Expressive syntaxes
Expressive (expressive) means of phonetics, vocabulary, morphology, syntax is extremely important both in communicating between people and in the understanding of the artistic text. It is they form what is called the meaning of the artistic text, the unique copyright personality, which manifests between the lines, "for the word." One of the bright linguists of the twentieth century R.O. Jacobson, defining a system of the functions of the language and speech, allocated three functions that are universal, that is, those that are inherent in any languages \u200b\u200bin all historical era:
- information message function,
- expressive-emotive function (that is, the expression speaking or writing his attitude to what he says),
- A privament-to-prompted function that adjusts the behavior of the address of the message. 53.
Modern linguists give the priority of expressive-emotive function as a background to express information that formulates the meaning of speech expressing thought. 54.
It is easy to see that the two recent functions at R.O. Jacobson is closely connected one on the other: the expression of the feeling is always intended to attract the attention of the interlocutor to the reported. The most ancient form of the invasive-prompted function R.O. Jacobson considers a magical function with the difference that in the case of verbal magic, the addressee of speech is not an interlocutor, and something unknown, perhaps the highest strength: Let it soon come down by this barley, pah, pah, ugh!(Lithuanian spell). 55.
By carrying out a magical function of speech, that is, pronounceing conspiracy, curses, oaths, prayers, sall conditions, etc. in the process of religious mysteries, people empowered the word magic, magical power, thought that the word was not a conditional designation of some subject, and his part, Therefore, for example, the pronouncement of a ritual name can cause the presence of who named them. From the point of view of psychology and semiotics (theory of the sign), such attitude to the Word is a subjective peroxide, expressing the depths of the speaker's personality. This is a relative of the religious perception of the sacred word and the artistic (aesthetic) attitude towards speech brings closer to the magical function of the language with its aesthetic function 56.
A man speaking expresses his attitude to the thoughts expressed since he began to speak. This is primarily intermediated words-offers: Oh! Alas! T-S-C! and the like. Russian language is unusually rich in synonyms, which differ from each other with subtle expressive shades of the value: head, head, head, head; pusheretc.
All means of language, and not only his vocabulary, can be expressive if the speaking aims to strengthen its assessment of reality. Using language tools in speech, it fills them with additional to the main additional, connotative, value, the informative function of the language is enhanced by an expressive function. Such structures express expressionally painted thought. For example, the structural-semantic type of sentence itself does not have an expressiveness, it is neutral, but the choice of lexical filling, the condensed use of certain components in order to actualization gives it an expressiveness.
In scientific literature, for the first time on expressive means of the language, I wrote EM. Galkina-Fedoruk: "Expressiveness in speech is the strengthening of expressiveness and pictusivity" 57. EAT. Galkina-Fedoruk highlighted the varieties of expressive linguistic means. Already in the first article on the problem, lexical, and syntactic expressive means are noted. Expressiveness can be laid both in a separate word and in the proposal that they demonstrate to us interjections - words-offers.
The system of expression-estimated suffix arose a long time ago and is most fully manifested in folklore works. It is known how powerful in the folklore is the system of expressive word formation and formation agents. Deminifies (words with diminutive suffixes) are characteristic of the tongue of folklore, as well as for artistic works, imitating oral folk creativity:
Due to the forest, the forests of dark
Raised Krasnaya zoryushka,
Scattered clear rainbow
Lights-Luchi bugs,
This morning together withsun.
Is there any dark thickets
Smelted as ifsorenka ,
Snow-whiteswanushka ,
Behind Vatagoy Software
They hitlebezatushki ,
And crushed the smoke
On rings emerald. (S. Yesenin)
An expressive role in the poetic text can also be made of consoles:
The day comes - sad, say! -
Dump, pay off, burnt, -
Stamped with other people's pyats -
My eyes, movable, like a flame. (M. Tsvetaeva)
Death is so:
Unfinished house,
Unprofitable son,
Non-touch sheaf,
Unwolted sigh,
Unoccupied Creek. (M. Tsvetaeva)
The aesthetic function of speech is to cause aesthetic experiences at the listener (reader): the feeling of the words attracting the magic beauty, the desire to repeat it is to read, listen to the text, competing his sound and overflow the finest nuances of meaning.
The syntactic structure of the artwork transmits its rhythm and expression of a portable-shaped use of vocabulary. It is not by chance that the earliest folklore traditions, the first poetic works rise to magical rituals. The basis of magic and poetry is a metaphor in a broad sense (actual metaphor, personification, metonymy, comparison, hyperbole, limitations, etc.). In the poetry of the metaphor - the generator of meanings, the tool of penetration into secrets of things, the main factor of poetic expressiveness. But the metaphor itself has implicit syntactic etymology, the metaphor is predicate by definition (N.D. Harutyunova).
A powerful expressive force has a system of syntactic means forming a variety of repetitions in the poetic text. Reints - the oldest means of transmitting the rhythm and the melody of the artistic work, the means of its connectedness, integrity. Refers to the language of language reflect a variety of rhythms that fill the world. In folk songs, We are observation of direct tautology, anaphor, epiphora, the repeats of keywords, storage-chorus, which determine the plot line of composite fragments, intequently plot lines, for example, in the eponym "Ilya Muromets" and others. Reversal reversals are organized by a ring composition, Parallelism, gradation, refrain, antithesis, which came later in the structure of the artistic work. Inside these repetitive elements, we see repetitions of a more private composite nature: repeats of synonyms and antonyms, exclamation and question purposes, rhetorical issues, repeats of unions and binding particles, appeals, double and pairwise denial, etc. These funds are widely used in classical, and in modern poetry.
Pushkin extremely diverse uses repetitions, including lexical, up to the creation of the contextual oxyumorone (ch. 4, Hush):
Enemies has in the world anybody,
But from friends Save us God!
So these me friends, friends!
I had no wonder I remembered.
Repeats of identical lexemes
Repeators are often found with a variety of features. In the first place in frequency marked locomotive components in the binder function. The derogatory characteristic of the retrograde Moscow society is achieved by repeating pronoun everythingpassing into a homonymic particle and locomotive adverb soalso with a particle (ch. 7, xl):
But they are not visible to change;
Everything In them on the old sample:
Nursery Princess Elena
Everythingthe same Owl cape;
Everything Lucher Lvovna is running,
Everythingalso Lies love Petrovna,
Ivan Petrovich same stupid
Semen Petrovich same sting
Pelagei Nikolavna
Still the same friend Monsieur Finmush,
AND the same Spitz, I. the same husband;
And he, all club member is good,
All the same humble same deaf
AND same Eats and drinks for two.
Anaphoric repeats can capture a few stanz, creating a vortex movement, deepening expression due to numerous parallel repeats - and syntactic, and lexical. On the one hand, exclamation particles create an expressive frame asstructuring stanza. On the other hand, the numerous repeats of the verb and registered parts of the composite faiths fill this space, which is volumetful and at the same time dynamically creating the image of the main character. Here, expressive means are no longer an offer, but a microtext, the most characterizing the hero, not describing, but showing it in action (ch. 1, x, x1, hp):
how early could is he midcase,
Hide hope risk,
Default, makebelieve ,
Gloom,
Be proud and obedient
Attentive il indifferent!
Like languo was is he silent,
how flaming eloquent,
In heart letters how careless!
One breathing one loving
how is he skill forget Himself!
how His gaze was fast and gentle
Shame and muster And sometimes
Blindal Obedient a tear!
How he knew how to seem new,
Joking innocence amazing,
Frighten Desperate ready,
Pleasant flattery amuse,
Take a minute of dying,
Innocent years prejudice
Mind and passion win,
Unwashed caress expect,
Pray and demand recognizing
Overhear hearts first sound
Pursue love and suddenly
Achieve secret date ...
And after her alone
Give lessons in silence.
how early could ON. Anxious
Hearts of Notebooks!
When I wanted to destroy
His rivals of his
how He is ulcer zohlovil!
What kind Networks prepared!
But you, blessed husbands,
You left you friends ...
Selected repeat shows how thick the text is saturated with them. Semantic centers nodes in all strangers - modal binding verbs could, skill - He smoothed a direct author's descriptive characteristic, turn it towards self-controlling the character in his activity expression.
Of the three stanzes containing the characteristic of the hero, the central, eleventh, represents a simple sentence with thirteen homogeneous legend, the last of which is a parcel, which further focuses its ironic-misconductivity. X and HP Strafs are drawn up on the text model, and the twelfth - incomplete, is only half of the stanza. Inside the chapter, including its composition, there is a separate energy clot, with its own composition, semantic deepening, artistic filler - this is the central part of the chapter - an in-depth, deployed characteristics of the main character of the novel.
Pushkin widely uses anphors, first of all, locomotive (ch. 1, xL1):
Who lived and thought tOT can not
In the soul, do not despise people;
Who felt togo Anxiety
Ghost of irrevocable days:
Agriculture There are no charming,
Togo Zmia Memories
Togoraspanic gnawing.
With the help of an ephor, subjects are updated - subjects (which costs the copyright) of the main proposals in the composition of the NGN.
More often repetitions structure individual offers or their components. Anacure can actuate the ligament component of a composite verbal tag, expressing the clutch of emotions when creating an expanded antithesis (ch. 6, xxxh):
Pleasantly Culking epigram
Scatter the protest enemy;
Pleasantly creepy as he is stubbornly
By bowing cheerful horns,
Unwittingly in the mirror look
And recognize yourself as shame;
Pleasyif he is friends
Wars sidurov: it's me!
More pleasant In silence
His honest coffin
And quietly cherished in a pale forehead
At a noble distance;
But send it to the fathers
Already nice Will we.
Anaphor can be combined with the concentration of exclamation (gL 8, 1U):
But I have fallen behind their union.
And the distance fled ... she is followed me.
How often Affectionate muse
I was delayed the way
Magic a secret story!
How often on the rocks of the Caucasus
She is Lenor, with the moon,
I'm jumping with me on horse!
How often According to Taurida Bregar
She is me in the darkness of the night
Drove to listen to the noise of sea
Single whisper Neretida,
Deep eternal chorus of trees,
Praise hymn Father of the worlds.
In exclamation proposals, only their formal components may be repeated (ch. 7, n):
how Sad to me your sense,
Spring, spring! It's time for love!
What Tomny excitement
In my soul, my blood!
FROM what Silent umilem
I enjoy Dunzen
In my face having fun
On the village of rural silence!
Anaphor can spread to several stanza, tying them into a single ideological-thematic integer (ch. 8, xx1u-ho1):
Here were Ladies Elderly
In sepses and roses, seemingly evil;
Here was several maidens,
Unrelated persons;
Here was Messenger, said
About state affairs;
Herewas in fragrant sledins
Old man, the old joyful:
Cancelled, thin and cleverly
What is currently somewhat ridiculous.
Transition to the following storm :
Here was on the epigram paddish,
For all Angry Mr.:
For tea Master's too sweet
On the plane ladies on tone men
Sense about the novel foggy
On monogramtwo sisters given
On false magazines, on war,
On snow and on thehis wife…
Next stanza:
Here was Prolasov who deserved
Faminess to the lowestness of the soul ...
Expressiveness of the main anathematics here were It is enhanced by ten equal flowforms (per + wines. p.) With complex syncretic semantics - these are additions with a circumstantial causal value.
Reints can structure the catechysis structure of stanza, for example, in the form of rhetorical prompts (ch. 3, xx1u):
For what J. Guilty Tatyana?
For , what In cute simplicity
She does not know deception
And believes a chosen dream?
For that Loves without art,
Obedient perplex feelings
what so trusting she
what From heaven Odarena
Imagination rebellious
Mind and will be alive,
And wayward head,
And the heart is fiery and gentle?
Here we see the formation of causal relationships in the lyrical text. Complexed causal supply in the first third of the X1x century in Russian poetry is extremely rare, they are combined with object semantics.
In ch. 6 (xhhhu1) Anphors actualize rhetorical clocks, including three rows of homogeneous members and three characterizing appeals:
Love! Where roast excitement
Where Noble striving
And the feelings and thoughts of young
High, gentle, removed?
Where Stormy love of the desire
And thirst for knowledge and labor
And fear of vice and shame
And you, cherished dreams,
You, the ghost of life unearthly,
You, dream of poetry holy!
Right often, the anaphoric repetitions are expressed by nouns in combination with substantive pronsections in the form of paired repeats (GL.7, ES, 1X, X):
Alas! Young bride
His sadness is incorrect.
Other Outbreaking her attention
Other Her suffering has managed
Love lasty to put on
Ulan I knew her to capture her
Ulan Love her soul ...
And so with him before altar
She is shy under the crown
Stands with a drooping head,
With fire in full-eyed
With smile Easy on lips.
Lexical repetitions the other is anotherulan - Ulan. accompanied by syntactic repetitions of one word form with a circumstantial value and entimible.
Repeals are found in the form of numeral, the last of which are also substantivate in series:
Passions we knew the gameboth ;
Tomila life Both us;
INboth Hearts fever fell;
Both I expected an evil ...
For Pushkin, it is characterized by combining several expressive syntax in one sentence. For example, anphors are combined with expanded comparisons, homogeneous members, separate definitions and annex (ch. 2, x):
He sang love, love obedient
And his song was clear
As the thoughts of the Virgin Simora
Like a baby sleep like a moon
In the deserts of the sky serene,
Goddess of secrets and gentle sighs;
He sangseparation and sadness,
And something and fog Dahl,
And romantic roses;
He sang Those distant countries
Where long in Lono silence
His living tears fell;
He sang Plotted life color
Without small in the highest years.
Structuring the structure of Anafora He sang - It is combined with other repetitions: three comparative turns, five homogeneous additions.
In ch. 5, the hydroflicic of the anaphor is combined with elliptic proposals entered by Pushkin into the structure of artistic text, and with Anzhemberans (transitions, or transitions), semantically deepening syntactic structure (see below):
Tatiana to the forest; Bear for her;
Snow loose knee to her;
That Long bitch her neck
It suddenly hoothat from ear
Choised earrings will cut by force;
That In fragile snow withpretty legs
Cut the wet shoe;
That She will relieve a handkerchief;
To raise it once;fears,
The bear hears the
And even tremble hand
Clothes edge to lift shakes;
She runs,he is all ,
ANDforces already run to hernot .
Rhythm of a complex non-union proposal that includes a complex block with dividing unions that is Creates the impression of a dynamic action, the intermittent breathing of the runaway Tatiana.
Pushkin created the text in which all types of syntactic expression were systemically manifested on the basis of thickening offers of different types and species and their individual components.
Exercise 1.
Find cases of parallelism, multi-eyed and nonsense. Determine their functions in texts.
1) Black raven in a snowy dusk,
Black velvet on dark shoulders. (A. A. Blok)
2) The hour shooter is nearing midnight.
Candles stiffed by light wave.
Duma shook the dark wave.
Happy New Year, heart! (A. A. Blok)
3) No, I will say positively, there was no poet with the world responsiveness as Pushkin, and not in alone responsiveness here, but in the amazing depth of it, but in the reincarnation of my spirit in the spirit of foreign peoples, reincarnation almost perfect. (F. M. Dostoevsky)
4) If such masters like Akhmatova or Zamyatin are closed alive for a whole life, condemned to the coffin to create silently, not hearing with their own written, is not only their personal trouble, but grief of the whole nation, but the danger for the whole nation. (A. I. Solzhenitsyn)
5) Each of them (those killed during the Great Patriotic War) was a whole world. And this world went out forever. Together with him, unfulfilled dreams, unreacted weddings, unborn children, unprecedented songs, unpredictable houses, unprecedented songs. (V. V. Bykov)
Exercise 2.
Find cases of ellipse, inversion and parception. Determine their functions in texts.
1) But they are not suitable in leaders and those who profess only a dead shell of church ... these people will not accept. Gets - will reset. (I. E. Shmelev)
2) We wanted songs - there were no words.
We wanted to sleep - there were no dreams.
We wore mourning - the orchestra played a carcass. (V. Tsoi)
3) And the first one is complete, friends, half! And all before the bottom in honor of our Union!(A. S. Pushkin)
4) Oh you, Motherland! ... You, immense, falls to you tired and hurt, and your poor sons you take to a powerful breast, hug your hands multiplayers, you will eat hard power. (B. K. Zaitsev)
5) Who doubts our right and debut to think about the arrangement of future Russia! Everything changes to the sem. No one knows the deadlines, the time will come - there will be a new Russia.(I. S. Shmelev)
6) By the way, on a cloudy day before the rain look at the light. He is alone to the rain, during the rain - the other, and after the rain is completely special. Because wet leaves give the air a weak shine. Gray, soft and warm.(K. G. Powesty)
Exercise 3.
Find an antithesis examples in the texts. Determine which antonyms are used in them, as an anti-counter suspension affects the expressiveness of the text.
1) My faithful friend! My enemy is cunning!
My king, my slave! Native language! (V. Ya. Bryusov)
2) You and wretched,
You and abundant,
You and Mighty,
You and powerless
Mother - Rus!(N. A. Nekrasov)
3) I am sad because you have fun. (M. Yu. Lermontov)
4) The world is multifaceted, multiple,
Sometimes kind, cruel sometimes,
He is generous and stingy, rich and poor:
Look at him - he is all for us!(V. Alatyrtsev)
5) I am a king, I am a slave, I am a worm, I am God. (R. Derzhavin)
6) Faces face,
MIL today, and tomorrow far. (A. Akhmatova)
Exercise 4.
Read the poem A.A. Block. A.A.Block uses the following synonymic series in poem: To describe the night - month, moon, darkness, fog; silent, sleeping, resting; To describe the day - life, sun; Uzit, boils.
These are contextual synonyms, for only in this text they are words close to meaning. Make antonym rows of synonyms, having them according to the degree of increment of the feature.
Exercise 83. Find various types of paths in excerpts from artistic texts.
1. Swim fog as Fimiams Thousands of Cadyl. Satellite Song Strange Heart Bedille (Akhmatova). 2. Filled, sleep poetry. All images, all rhymes. Strong, weak to find it is impossible. Plok, longing, sins, equally, are lying in his Sillabach. And every verse with another as a close brother, even though whispers a friend of each other: a little naughty (Brodsky). 3. Oh, it was a cool day in the wonderful city of Petrov! I lay the sunset by Kostroma Baghrov, and slowly left Shadow (Akhmatova). 4. Flanged autumn, as a widow in black clothes, all hearts of the fog (Akhmatova). 5. Hey, beard, and how to drive from here to plush? (Gogol) 6. Goodbye, free element! Last time in front of me you are katiha waves blue and bleach pride of beauty! (Pushkin) 7. Love you, Peter Creation! (Pushkin). 8. Nature decided that the person in a certain period of life loved. This period came, well, love to all the blades (Chekhov). 9. His feather breathes (A.K. Tolstoy). 10. Not that on silver - I used on gold (Griboedov). 11. Total take care of a penny (Gogol). 12. And it was heard before dawn, as the Frenchman (Lermontov) had shown. 13. One hundred forty tons Sunset Grula (Mayakovsky). 14. Tuch of evening worrhroke carpet self-auction with silks (Lugovskaya). 15. Bowl of the earth to me is screwed. I, like a tired Japanese, all the world I am dragging like a child sobbing on his back (Evtushenko). 16. Double bass drank tea in principle, and the flute waslating (Czechs). 17. And the hands were exhausted. The teeth broke the teeth, and now the dissimilarity of dubious thoughts by plastic jaw jaws (Evtushenko). 18. Eh, and I will start myself the Pacific Golphs, so that from the pants look like a coral reef! (Mayakovsky). 19. Your Spitz, Adorable Spitz, no more froster! (Griboedov).
Exercise 84. Specify sources of speech expression (trails, phraseologisms, winged words, etc.) in headlines, excerpts of journal and newspaper articles. Is it always justified by the use of trails in the examples given?
1. Kabul bombed - we were announced. So began war. 2. Under the closer look at the "Unknown Woman" turned out to be famous Marina Franzova, one of the organizers and managers of the multi-billion dollar pyramid that collapsed on the head of eighties of millions of depositors. 3. All generations - proteins in the wheel of historical bias and dogma. 4. Channel RTR bulk, like the old Soviet office, in which two thirds of women knitted, talked on the phone and went shopping, two thirds of men drank beer and discussed football, and the rest were pulling WHO. 5. I do not need a foreign hand kingook, whom you are laughed to pull for threads like a puppet. 6. Avalanche of the war, which descended from the mountains of our suffering, gaining volume and speed, rushing, and there is no strength that could stop this avalanche. 7. The ruble in relation to the dollar fasted, jumped. 8. Pure heart is our wealth, our fame, our beauty. 9. Minister and lawyer, governor and artist, banker and pensioner, director and policeman - everyone needs a "Russian newspaper"! 10. And again, and the newly universe at the tip of the pen. 11. Points by autumn are stitched. Russian E. Kafelnikov received the fifth room at the starting tournament of the Masters series in German Stuttgart. 12. The enemy does not give out our proud "Spartak". 13. Batteries are asking heat. The authorities gave "good" at the beginning of the heating season. 14. Singer Rosenbaum exchanged the second "Filling". 15. Communists will be grateful to the Kremlin. 16. "Silver" of the Russian Bogatyr Karelin Golden stands. 17. New Russian loves quick ride! 18. White flies flew to Moscow, but after a day warming is expected again. 19. In the frosty case, as it should, sketching lush hats on the shoulders, the new year came. 20. The phone call seemed to explosion of a multi-torque bomb. 21. Taganka actors are not accustomed to hot battles. 22. Russia and Europe - Brothers forever? 23. The phone, exhausted by hundreds of calls, swept, frowned - and died. 24. Now to Mars - give a hand! 25. Money in the treasury - the cat is applied. 26. The country of the rising sun does not seek to be friends with us. The deadlines for the conclusion of the peace treaty are again not named. 27. I arrived in Sude to worship the Praho of the African ancestor of the Sun of Russian Poetry. But the grave of Hannibal was not so simple. 28. Many of the usual ideas about the state of Russian aviation near Paris turned upside down. The main thing - in the shadow of the scandals around the stupid transit of the Swiss company "Noga" remained somehow unnoticed by the main results of the work of the famous aircraft.
Exercise 85. Name the expression-acting syntax tools that are used in excerpts from artistic texts.
1. Bored me to protect from myself people, boring to click grace on other people's friends (Akhmatova). 2. Where the table was insens, there is a coffin (Derzhavin). 3. Swede, Russian rod, rubit, cuts (Pushkin). 4. Because of the dysfungered distance outside the windows of heat, because I, sleepless, as a participant slept (Akhmatova). 5. You are white light, free path, you are bell tower. And I can make the brewing and a man. Do not regret me, Katorochka (Akhmatova). 6. So love goes away. Forever and ever. In someone else's night. Interrupting cry, words. Becoming invisible, even alive (Brodsky). 7. To live - so in the wild, to die - so at home (Akhmatova). 8. Black evening. White snow. Wind, wind! There is no man on the legs. Wind, wind - in the whole of God's light! (Block). 9. I do not regret it, I do not cry. Everything will pass as with white apple trees smoke (Yesenin). 10. And some sadness issued, and misty talked from the ground. And abandoned in the given ships. And some kind of Cape Sails. And some voices over the sea (block). 11. I drink for a broken house, for the evil life my life, for loneliness, - and I drink for you, - for the lips of my lips, for the dead cold eyes, for the fact that the world is cruel and rude, for the fact that God did not save (Akhmatova). 12. What is happiness? Evening coolness in the darkest garden, in the forest wilderness? Ile gloomy, vicious grabs of wine, passions, died souls? .. when to end? An annoying sound will not be forces without rest to listen ... how terrible everything! How wildly! - Give me a hand, comrade, friend! Forget again (block). 13. I remember about you rarely, and I do not captivate your fate (Akhmatova). 14. You, Asia, - Motherland Motherland! The content of mountains and deserts ... There is no previous one with your previous air - he is fire and blue (Akhmatova). 15. I would like to know why I am a titular adviser? Why is the titled adviser? (Gogol).
Exercise 86. Name the expression-acting syntax tools that are used in headlines, excerpts of journal and newspaper articles. Is their use always justified?
Exercise 87. Prove that the excerpt of V. Peskov's excerpt refers to newsprint-journalistic style. What means are used to influence the reader?
All tourists armed with filmmers crave to see Lviv. Attenders in minibuses ask: Lions did not notice? They are bred by their hands - too, they say, we are looking for.
We probably hoped to see the king of animals in the Manyar National Park. Here in the first journey on Tanzania, I removed them, standing under a tree, on which several Lviv dreamed, reminding the skins, posted for drying. Lions, unlike leopards, Lazalkers in the trees are unimportant. Yet on the lower branches of huge acacias, they are climbing - at least cool, and there is no risk that sleepy inadvertently flood buffaloes or elephants. I promised to my companions: we will see them in Manyare. Alas, in vain promised. "Favorite trees" Lviv survived, but there were no impressive cats on branches. The conductor shrugged too: "Perhaps went hunting. Usually they lie here ... "
Exercise 88. Prove that the excerpt of the V. Baranza article belongs to the newspaper-journalistic style. What means are used to influence the reader?
The concentration of the 55,000-thousand American land, marine and aviation groups and the collection of intelligence in the area of \u200b\u200bthe anti-terrorist operation and the first blow to the "retaliation" cost the US taxpayers into a significant part of those 40 billion dollars, which are allocated to it by Congress.
Americans used approximately 50 "Tomahawk wallated wing missiles", each of them under $ 2 million is 100 million in total. In addition, on strategic objects, terrestrial communications of the Taliban, reprimandations, departments, the camps of militants, bunkers, oil storages were inflicted. Approximately 200 bombs type B61-11 (50 thousand dollars each) - 10 million dollars. More than 600 SI-Bi-16 bombs in total pulled a total of 12-15 million dollars. Thus, only the first rocket bomb strike is estimated in the amount of about 150 million dollars.
"Language means of expressive expression in texts, blogs V. Solovyov"
Introduction
1.2 Syntactic system and expressive syntax
1.3 Language means of expressive expression
Chapter 2. Analytical overview of Blogs V. Solovyov
List of references
Introduction
Speech impact in journalism is carried out using certain speech funds. In order to achieve the psychological effect, the journalist constantly seeks to move away from traditional forms, to find for: expressions of the old content of fresh, more expressive language products. Expressiveness is currently one - from the most actively studied linguistic categories. Interest in the problem of expressiveness that broke out in recent decades; explained by the attention to the "linguistic person", or rather, to the description of the language as a means of detection and at the same time; The impact on the "linguistic personality, its behavior and inner spiritual activity.
Anthropological linguistics is closely related to an expressive aspect of the language. Looking at her thought in the language form, the author of the message inevitably expresses its attitude to the subject or situation. Very often, such a message is painted by the subjective attitude of the sender of the information to what he says or writes. Therefore, expression is considered as the detection of the individuality of the speaker, manifested in feelings, emotions and assessing the subject. This author's expression finds its expression in speech, in one or another selection of language funds, and may have an additional purpose of providing a certain impact on the addressee (listener or reader). Expressiveness, thus, acts as a phenomenon of the linguistic personality and its subjective intentions.
The subject of this study is the expressiveness and its role in the process of journalistic creativity associated with the display of social reality. The language of newspaper journalism is intended, as you know, to affect the masses of readers, inspiring them of certain ideas, contributing to the emergence of not only emotional; reactions in the form of a sensitive relationship; But reactions in the form of actions and actions. A primary role in this process belongs to a journalist as a creative language personality. In anthropological linguistics, the research emphasis was made on the identity of the subject of speech, the interpreter, the carrier of a specific point of view on the world. This specificity; It lies not only in the subjectivity of the linguistic personality and its bias, but also in the specifics of its national-cultural stereotypes, gestalts and prototypes, which finds a direct expression in journalistic activities, which is mediated by social reality. Expressiveness acts in the text as a means of pragmatics, which in (complex with other speech means of context) contributes, on the one hand, the manifestation of the positions of the journalist himself, its interpretations, emotions and assessments, and on the other - the author's speech strategy becomes one of the speech Impact on the reader. In relation to the process of journalistic skill, expressiveness is considered as a phenomenon of the authorization of journalistic discourse, the manifestation of the individuality of the journalist in the selection of expressive funds in order to express its own intentions, as well as to influence the reader.
The relevance of the work is determined by the fact that the expression aspect of the language as a result of speech activity of the linguistic personality takes an increasing place in linguistic studies. The problem of expressiveness is in the center of active research of modern linguists. She worries both philologists, editors, so: and writing _ journalists.
Expressive language products are actively developing within the journalistic style itself. Dismemberment of structures, expressed in writing by structural and logical signs; The punctuation is the base based on which: expressive syntax and expressive punctuation occurs. The overall phenomenon for a modern jumped style in all its genre varieties was all increasing: its rapprochement with colloquial speech and, accordingly, the use of dissected expressive structures, which testifies simultaneously on the increasing role of punctuation, reflecting dismemberment in the letter.
Chapter 1. Theoretical aspects of language means of expression expression
1.1 Features of the journalistic style
Publicistic style finds use in socio-political literature, periodical press (in the newspaper, magazine), in political speeches, speeches at meetings, etc.
The main function of speech is affected, which is closely intertwined with an informative function.
The role of journalism, especially newspaper, is to convince the reader and influence his will and feelings in order to create public opinion; In addition, the content of journalistic works is the transfer of messages and clarification, commenting on events.
Publicistic is primarily a pronounced copyright position, one of the forms of manifestation of author's tendentity.
Publicistic is the art of arguments, beliefs, so non-standard and brightness of expression enhances the effectiveness of speech.
The publicistic literature covers a wide variety of current issues of interest to society: ideological, political, economic, philosophical, moral and ethical, issues of upbringing, culture, art, questions of everyday life, production, etc.
With the entire description of the subjectively characterizing semantics of language and speech facts, the problem of expressiveness in the language, speech and text still does not have a holistic conceptual support, and the expressiveness, as before, is mainly equal to emotional evaluation (emotivity). In addition, linguistic expressionism literally bogged down in endless clarification of the relationship of the concepts of expressiveness, subjective modality and emotionality (emotivity). Meanwhile, based on the main provisions on the text, it is created on the basis of author's goal. The source impulse of the text creation is the author's goal, the text itself is the embodiment of the speech of movement towards the goal, directed by the author's will.
The functions of journalism determine its linguistic and stylistic features. Determining is the combination of affecting function and information.
To implement a purely information function, it is often used non-separated, regularly reproduced language standards (clisited revisions), helping the writing to promptly transfer the news, and reading them quickly and correctly perceive them.
The implementation of the function of exposure requires other language means - expressive, figurative.
The affecting function of speech in the works of journalistic style determines the style features: wonderful, expressiveness, novelty of expressions, evaluation, controversy.
The information function of speech in the works determines the features of a different plan: logicality, official, accuracy, standardizedness.
In the journalistic style (in particular, in the newspaper), expression and standard are organically combined.
Speech system is open, emotional. The duality of the speech function creates quality, therefore, are directly opposite, which leads to contradictory in the style of as a system. If, for example, the official-business style is conservative and stable, then publicistic - conservative and is highly moving. A large influence on the choice of language facilities and the organization of text has a genre variety of publications.
Information Genres (Note, Report, Report, Interview), Analytical (correspondence, article, review, letter, review) and artistic and journalistic (essay, meditation, sketch, feuilleton, pamphlet, blog) cannot do the same speech.
Publicistic is an evaluation, passionality, special emotionality. The severity of the statement, the controversy, an open direct score - the features inherent in not only journalistic genres, but here they are styrenes, without them there can be no journalistic work. Published style is an unlocked system, open, movable.
The combination of logical and emotional, objective and subjective gives rise to the problem of the relationship of the word and the image, the problem of stylistics of various journalistic genres.
In journalism, the main role is owned by the author's speech (the position of the author is active, open, assessing its rosary and definitely). It has a variety of stylistic aesthetic and communicative functions. With the author's speech contrasts and simultaneously interacts direct speech and improper-straight. This is the interaction (taking into account the methods and techniques of the combination) and forms the speech appearance of the genre: the interview, for example, is built on a direct speech, in the sketch, it has a characterological function, highlighting the hero "from the inside", in the Faken, an infirm-direct speech has been active .
Standardization provides rapid information transmission. Standard saves efforts, helps to quickly respond to events, creates a neutral style background. However, it is here that the danger of the appearance of the stamp is lurking.
The stamp appears with loss of speech clichés of expressive-assessment qualities. The source of stamps may be the desire for a figurative speech to the novelty of expressions. Because of the frequent repetition, these language means lose their expressive properties: white gold, getting a residence permit.
Publicistic style uses vocabulary and phraseology in the thematic plan, thereby reflecting the social multiplicity of the modern Russian language. On a general neutral background, evaluative means are especially noted here, and the evaluation of journalism has an individual, but social character.
Syntactic means of creating expression are diverse. These include already considered by us - appeals, introductory and plug-in designs, direct, incomplete-direct speech, many single-maintenance and incomplete proposals, inversion as stylistic reception and others. Stylistic figures, which are a strong means of emphatic intonation should be characterized.
Emphaz (from Greek. Emphasis is an indication, expressiveness) is an emotional, agitated construction of oratory and lyrical speech. Various techniques that create emphatic intonation are characteristic of predominantly poetry and are rarely found in prose, and not on the visual, but on the auditory perception of the text, which allows to estimate the increase and decrease in the voice, the tempo of speech, pause, that is, all shades of the sounding phrase. The punctuation marks are capable only conditionally convey these features of expressive syntax.
The poetic syntax is distinguished by rhetorical exclamations, which enter into special expression, strengthening speech tensions. For example, N.V. Gogol: Lush! He has no equal river in the world! (about Dnieper). Such exclamations often accompany hyperbolization, as well as in the example above. Often they are combined with rhetorical issues: Troika! Bird Troika! Who invented you? .. The rhetorical question is one of the most common stylistic figures characterized by the remarkable brightness and a variety of emotional expressive shades. Rhetorical issues contain a statement (or denial), designed in the form of a question that does not require an answer: You can't first challenge his free, bold gift and for fun inflated a little hidden fire? ..
Coinciding on external grammatical design with conventional question deals, rhetorical issues are distinguished by bright exclamation intonation expressing amazement, extreme tension of feelings; It is not by chance that the authors sometimes put an exclamation mark at the end of rhetorical questions or two signs - a question and exclamation: whether it is a female mind, brought up in the pinnedness, doomed to alienation from a real life, should she not know how dangerous such aspirations and what they end?! (Bel.); And how do you still do not understand and do not know that love, like friendship, like a salary, how glory, how is everything in the world, should be deserved and supported?! (Kind.)
The rhetorical question, in contrast to many stylistic figures, is used not only in the poetic and oratory speech, but also in conversational, as well as in journalistic texts, in artistic and scientific prose.
Strict, book color characterizes parallelism - the same syntactic construction of adjacent proposals or speech segments:
In the blue sky, the stars shine,
In the blue sea, the waves are harvested;
Cloud goes across the sky
Barrel on the sea floats.
(A.S. Pushkin)
Syntactic parallelism often strengthens rhetorical issues and exclamations, for example:
Poor critic! She was courtesy in the girls, and a good tone was gained in the hallway, is it surprising that "Count Nulin" so cruelly insulted her subtle feeling of decency? (Bel.); Basareas all these subtleties are incomprehensible. How does it think to prepare and configure himself for love? When a person really loves, does he have a grace and think about the trifles of the external grace? Did the real love fluctuate? Does she need any external benchmarks of the place, time and minute location caused by the conversation? (PR.)
Parallel syntactic designs are often built on the principle of anathephory (unity of). So, in the last of the examples we see anaphoric repetition of the word, in the poetic Pushkin text of unity - in the blue sky ... in the blue sea. The classic example of the anifores are Lermontov lines: I am the one that you did in the midnight silence, whose thought my soul whispered, whose sadness you vaguely guess whose image saw in a dream. I am whose gaze goes hope; I am who no one loves; I am the Beach of the slaves of my earthly, I king Poznania and Freedom, I am an enemy of heaven, I evil nature ...
Epiphera (ending) - repetition of the last words of the sentence - also enhances the emphatic intonation: for what to destroy the independent development of the cat, raving its nature, killing faith in him in itself and forcing it to do only what I want, and just as I want, And just because I want? (Kind.)
Epiphara gives Lurism to Turgenev poem in prose "How good, as fresh roses were ..."; This stylistic admission loved S. Yesenin, remember His epifors! - My White Lipa was played away, Solovdney Dawn was ... Nothing! I stumbled about the stone, it will heal for tomorrow!; Stupid heart, do not beat; Floored care in the heart of the Mallist. Why glanced by charlatan? Why did I get a scandalist? ... I cleared the mump in my heart. That was why I was glad by charlatan, because I woke up with a scandalist. As can be seen from the last example, the author can partly update the vocabulary of epifors, varies its content, while maintaining the external semblance of the statement.
Among the bright examples of expressive syntax should be called various ways of violation of the closure of the proposal. First of all, this is the displacement of the syntactic design: the end of the sentence is given in another syntactic plan than the beginning, for example: and me, Onegin, this, pomp with the life of tinsel, my progress in the vortex of light, is my fashionable home and evenings, what's in them? (P.) It is also possible the incompleteness of the phrase, which indicates the author's punctuation: as a rule, this is a dot - but those who are in a friendly meeting I read the first read ... There are no other, and those forced as the garden once said (P. ).
Punctuation allows the author to convey the intermittentness of speech, unexpected pauses, reflecting the spiritual excitement of the speaker. Recall the words of Anna Snagina in the poem of S.Senin! - See ... already light. Dawn like a fire on the snow ... I am reminded to me ... But what? .. I can not understand ... ah! ... yes ... it was in childhood ... another ... not autumn Dawn ... We sat together ... We are sixteen years old ...
Emotional speech tensions are transmitted and connecting structures, there are those in which phrases do not fit immediately into one semantic plane, but form an associative joining chain. A variety of accession techniques provides modern poetry, journalism, artistic prose: every city has age and voice. There is clothes your own. And a special smell. And face. And not immediately understandable pride (R.); Quote on the 1st strip. About personal. - I recognize the role of personality in history. Especially if this is the president. Moreover, the President of Russia (the statement of V. Chernomyrdin // Izvestia. - 1997. - 29 Jan.); So I am in the bivka. One. Autumn courtyard. Late (AST.) About such connecting structures Professor N.S. Vintagina notes: "The syntactically non-relatively segments of the text, but extremely independent intonational, torn off from the proposal of their proposed, acquire greater expressiveness, become emotionally saturated and bright."
Unlike the connecting structures, which are always postpositive, the nominative representation (isolated nominative), calling the subject of the subsequent phrase and designed to cause a special interest in the subject of statements, strengthen its sound, as a rule, it is in the first place: my miller ... oh, this miller! You drive me crazy. I set up a voyatka, slacker, and runs like a postman (EU.). Another example: Moscow! How much in this sound for the heart of Russian merged, as a lot in it responded! (P.) With such a peculiar emotional supply of thought, it is divided by an emphatic pause; As A. M. Peshkovsky, "... At first there is an isolated object, and the listeners are only known that something will be said about this subject and that while this item must be observed; The next moment the thought itself speaks. "
Ellipsis is a stylistic figure, consisting in the intentional passing of any member of the sentence, which is meant from the context: we sat down - in ashes, hails - in the dust, in swords - sickles and plows (beetles). The passage of the faded gives speech special dynamism and expression. From this syntax receipt should be distinguished by the default - the turnover of speech, consisting in the fact that the author deliberately negates the thought, giving the right to the listener (reader) to guess what words they are not uttered: no, I wanted ... perhaps you ... I thought That Baron time to die (P.). The dill hides an unexpected pause, reflecting the excitement of the speaker. As the stylistic reception, the default is often found in conversational speech: - You can't imagine, it is such a news! .. How can I now? .. I can't calm down.
For intonational and logical underscores of the allocated objects, an expressive stylistic figure is used - multi-joint (polysindone). Typically written, connecting unions and, nor - in front of the eyes went the ocean, and broke, and thundered, and sparkled, and faded, and went somewhere in infinity ... (Kor.); Although this book did not have a poet's sweet fiction, nor wise truths, no paintings; But neither Vergilia, nor Rasin, nor Scott, nor Byron, nor Seinene, nor even the ladies' mod magazine did not occupy anyone: it was, friends, Martyn Test, the head of the Chaldean wise men, a fortuneteller, the interpreter of dreams (P.). Great expressive acquisitions of lines in which the opposite stylistic technique applies next to the multi-semicure: there was a typhoid, ice, and hunger, and blockade. All ended: cartridges, coal, bread. The mad city turned into a crypt where Gulko was given to Canonada (Sheng.). As noted by D.E. Rosenthal, "The absence of unions attaches to the statement of rapidness, saturation of impressions." Recall Pushkin lines: flickering by booths, women, boys, shops, lanterns, palaces, gardens, monasteries, Buchants, Sani, gardens, merchants, barns, men, boulevards, towers, Cossacks, Pharmacies, Fashion stores, Balconies, Lions on the gate And the packs of the crescent (P.). This passage from Evgenia Onegin draws a quick change of paintings, the items truly flashes! But the possibilities of Nezoryuy and multi-diverse are diverse, these techniques used the poet, describing the dynamics of Poltava combat: Swede, Russian - Kolts, rubit, cuts, fight drum, click, grind, thunder cannons, Topot, Rzhanye, moan, and death, and hell from all Parties (P.).
Handling of the same type of syntactic units (for example, homogeneous members, apparent proposals) often creates gradation - that is, such an arrangement of words, (phrases, parts of a complex sentence), in which each subsequent enhances (less often weakens) the value of the previous one, which creates an increase in intonation and emotional increases Voltage speech. This can be illustrated by a passage of "Eugene Onegin" quoted above (even though it did not have a book, this neither sweet fiction of the poet ...) and many other examples, including prosaic: in the fall of the naughty steppes completely change and get their own special, distinctive, nor with What is not a similar view (AKS).
Stylistic figures are often connected, complement, reinforce each other, informing speeches exciting intonation. Recall the explanation of Onegin with Tatiana! -
When life is a homemade circle
I wanted to limit;
When I should be a father, spouse
pleasant lot commanded;
When the family painting
I was captured at least a mig one, -
That is true, except you alone
The bride was not looking for another.
Anaphor and gradation were connected in this statement, which represents a brilliant example of a special type of complex proposal - period.
The period is called the harmonic in the form of a complex syntax design characterized by special rhythm and ordering of parts, as well as exceptional completeness and completion of the content. A.P. Kvyatkovsky, calling as examples of the period classic works - "When sometimes the memory" Pushkin (in 26 lines), "when the yellowing Niva is worried" Lermontov (16 lines), "Oh, I will long be in my night silence of the night" A. Feta (12 Lines) and his own "when I am dreamed of silence" (20 lines), "says:" The poem written in the form of the period is indicated by the latitude of the author's poetic respiration and about great mature skill, "allowing" to cope with the complex vehicle equipment, which includes There are several stanz. "
The doctrine of the period as a matter of emphatic intonation was developed in the ancient rhetoric. The period is obliged to intonation in a complex syntax design: first, the voice smoothly rises, as if describing the curve line, then reaches the highest point on the main part of the statement, after which it decreases sharply, returning to the initial position, the closure (period - from Greek. Periodosu letters. Bypass). The compositionally period decomposes into two mutually balanced parts: the first is characterized by an increase in intonation, the second - decrease, which determines the harmony and intonational fees. In terms of content, the period represents one whole, develops one topic, revealing it with a well-known completeness and versatility. The main position in the period is transmitted dismemberously, which makes it possible to comprehend it different sides, shades (remember the poem A.S. Pushkin "Whether I go along the streets of noisy ..." is the period.). The musicality and rhythm of the period are achieved by its structure: it consists of several of the same type, compidant syntactic units, often having the same alliances, similar grammatical construction, approximately the same size. The repetition of them creates a rhythmic pattern of speech.
Most often, the period is built as a complex proposal with homogeneous additives, which are at the beginning. For example:
When he is on the first day, I walked early in the morning, I went out at the dawn from Balagan and saw the dark domes first, the crosses of the Novodevichy Monastery, saw the frosty dew on the dusty grass, saw the hills of Sparrow Mountains and silent over the river and hiding in the lilac gave a wooded coast when he felt The touch of fresh air and heard the sounds of the dask flying from Moscow across the field and when then suddenly splashed the light from the east and solemnly floated the edge of the sun because of the clouds, and the dome, and crosses, dew, and the distance, and the river, and the river began to go in joyful light , - Pierre felt a new, uneficated sense of joy and fortress of life
(L.N. Tolstoy. War and Peace)
In the period are used by the pressing time, conditions, causes, image of action, comparative, etc. We present an example of a period of gradual appendages: no matter how hard it was Marya to leave the world of a secluded contemplation in which she still lived, no matter how sorry and how As if it was conscientious to leave Natasha alone, - the care of life demanded her participation, and she was involuntarily given to them (L. T.). Less frequent members of the period are involved in the composition of the period, for example, particle inclusive turns performing the function of time circumstances: appeared to the regimental commander; Having received the appointment into the former squadron, converging on duty and on foraging, entering all the small interests of the regiment and felt deprived of liberty and chained in one narrow unchanged frame, Rostov experienced the same calmness, the same support and the same consciousness that he is here At home, in its place, which he felt under the parental shelter (L. T.). Periodic speech L.N Tolstoy invariably attracts researchers, because studying it gives the key to understanding the characteristics of the style of the great writer. A.P. Chekhov admired the "strength of periods" of Leo Tolstoy.
The style of each writer affects the originality of his periods. It is impossible to confuse these syntactic buildings from Tolstoy and Pushkin, even if Pushkin applied to the prose period:
When writers spoiled by minute successes, the most part rushed into brilliant bales; When the talent is alien to labor, and the fashion neglects the samples of the greatest antiquity; When poetry is not a reverent ministry, but Tokmo is a frivolous occupation; With a sense of deep respect and gratitude to the poet, who devoted proudly, the best years of life with exceptional work, disinterested inspiration and the commission of a single, high feat (about the translation of the Iliad of Homer).
The ability to use in the period a variety of stylistic figures has always attracted and will attract the artists of the word.
The use of stylistic figures, a variety of syntactic means of creating emphatic intonation in large poets is usually combined with the use of trails, evaluation vocabulary, bright gains of emotionism, speech patterns. Complete our observations by a classic Pushkin example, we will remind only the beginning and the end of the poem:
I wander along the streets of noisy,
I enter the crowded temple
I'm sitting between young people insane
I indulge my dreams.
I say: the years will be used
And how much you can see us,
We will all go under the eternal vaults
And someone is close enough.
..................................................
And at least an insensible body
Equally everywhere to think,
But closer to the cute limit
I wanted to rest everything.
And let the coffin entrance
Mladia will be life to play
And indifferent nature
Krasya eternally shine.
_________________________________________________________________________
List of conventional abbreviations
A. B. - A. White
ADB. - F.A. Abramov
"AIF" - "Arguments and Facts"
Ait. - Ch. Aitmatov
AKS - S.T. Aksakov
A. K. - A.Yu. Crivitsky
A. K. T. - A.K. Tough
Al. - M.N. Alekseev
An. - A.A. Ananyev
Andr. - L.N. Andreev
Ant. - P.G. Antickolsky
A. Paul. - A.I. Polezhaev
ARS. - VK. Arsenyev
AST. - V.P. Astafyev
A. T. - A.N. Tough
Ahm. - A.A. Akhmatova
Bab. - I.A. Babel
Baghr. - E.G. Bagritsky
Bazh. - p.p. Bazhov
Balm. - k.d. Balmont
Bar. - E.A. Baratyan
Barto - A.L. Barto
Bat. - K.N. Batyushkov
White - V.G. Belinsky
Belk. - M. Belkin
Bar. - G.S. Berezko
Berg. - O.F. Berggolts.
Bl. - A.A. Block
God. - V. Bogomolov
Bond. - Yu.V. Bondarev
Ford. - I. Brodsky
Bruce. - V.Ya. Bryusov
Bub. - M.S. Bubennov
Bulg. - MA Bulgakov
Bun. - I.A. Bunin
You. - B.L. Vasilyev
V. B. - V.V. Bykov
V. Bel. - IN AND. Belov
Ver. - V.V. Veresaev
Vic. - S.V. Vikulov
Vishn. - Sun.V. Vishnevsky
V. K. - V. Kozko
WITH - A.A. Voznesensky
Sun. Yves. - Sun. Ivanov
High. - VS Vysotsky
Elm. - P.A. Vyazemsky
G. - N.V. Gogol.
Hyde. - A.P. Gaidar
Gaul. - M.L. Gallai.
Garsh. - V.M. Garin
GERM. - Yu.P. Hermann
Hertz. - A.I. Herzmen
Nick. - G.E. Nikolaev
Rong. - A.I. Goncharov
C. - A.S. Griboedov
Gran. - YES. Granin
Green. - A.S. Green
GUM. - N.S. Gumilev
Dv. - I. Polesky
Keep. - G.R. Derzhavin
Good. - ON THE. Dobrolyubov
Cost. - F.M. Dostoevsky
E. V. - E. Vinokur
EVT. - E.A. Evtushenko
E. N. - E. Nosov
EU. - S.A. Yesenin
Bug. - V.A. Zhukovsky
Z. - N.A. Zabolotsky
Hall. - S.P. Zaligin
from gas. - from newspapers
from journal - from magazines
I. and P. - I.A. Ilf and E.P. Petrov
Inb. - V.M. Inbert
Kav. - V.A. Cavery
Kaz. - E.G. Kazakevich
Car. - A.A. Karavaev
Karamz. - N.M. Karamzin
Cat. - V.P. Kataev
Kettle. - VK. Ketlin
Skin. - A.B. Kozhevnikov
Ring. - A.V. Rings
Comr. - Komrakov
Kor. - V.G. Korolenko
K. P. - Kozma rods
Kr. - A.I. Wings
"Kr." - "crocodile"
Curve. - F.D. Crivine
KUPER. - A.I. Kubrin
L. - M.Yu. Lermontov
Lavr. - B.A. Lavrenev
LAP. - MA Laptev
"LG" - "Literary Gazeta"
Leon. - L.M. Leonov
Lesk. - N.S. Leskov
Leed. - V. Lidin
Lip. - V.V. Lipatov
Lhun. - IN AND. Likhonosov
L. - K. - V. Lebedev - Kumach
Scrap. - M.V. Lomonosov
Lond. - L. London
L. T. - L.N. Tough
Meadow. - V.A. Lugovsky
Lyash. - N.N. Lyashko
Mike. - A.N. Mikes
Poppy. - A.S. Makarenko
Mark. - AND I. Markov
March. - L.N. Martynov
March. - S.Ya. Marshak
Matv. - N.N. Matveev
Lighthouse. - V.V. Mayakovsky
MG - A.M. Bitter
Mich. - S.V. Mikhalkov
MK - "Moscow Komsomolets"
M. Mar. - Maria Maric.
M. - P. - PI Melnikov - Pechora
M. - S. - D.N. Mint - Sibiryak
Mst. - S. Mstislavsky
M. Step. - M. Shaginyan
N. - N.A. Nekrasov
Nag. - Yu.M. Nagibibin
N.G. - N.M. Gribachev
N. D. - N. Dubov
N. O. - N.A. Ostrovsky
N. Ch. - N.K. Cherkasov
Og. - N.P. Ogarev
OK. - B.Sh. Okudzhava
Sharp - A.N. Ostrovsky
P. - A.S. Pushkin
Pan. - P.F. Panova
Paste. - B.L. Parsnip
Paust. - K.G. Powesty
Sand. - V.M. Peskov
PR. - A.F. Pisemen
studies. - proverb
Floor. - Ya.P. Polonsky
ambassador - Proverbits
Came. - MM Svtain
R. - R.I. Christmas
Rasp. - V.G. Rasputin
Rivers. - A.E. Remem
Roses. - V. Rosov
Fish. - N. Rynkov
St. - MA Svetles
Sowing. - I. Northernin
Safe. - L.N. Seifullina
Sem - V. Semin
Sieraf. - A.S. Serafimovich
Sim. - K.M. Simonov
S. - K. - N.I. Sukhovo - Kobylin
Sl. - B.A. Slutsky
Snow - S. Snow
Sol. - V.A. Soloohin
Mill. - K.S. Stanislavsky
Sur. - I.Z. Surikov
Surk. - A.N. Surkov
S. - Ts. - S.N. Sergeev - Verse
S. - Sch. - M.E. Saltykov - Shchedrin
T. - I.S. Turgenev
Tward. - A.T. Tvardovsky
Tender. - V.F. Tenryakov
Tim. - K.A. Timiryazev
Quiet. - N.S. Tikhonov
Tr. - VK. Trediakovsky
Trif. - Yu Trifonov
Troop. - G.N. Troypolsky
Tyutch. - F.I. Tyutchev
UP. - G.I. Assumption
Fad. - A.A. Fadeev
Fed. - K.An Fedin
FRSM. - A.E. Fersman
Fet - A.A. Fet
F. K. - F. Knorre
Fom. - V. Fomenko
Foundation. - D.I. Fonvizin
Furm. - YES. Furmanov
Chill - V. Khlebnikov
Color - M.I. Tsvetaeva
Ch. - A.P. Chekhov
Chuck. - A. Chokovsky
Chern. - N.G. Chernyshevsky
Chuk. - K.I. Chukovsky
Shat. - THEM. Shatunovsky
Sheng. - Shangeli.
Chef. - VS Shefner.
Shol. - MA Sholokhov
E. Kr. - Emil Krotky
Eren. - I.G. Erenburg
ERR. - A. Ertel
Ya. Ister - Ya. Ostrovsky
