of proportionality and conformity, achieved in his work a bold synthesis of all the viable elements of L. Ya. with elements of lively folk speech and laid the foundation for the modern. Russian L. i.
Multifunctionality Russian. L. Ya., variability, interaction with various branches of the national language and with other national languages, as well as the history of Russian. L. i. determined its wealth in the field of stylistic resources: a variety of stylistic, expressive and figurative possibilities, a variety of intellectual and expressive-emotional means of expression.
Lit.: Sobolevsky A.I. History of Russian. lit. language. - M., 1980; Shcherba L.V. Fav. works in Russian language. - M., 1957; Istrina E.S. Russian norms. lit. language and culture of speech. – M.; L., 1948; Vinokur G.O. Fav. works in Russian language. - M., 1959; Vinogradov V.V. Essays on the history of Russian. lit. language of the 17th–19th centuries. - 3rd ed. - M., 1982; Him: Problems lit. languages and patterns of their formation and development. - M., 1967; Him: Lit. language // Fav. tr. History of Russian. lit. language. - M., 1978; Prague Linguistic Circle. - M., 1967; Rus. language and Soviet society: In 4 vols. - M., 1968; Itskovich V.A. language norm. - M., 1968; Gukhman M.M. Lit. language // LES. - M., 1990; Semenyuk N.N., Norma (ibid.); Shmelev D.N. Rus. language in its functions. varieties. - M., 1977; Filin F.P. Origins and fate of Russian. lit. language. - M., 1981; Bragina A.A. Synonyms in lit. language. - M., 1986; Belchikov Yu.A. Speech communication as a cultural-historical and historical-linguistic factor in the functioning of lit. language, "Stylistyka-II". – Opole, 1993; Him: Lit. language // Ents. Rus. lang. - M., 1997; His: and. - M., 2000; Rus. language of the late 20th century (1985–1995). - M., 1996; Rus. language (1945–1995). – Opole, 1997.
T.B. Trosheva
Stylistic encyclopedic dictionary of the Russian language. - M:. "Flint", "Science". Edited by M.N. Kozhina. 2003 .
See what "Literary language" is in other dictionaries:
Literary language- LITERARY LANGUAGE. The term L. lang." is used in Russian linguistic literature in two meanings: 1) to designate the language of written cast products, as opposed to the "oral dialects" of the broad masses and "colloquial speech" ... ... Literary Encyclopedia
Literary language- Literary language is a processed form of the national language, which has, to a greater or lesser extent, written norms; the language of all manifestations of culture, expressed in verbal form. Contents 1 Definition ... Wikipedia
LITERARY LANGUAGE- LITERARY LANGUAGE. The form of the historical existence of the national language, taken by its speakers as exemplary; a historically established system of commonly used linguistic elements, speech means that have undergone lengthy cultural processing ... A new dictionary of methodological terms and concepts (theory and practice of teaching languages)
Literary language- LITERARY LANGUAGE general language of literature Ph.D. people. L. Ya. often coincides with the national language. of the same people, but may not coincide, for example, if the people do not constitute a separate state; Yes, before the World War... Dictionary of literary terms
LITERARY LANGUAGE- LITERARY LANGUAGE, a normalized (see Linguistic Norm) supra-dialectal form of the language that exists in oral and written varieties and serves all spheres of the public and cultural life of the people ... Modern Encyclopedia
LITERARY LANGUAGE- a normalized (see Linguistic Norm) supra-dialectal form of a language that exists in oral and written varieties and serves all spheres of the public and cultural life of the people ... Big Encyclopedic Dictionary
Literary language- LITERARY, oh, oh; ren, rna. Explanatory dictionary of Ozhegov. S.I. Ozhegov, N.Yu. Shvedova. 1949 1992 ... Explanatory dictionary of Ozhegov
Literary language- - the main, supradialectal form of the existence of a language, characterized by a greater or lesser degree of processing, normalization, polyfunctionality, stylistic differentiation, a tendency to regulation. According to its social and ... ... Encyclopedic Dictionary of Media
literary language- A normalized language that serves the diverse cultural needs of the people, the language of fiction, journalistic works, periodicals, radio, theater, science, government agencies, schools, etc. “The division of language ... ... Dictionary of linguistic terms
Literary language- Literary language is the main, supradialectal form of existence of the language, characterized by greater or lesser processing, polyfunctionality, stylistic differentiation and a tendency to regulation. According to its cultural and social ... ... Linguistic Encyclopedic Dictionary
LITERARY LANGUAGE, supra-dialect subsystem (form of existence) national language which is characterized by such features as normativity, codification, multifunctionality, stylistic differentiation, high social prestige among native speakers of a given national language.
The literary language is the main means of serving the communicative needs of society; it is opposed to non-codified subsystems of the national language - territorial dialects, urban koine (urban vernacular), professional and social jargon.
The concept of a literary language can be defined both on the basis of the linguistic properties inherent in a given subsystem of the national language, and by delimiting the totality of carriers of this subsystem, separating it from the general composition of people who speak this language. The first way of definition is linguistic, the second is sociological.
V.V. Vinogradov. Literary language (philology.ru)
Literary language - the common language of writing of a people, and sometimes several peoples - language of official business documents, school education, written and everyday communication, science, journalism, fiction, all manifestations of culture, expressed in verbal form, more often written, but sometimes oral. That is why the written and bookish and oral and colloquial forms of the literary language differ, the emergence, correlation and interaction of which are subject to certain historical patterns.
It is difficult to point to another linguistic phenomenon that would be understood in such a different way as the literary language. Some are convinced that the literary language is the same public language, only "polished" language masters, i.e. writers, artists of the word; supporters of this view primarily have in mind the literary language of modern times and, moreover, among peoples with a rich artistic literature.
Others believe that the literary language is written language, bookish language opposing living speech, spoken language. The basis of this understanding is the literary languages with ancient writing (cf. the recent term "newly written languages").
Still others believe that the literary language is a language that is generally significant for a given people, in contrast to the dialect and jargon, which do not have signs of such general significance. Proponents of this view sometimes argue that the literary language can exist in the pre-literate period as the language of folk verbal and poetic creativity or customary law.
Kolesov VV Old Russian literary language.- L .: Publishing house Leningrad. un-ta, 1989.
Long disputes as to whether the modern Russian literary language is based on Church Slavonic or Russian, from a scientific point of view, are pointless both in essence, in content, and in references to authorities.
Obnorsky's hypothesis is a continuation and development of Shakhmatov's theory in new historical conditions, when, based on an in-depth study of Russian dialects (started by Shakhmatov) and the historical development of the Russian language, the real significance of church texts in the formation of the Russian literary language became clear. The object of study also expanded: for Shakhmatov it was mainly phonetics and grammatical forms, while for Obnorsky it was grammatical categories, semantics, and style. In recent years, this point of view has been thoroughly argued (Filin, 1981; Gorshkov, 1984) and does not need to be defended. There is no alternative.
The term "literary language" in its origin turns out to be associated with the concept of "literature", and in its etymological understanding - "based on the letter", that is, on the letter, in fact, the written language. Indeed, the medieval literary language is only the language of writing, a collection of texts for literary purposes. All other features of the literary language follow from this abstract definition through the term and therefore seem logical and understandable.
The diverse terms that have accumulated on the subject of study are, in fact, only an attempt to get out of the vicious circle of formal logic: to consider the signs of a concept as signs of a non-existent object, and to define the object through the same signs of the concept. Literary - non-literary, written - oral, folk - cultural (even cult, in the latter case there are many synonyms), processed - raw, as well as polysemantic and therefore indefinite in meaning - system, norm, function, style. The more such definitions (which seem to clarify our idea of the object), the more the concept of "literary language" is emptied: the introduction of each subsequent one increases the content of the concept so much that it reduces its scope to the limits of insignificance.
Of the many definitions that exist in science, the definition of the literary language as a function of the national language seems to be the most acceptable; consequently, the literary "language" is a literary variety of the use of the Russian language, and not an independent language (Gorshkov, 1983). Such an understanding of the literary language lies in line with the Russian scientific tradition and is determined by the historical approach to the problem of the literary language. At the same time, it explains the development of various spheres of "cultural speaking", justifying the existence of the very term "literary language" - since the latter is indeed a typical form of the existence of a folk (national) language, and not speech in the narrow sense of the word. Historically, there has been a displacement of colloquial forms by more and more improved "cultural" forms of the language; the selection of linguistic forms as the structure of the native language develops and constitutes the content of this historical process.
Literary language is the basis of speech culture (Rhetoric - distedu.ru)
The literary language is the highest form of the national language. It is the language of culture, literature, education, mass media. It serves various spheres of human activity: politics, science, legislation, official business communication, everyday communication, international communication, press, radio, television.
Among the varieties of the national language (vernacular, territorial and social dialects, jargons), the literary language plays a leading role.
The main features of the literary language:
- processing (a literary language is a language processed by masters of the word: writers, poets, scientists, public figures);
- sustainability (stability);
- mandatory for all native speakers;
- normalization;
- availability of functional styles.
D. A. Golovanova, E. V. Mikhailova, E. A. Shcherbaeva. Russian language and culture of speech. Crib
(LIBRUSEK - lib.rus.ec)THE CONCEPT AND FEATURES OF THE LITERARY LANGUAGE
Literary language is the national language of writing, the language of official and business documents, school education, written communication, science, journalism, fiction, all manifestations of culture, expressed in verbal form (written and sometimes oral), perceived by native speakers of this language as exemplary. Literary language is the language of literature in the broadest sense. The Russian literary language functions both in oral form and in written form.
Signs of literary language:
1) the presence of writing;
2) normalization is a fairly stable way of expression that expresses the historically established patterns of development of the Russian literary language. Normalization is based on the language system and is fixed in the best examples of literary works. This mode of expression is preferred by the educated part of society;
3) codification, i.e. fixed in the scientific literature; this is expressed in the presence of grammatical dictionaries and other books containing the rules for using the language;
4) stylistic diversity, i.e., the variety of functional styles of the literary language;
5) relative stability;
6) prevalence;
7) general usage;
8) general obligation;
9) compliance with the use, customs and capabilities of the language system.
The protection of the literary language and its norms is one of the main tasks of the culture of speech. Literary language unites the people in terms of language. The leading role in the creation of the literary language belongs to the most advanced part of society.
Each of the languages, if it is sufficiently developed, has two main functional varieties: the literary language and live colloquial speech. Every person masters live colloquial speech from early childhood. The assimilation of a literary language occurs throughout the development of a person, right up to old age.
The literary language should be generally understandable, that is, accessible to perception by all members of society. The literary language must be developed to such an extent that it can serve the main areas of human activity. In speech, it is important to observe the grammatical, lexical, orthoepic and accentological norms of the language. Based on this, an important task of linguists is to consider everything new in the literary language from the point of view of compliance with the general laws of the development of the language and the optimal conditions for its functioning.
Table of contents
Introduction………………………………………………………………………….1
Literary language…………………………………………………………….2
Dialect, jargon, argotism……………………………………………………….4
Book and literary colloquial language………………………………...6
Conclusion………………………………………………………………………….8
References………………………………………………………………...9
Introduction
“Language is created by the people,” said A.M. Gorky. - The division of the language into literary and folk only means that we have, so to speak, a "raw" language and processed by masters. The first who perfectly understood this was Pushkin, he was the first to show how to use the speech material of the people, how to process it.
So what is literary language? There is a clear definition of this phrase.
The literary language is basically a national language, processed and creatively enriched by the masters of the word, therefore it must be considered as the highest achievement of the speech culture of the people. This is the highest form of the national language, the result of the speech creativity of the whole people, led by its outstanding masters of the word. The means and norms of literary expression are not only created by all native speakers, but - which is very important - are carefully and carefully protected by society as a great cultural value. The activity of the masters of the word, as it were, leads and crowns this entire creative process.
But such rigor in the definition of the greatest Russian language is unthinkable. For many centuries, the great Russian poets tried to give the everyday Russian language a literary touch.
In our work, the goal is to consider the emergence of the term "literary language", its changes over time and its varieties.
Literary language
Literary language - the common language of writing of one or another people, and sometimes several peoples - the language of official business documents, school education, written and everyday communication, science, journalism, fiction, all manifestations of culture expressed in verbal form, more often written, but sometimes orally. That is why the written and bookish and oral and colloquial forms of the literary language differ, the emergence, correlation and interaction of which are subject to certain historical patterns.
It is difficult to point to another linguistic phenomenon that would be understood in such a different way as the literary language. Some are convinced that the literary language is the same national language, only "polished" by the masters of the language, i.e. writers, artists of the word; supporters of this view, first of all, have in mind the literary language of modern times, and, moreover, among peoples with a rich artistic literature. Others believe that the literary language is the language of writing, the language of the book, opposed to living speech, the language of conversation. Still others believe that the literary language is a language that is generally significant for a given people, in contrast to the dialect and jargon, which do not have signs of such general significance. Proponents of this view sometimes argue that the literary language can exist in the pre-literate period as the language of folk verbal and poetic creativity or customary law.
The presence of different understandings of the phenomenon denoted by the term "literary language" testifies to the insufficient disclosure by science of the specifics of this phenomenon, its place in the general system of language, its function, its social role. Meanwhile, with all the differences in the understanding of this phenomenon, the literary language is a linguistic reality that cannot be doubted. The literary language is a means of developing social life, the material and spiritual progress of a given people, an instrument of social struggle, as well as a means of educating the masses and familiarizing them with the achievements of national culture, science and technology. Literary language is always the result of collective creative activity.
The study of a literary language, no matter how it is understood, entails the study of such phenomena as "dialects", "jargons", on the one hand, "spoken language", "written language" - on the other, linguistic, speech and literary "style - from the third. The study of the literary language is closely connected with the study of literature, the history of the language, and the history of the culture of a given people. With some historical uncertainty in understanding the essence of the literary language, it is one of the most effective tools of education and comes into contact with the tasks of education and school. All this testifies to the paramount scientific and practical significance of the problem of the literary language. one
Literary language can be divided into territorial language (dialects), social language (jargon, vernacular), professional language (argotism). It is also necessary to highlight the division of the literary language into varieties; book literary language and colloquial literary language.
Dialect, jargon and argotism
Dialect - (from the Greek "to speak, to speak") a kind of language that is used as a means of communication between people connected by one territory. A dialect is a complete system of speech communication (oral or signed, but not necessarily written) with its own vocabulary and grammar. Traditionally, dialects were understood, first of all, as rural territorial dialects.
In sociolinguistics and at the everyday level, dialects are opposed to the standard, or literary language. From this point of view, the dialect is characterized by the following features:
- social, age, and partly gender limited circle of dialect speakers (in Russia, these are mainly residents of the village of the older generation);
limiting the scope of the use of the dialect to family and everyday situations;
the formation of semi-dialects as a result of the interaction and mutual influence of various dialects and the related restructuring of relations between the elements of dialect systems;
leveling the originality of dialect speech under the influence of the literary language (through the media, books, education system, etc.) and the emergence of intermediate forms - for example, dialect-colored literary speech.
Jargon is a social dialect; differs from the common language in specific vocabulary and phraseology, expressiveness of phrases and the special use of word-formation means, but does not have its own phonetic and grammatical system. Part of the slang vocabulary belongs not to one, but to many (including those that have already disappeared) social groups. Passing from one jargon to another, the words of their “general fund” can change their form and meaning: “dark” in slang - “hide prey”, then - “cunning (during interrogation)”, in modern youth jargon - “speak unclear, evade from the answer."
The main function of jargon is to express belonging to a relatively autonomous social group through the use of specific words, forms and phrases. Sometimes the term slang is used to refer to distorted, incorrect speech. The vocabulary of jargon is built on the basis of the literary language through rethinking, metaphorization, reformulation, sound truncation, etc., as well as active assimilation of foreign words and morphemes. For example: cool - “fashionable”, “business”, hut - “apartment”, bucks - “dollars”, car - “car”, jerk - “go”, basketball - “basketball”, dude - “guy” from the gypsy language . In the modern language, jargon has become widespread, especially in the language of youth (youth slang). Social jargon first arose in the 18th century among the nobles ("salon" jargon) (example: "plaisir" - pleasure).
Argotisms (French, singular argotisme), words and expressions of colloquial speech, borrowed from various social, professional dialects. In a semantically transformed form, they are used in vernacular and slang, retaining their bright expressive coloring. In the language of fiction, argotisms are used as a means of stylistic characteristics, mainly in the speech of characters, as well as in the author's speech in the "skazka" manner of narration.
Book and colloquial literary language
Book language is an achievement and heritage of culture. He is the main custodian and transmitter of cultural information. All types of indirect (distant) communication are carried out by means of the book language. Scientific works, fiction and educational literature, diplomatic and business correspondence, newspaper and magazine products and much more cannot be imagined without the literary language. Its functions are enormous and with the development of civilization they become even more complicated. The modern Russian literary language is a powerful communication tool. It has all the means necessary for the various purposes of communication, and, above all, for the expression of abstract concepts and relations.
The complex connections traced by scientists and writers in the material and spiritual world are described in scientific language. Oral, colloquial speech is not suitable for this: it is impossible to pass from mouth to mouth syntactically cumbersome texts, saturated with special terminology and complex in meaning. The property of book and written speech to preserve the text and thereby enhance the ability of the literary language to be a link between generations is one of the main properties of the book language.
A colloquial variety of the literary language, used in various types of domestic relations of people, provided that communication is easy. Conversational speech is distinguished from written and written speech not only by the form (this is oral and, moreover, predominantly dialogic speech), but also by such features as unpreparedness, unplannedness, spontaneity (compare, for example, with reading a report, the text of which is written in advance), the immediacy of I contact between participants in the conversation.
The colloquial variety of the literary language, unlike the written one, is not subject to purposeful normalization, but it has certain norms as a result of the speech tradition. This kind of literary language is not so clearly divided into speech genres. However, here, too, various speech features can be distinguished - depending on the conditions in which communication takes place, on the relationship of the participants in the conversation, etc. compare, for example, the conversation of friends, colleagues, a conversation at the table, a conversation between an adult and a child, a dialogue between a seller and a buyer and etc.
Conclusion
The splendor of the Russian language is famous for all nations. As for the term "literary language", some of its shortcomings are the well-known ambiguity - the ability to use it in two meanings: as a designation of the language of fiction and as a designation of a processed form of language.
On the other hand, the invariable and constant quality of the literary language, which always distinguishes it from other forms of existence of the language and most fully expresses its specificity, is the processing of the language and the selection and relative regulation associated with it.
We have introduced several varieties of the literary language:
- Dialect,
Jargon,
argotism,
Book literary language,
Spoken literary language.
Bibliography
1.
Vinogradov V. V. “Selected Works. History of the Russian literary language "- M., 1978. - S. 288-297
2.
Shakhmatov A. A. "Essay on the modern Russian literary language" - M., 1941.
in office work
household sphere
in non-verbal communication
in oral speech
Functional style is not
official business language
colloquial
professional language
literary language
The choice of functional style is determined
sphere of communication
number of participants
the nature of the transmitted information
language means
Emotionally expressive vocabulary is inappropriate
in a conversational style
in a journalistic style
scientific style
in formal business style
Abstract vocabulary is a hallmark of the style
artistic
scientific
colloquial
journalistic
The use of clichés in
colloquial style
journalistic style
formal business style
art style
Which of the following characteristics are mandatory for business communication?
friendliness
officiality
expediency
relevance
Indicate terminological combinations that do NOT characterize the mandatory components of business communication.
psychological aspect
communicative aspect
ethical aspect
aesthetic aspect
9. The quality of speech, which is characterized by compliance with not only linguistic, but also ethical standards:
Accuracy
Right
wealth
The hidden context of communication implies
expression of dissatisfaction with the conversation
degree of acquaintance of communicants
speaker's intentions
Compliance with the rules of speech etiquette is determined
rules of conduct in public places
using typical language constructions in typical situations
availability of information
taking into account the degree of acquaintance of the communicants
Mark the required characteristics of oral speech.
use of non-verbal means
possibility of correction
strict adherence to style
Oral business speech involves
use of cliches
imagery
standard form
officiality
What is the style of the oratory?
journalistic
artistic
official business
Note the characteristic features of written speech.
use of non-verbal means
spelling compliance
spontaneity
strict adherence to style
adherence to phonetic norms
Written business speech does not involve
use of cliches
stereotype
officiality
evaluation of information
Define the meaning of the word "exclusive".
luxurious
exceptional
detailed
Define the meaning of the word "excess".
disappointment
bad joke
inflammation
collision
19. Non-verbal means of communication include:
intonation
rate of speech
Check the excess
identification
reflection
What speech stamps are NOT related to the beginning of a conversation
I think the best place to start our conversation is with a discussion of...
At the end of the conversation, I would like to...
Today I propose to discuss...
I would like to start our conversation with...
Let's sum up our agreements.
I think we should first discuss...
I think we'll start our conversation with...
So we come to the end of our conversation.
I believe that today we have discussed all our issues.
Stages of a business conversation are NOT
start a conversation
informing partners
argumentation of the put forward provisions
making decisions
end of conversation
23. A set of communication effects are:
visual image effect
the effect of the first phrases
argumentation effect
quantum burst effect
questionnaire effect
effect of intonation and pauses
artistic expressiveness
relaxation.
Answer card for the test by discipline
"Business conversation"
| ? | Correct answer | |||||||||
| A | B | V | G | D | E | F | Z | AND | TO | |
Educational and methodological support
disciplines
10.1 Main literature
1. Koshevaya I.P. Professional ethics and psychology of business communication: Textbook / I.P. Koshevaya, A.A. Kanke. - M.: Forum: Infra-M, 2011.-304 p. - (Professional education).
2. Silant'eva M.V. Business Communication: Lecture Notes. File DelOb_lek.pdf/ Department of Psychology and Pedagogy. - SPb: SPbGIEU, 2009.
3. Struzhinskaya N.N. Communication Management: Lecture Notes. The file KomMen_lek. pdf/ Department of Public Relations and Mass Communications. - SPb: SPbGIEU, 2010.
10.2 Further reading
4. Vasilenko I.A. The art of international negotiations. – Economics, 2011.
5. Izmailova M.A. Business Communication: Textbook. - 2nd edition. - M.: Dashkov i K, 2009. - 252 p.
6. Sharkov F.I. Communicology. Fundamentals of communication theory. – Dashkov & Co, 2011.
LOGISTICS
EDUCATIONAL PROCESS
For conducting classes, a personal computer, a multimedia projector, a projection screen are used.
STUDENT KNOWLEDGE CONTROL
Forms of current control
The current control of mastering the discipline is carried out in the form of checking independent work according to the point-rating system.
12.2 Form of intermediate control by discipline
Assessment report.
During the semester, the student must score 60 points.
On the test, a student can score 40 points.
To convert the score to the traditional one, the following scale is used:
0-60 points - fail;
61-70 points - satisfactory;
71-85 points - good;
86-100 points - excellent.
An approximate distribution of points by types of student work and forms of current control is given in Table 4.
After summing up the points obtained during the study of the discipline and on the offset, the student's rating in the discipline is determined.
Table 4
Distribution of points by types of student work and forms of current control
| Topic | Type of occupation | Estimated time for one lesson, h | date | Grade in points for the type of lesson | Maximum points per topic | |
| Topic 1. Business communications as a socio-psychological mechanism | AR | Lecture | ||||
| Practice | ||||||
| Practice | ||||||
| SR | Abstract preparation | |||||
| Preparation for the test | ||||||
| Topic 2. Business communication tools | AR | Lecture | ||||
| Lecture | ||||||
| Practice | ||||||
| Practice | ||||||
| Practice (testing on the topic) | ||||||
| SR | Abstract preparation | |||||
| Case Solution 1 | ||||||
| Preparation for the test | ||||||
| Topic 3. Psychological impacts in communications | AR | Lecture | ||||
| Lecture | ||||||
| Practice | ||||||
| Practice | ||||||
| Practice (testing on the topic) | ||||||
| SR | Abstract preparation | |||||
| Case 2 solution | ||||||
| Preparation for the test | ||||||
| Topic 4. Forms of business communication. | AR | Lecture | ||||
| Lecture | ||||||
| Practice | ||||||
| Practice | ||||||
| Practice | ||||||
| Practice (testing on the topic) | ||||||
| SR | Abstract preparation | |||||
| Case Solution 3 | ||||||
| Preparation for the test | ||||||
| Topic.5 Ethics and etiquette of business communication | AR | Lecture | ||||
| Lecture | ||||||
| Practice | ||||||
| Practice | ||||||
| Practice | ||||||
| Practice (testing on the topic) | ||||||
| SR | Abstract preparation | |||||
| Case 4 solution | ||||||
| Preparation for the test | ||||||
| Presentation of a report | ||||||
| Report opposition | ||||||
| Points for classroom work | ||||||
| Points for independent work | ||||||
| AR | offset | |||||
| SR | Preparation for the test | |||||
| Active class attendance | ||||||
| Active work in the classroom | ||||||
| no more than 10 points | ||||||