Features of the style of fiction. Art Style - Features and Language

Language is the "primary element of literature". Language exists in life independently of literature, but depending on its specific features, it acquires special properties that make it possible to speak of a “language fiction"(or similar in meaning "poetic language"127). Literary criticism often operates with the term artistic speech, which is understood as one of the sides of the content form.

Any literary work uses a special, "poetic language", and "... the charm of the picture, images infects every person, at whatever stage of development he is"128. Poetic language, or the language of fiction, is one of major languages spiritual culture along with the language of religion and the language of science. This is the language of verbal art. The poetic language is open, i.e., constantly oriented towards the search for new expressive possibilities,

it has an attitude towards conscious and active “language-creation”129. G.O. Vinokur calls the language of fiction "figurative language"130.

Poetic language is the result creative activity many artists of the word. The originality of poetic language depends on its genre. The writer in search of new means of representation may violate language norms. Poetic language of the late XX century. different from the poetic language of the late nineteenth century.

Poetic vocabulary considers "the question of the choice of individual words that make up the composition of artistic speech"131. A.A. Potebnya noted the inextricable link between literary criticism and linguistics in Russian philology. According to his theory, “initially, every word consists of three elements: an external form (i.e., a sound shell), a meaning, and an internal form”132, which are needed to create a verbal image. The Symbolists increased their interest to the utmost in the shell of the word, in what they called its musicality; they put forward suggestive (emotionally affecting the reader) words to the fore. Both Symbolists and Futurists set themselves the task of creating a new poetic language.

Philologists distinguish between speech and language. “Language is that stock of words and those grammatical principles of their combination in a sentence that live in the minds of people of one or another nationality and with the help of which these people can always communicate with each other. Speech is language in action, it is the very process of verbal communication between people, which always arises in certain conditions of life and consists in the expression of certain thoughts, colored by certain feelings and aspirations.

The choice of words and syntactic constructions depends on the characteristics of their emotional and mental content. The speech of oratory, clerical documents, philosophical works differs from the speech of works of art.

The speech of works of art has features. The main properties of artistic speech are figurativeness, allegoricalness, emotionality, author's originality. Its originality is determined by the tasks facing writers and poets who study human life in its various manifestations. They can use different language styles in a work of art: scientific, business, colloquial, intimate speech, etc.; this is motivated by the fact that one or another sphere of life is depicted in a work of art.

Of great importance is the principle of reflecting life in works - realistic, romantic, etc. The development of realism in Russia in early XIX in. opened new doors for literature creative possibilities. The heroes of Griboyedov, Pushkin, Gogol spoke in a language corresponding to their social status, because "language is also motivated by the fact that it is associated with its specific carrier, conveys the originality of the character of a person's personality, expressed in the originality of speech"134.

Poetic language plays an important role in shaping the writer's style, which is expressed in vocabulary and in the intonational-syntactic organization of speech. Prose A.C. Pushkin and prose L.N. Tolstoy - sharply different artistic-individual structures.

The question of the properties of artistic speech was sharply discussed in the works of A.A. Potebni, A.N. Veselovsky, P.O. Jacobson, B.V. Tomashevsky, G.O. Vinokura,

V.V. Vinogradov. Along with scientists, poets and writers took part in the discussion of this problem (V.

Shklovsky, Yu. Tynyanov, B. Pasternak, O. Mandelstam and others) - Later this work was continued in the works of B.M. Eikhenbaum, A.Ya. Ginzburg, A.I. Timofeeva, M.L. Gasparova, V.G. Grigoriev and many others.

The dictionary of writers is a manifestation of the richness of the language in which they wrote, evidence of a deep knowledge of this language and linguistic talent. To create artistic images, literature primarily uses the figurative and expressive means available in the dictionary and in the stable turns of speech characteristic of a given language. The vocabulary of a language is called its vocabulary, and fixed phrases are called phraseology. The choice of words and phrases is the most important aspect of the writer's work on the language of the work. And difficult. V. Mayakovsky admitted: "You are exhausting a single word for the sake of a thousand tons of verbal ore ...".

Of all lexical means, synonyms have the greatest stylistic possibilities (synonimos - the same name). They are divided into ideographic, i.e., differing only in meaning (horse - horse - mare - stallion) and stylistic, i.e., differing in stylistic and emotional coloring (taste - eat - crack).

The elements that make up the language - linguistic units - act as a means of expressing a certain content and may not be used as linguistic artistic means. Due to the variety of meanings and emotionally expressive coloring in language tools ah contains the possibility of their purposeful use, calculated on a certain impact on the reader and listener. Usually these possibilities are called stylistic possibilities of language means.

Polysemy, or polysemy, or polysemy (Greek poly - many, sema - sign) of the word can be used to solve complex artistic problems.

Choosing a single word from a number of words that are identical or very close in meaning, or resorting to stringing synonyms, the artist achieves vivid imagery and the utmost accuracy of expression. The writer, replacing one word with another, achieves the most accurate transfer of meaning. So, M.Yu. Lermontov, in a draft of the poem "Death of a Poet", called Dantes first an "enemy" and then a "murderer", defining the role that he played in a duel with Pushkin. Synonyms give this or that emotional and stylistic coloring to the statement. For example, the word "face" is stylistically neutral, "face" has a tinge of solemnity:

But the light is struck by a glimpse

Her face is not a common expression.

(E. Baratynsky)

You bow your face, mentioning it,

And blood ascends to your forehead...

(A.K. Tolstoy)

The word "eyes" is also stylistically neutral, and the word "eyes" has a tinge of tenderness, solemnity (this is a bookish word, Slavicism):

A tribute to you eyes and hearts, a living song to you lyre

And the tremulous babble of shy praises!

(P. Vyazemsky)

And he sang about clear eyes.

About the eyes of a girl-soul.

(F. Glinka)

Possession of synonymy helps the writer to avoid repeating the same words, to diversify speech. For example, in Gogol's Dead souls Sobakevich ... joined the sturgeon and in a quarter of an hour with a little finished it all. Having finished the sturgeon, Sobakevich sat down in an armchair and blinked his eyes.

Greater expressiveness of artistic speech is given by antonyms - words that are opposite in meaning. With their help, the author can contrast the depicted characters, phenomena, events:

You are powerful.

You are also powerless.

Mother Russia!

(NA. Nekrasov)

Don't fall behind you. I am a guard.

You are a convoy. Fate is one.

(M. Tsvetaeva)

On the use of antonyms, a description of Chichikov's appearance in Gogol's "Dead Souls" is built: A gentleman was sitting in the britzka, not handsome, but not bad-looking, not too fat, not too thin; one cannot say that he is old, but it is not so that he is young either.

Antonyms help characterize inner essence character. Here is how Y. Trifonov describes one of his heroes: He was somehow suitable for everyone. And this, and that, and with those, and with these, and not evil, and not kind, and not very greedy, and not very generous, and not exactly an octopus, and not quite a glutton, and not cowardly, and not a daredevil, and seemingly not a sly one, and at the same time not a simpleton ... He was absolutely no, Vadik Baton ("House on the Embankment").

Art style— concept, types of speech, genres

All researchers talk about the special position of the style of fiction in the system of styles of the Russian language. But its selection in this common system perhaps, because it arises on the same basis as other styles.

The scope of the style of fiction is art.

The “material” of fiction is the national language.

He depicts in words thoughts, feelings, concepts, nature, people, their communication. Each word in a literary text is subject not only to the rules of linguistics, it lives according to the laws of verbal art, in the system of rules and techniques for creating artistic images.

The form of speech is predominantly written, for texts intended to be read aloud, prior recording is required.

Fiction uses equally all types of speech: monologue, dialogue, polylogue.

Type of communication - public.

Genres of fiction known isnovel, short story, sonnet, short story, fable, poem, comedy, tragedy, drama, etc.

all elements of the artistic system of a work are subordinated to the solution of aesthetic problems. The word in a literary text is a means of creating an image, conveying the artistic meaning of a work.

These texts use all the variety of linguistic means that exist in the language (we have already talked about them): means of artistic expression, and can be used as means literary language, and phenomena that stand outside the literary language - dialects, jargon, means of other styles, etc. At the same time, the selection of language means is subject to the artistic intention of the author.

For example, the name of the hero can be a means of creating an image. This technique was widely used by writers of the 18th century, introducing “speaking names” into the text (Skotinins, Prostakova, Milon, etc.). To create an image, the author can use the possibilities of polysemy of a word, homonyms, synonyms and other linguistic phenomena within the same text.

(The one that, having sipped passion, only swallowed silt - M. Tsvetaeva).

The repetition of the word, which in scientific and official - business styles emphasizes the accuracy of the text, in journalism serves as a means of enhancing the impact, in artistic speech it can underlie the text, create art world author

(cf .: S. Yesenin's poem “Shagane you are mine, Shagane”).

The artistic means of literature are characterized by the ability to “increase meaning” (for example, with information), which makes it possible different interpretations literary texts, its various assessments.

So, for example, many works of art were evaluated differently by critics and readers:

• drama by A.N. Ostrovsky called "Thunderstorm" "a ray of light in the dark kingdom", seeing in her main character - a symbol of the revival of Russian life;
• his contemporary saw in The Thunderstorm only "a drama in the family chicken coop",
• modern researchers A. Genis and P. Weil, comparing the image of Katerina with the image of Emma Bovary Flaubert, saw a lot in common and called The Thunderstorm "a tragedy of bourgeois life."

There are many such examples: the interpretation of the image of Shakespeare's Hamlet, Turgenev's, Dostoevsky's heroes.

The literary text has author's originality - the style of the author. This is this characteristics the language of the works of one author, consisting in the choice of heroes, compositional features text, the language of the characters, the speech features of the author's text itself.

So, for example, for the style of L.N. Tolstoy is characterized by a technique that the famous literary critic V. Shklovsky called “removal”. The purpose of this technique is to return the reader to a living perception of reality and expose evil. This technique, for example, is used by the writer in the scene of Natasha Rostova’s visit to the theater (“War and Peace”): at first, Natasha, exhausted by separation from Andrei Bolkonsky, perceives the theater as an artificial life, opposed to her, Natasha’s, feelings (cardboard scenery, aging actors), then, after meeting Helen, Natasha looks at the scene through her eyes.

Another feature of Tolstoy's style is the constant division of the depicted object into simple constituent elements, which can manifest itself in the series homogeneous members suggestions; at the same time, such dismemberment is subordinated to a single idea. Tolstoy, struggling with the romantics, develops his own style, practically refuses to use the actual figurative means of the language.

In a literary text, we also encounter the image of the author, which can be presented as an image - a narrator or an image-hero, a narrator.

This is a conditional . The author ascribes to him, “transfers” the authorship of his work, which may contain information about the personality of the writer, facts of his life that do not correspond to the actual facts of the writer’s biography. By this, he emphasizes the non-identity of the author of the work and his image in the work.

• actively participates in the lives of heroes,
• included in the plot of the work,
• expresses his attitude to what is happening and characters

Often the language of fiction is considered a special functional kind of language - along with business, scientific, journalistic, etc. But such an opinion is wrong. The language of business documents, scientific works (etc.) and the language of artistic prose and poetry cannot be considered as phenomena of the same order. Fiction (and in our time, poetry) does not have that lexical “set” that distinguishes one functional variety from another, and does not have specific signs in the field of grammar. Comparing the works of different writers, one cannot help but come to the conclusion that the differences between them can be exceptionally great, that there are no restrictions on the use of language tools here.
There is a “limitation”, but it is purely creative, not related to the use of certain resources of the language: everything in the work must be artistically expedient. Under this condition, the writer freely uses the features of everyday speech, and scientific, and business, and journalistic - by any means of the language.
The peculiarity of the language of fiction is not that it uses some specific means - words and grammatical constructions that are peculiar only to it. On the contrary: the specificity of the language of fiction is that it is " open system”, is not limited in any way in the use of any language features. Not only those lexical and grammatical features that are typical for business, journalistic, scientific speech, but also the features of non-literary speech - dialectal, colloquial, jargon - can be accepted by an artistic text and organically assimilated by it.
On the other hand, the language of fiction is especially strict with respect to the norm, more demanding, more sensitively protecting it. And this is also specific artistic language- speeches. How can they be combined

such opposite properties: on the one hand, complete tolerance not only for all literary varieties of language - speech, but even for non-literary speech, on the other hand, especially strict, exacting observance of norms? This must be considered.

More on the topic § 8. SPECIFICITY OF THE LANGUAGE OF ART LITERATURE:

1. The concept of functional styles of PR. The main categories of style. Correlation and interaction of the national language, lit language and the language of fiction.
2. GENERAL PROBLEMS AND TASKS OF STUDYING THE LANGUAGE OF RUSSIAN ART LITERATURE
3. STUDYING THE LANGUAGE OF ART LITERATURE IN THE SOVIET ERA
4. ON THE RELATIONSHIP OF THE DEVELOPMENT PROCESSES OF THE LITERARY LANGUAGE AND STYLES OF LITERARY ART
5. V. V. VINOGRADOV ON THE LANGUAGE OF ART LITERATURE State Publishing House of ART LITERATURE Moscow 1959, 1959
6. The multifunctionality of the Russian language: the Russian language as a means of serving all spheres and types of communication of the Russian people. Literary language and the language of fiction.
7. 3. The word as a unit of language. Specificity of the lexical system of the language. Grammatical meanings and properties.
8. Stylistic layers of Russian vocabulary. Functional styles of the modern Russian language (style of fiction, colloquial style of speech and its features). Interaction of speech styles in journalism.

The peculiarity of the language of fiction is:

1) the unity of communicative and aesthetic functions;

2) multi-style;

3) widespread use of figurative and expressive language means;

4) manifestation of the creative individuality of the author.

To this we add that the language of fiction has a great influence on the development of the literary language.

Not all orders

These features are a specific feature of the artistic style. As has already been said, only the aesthetic function is wholly relevant to it. As for other features, they are found to a greater or lesser extent in other styles. Thus, figurative and expressive means of language are found in many genres of journalistic style and in popular science literature. The individual style of the author is found both in scientific treatises and in social and political works. Literary language is not only the language of fiction, but also the language of science, periodicals, public institutions, schools, etc.; colloquial speech has a strong influence on its development.

Being only a part of the general literary language, the language of fiction at the same time goes beyond its limits: to create a "local color", a speech characteristic actors, as well as dialect words are used as a means of expression in fiction, the social environment is characterized by slang words, professional, colloquial, etc. For stylistic purposes, archaisms are also used - words that have fallen out of the asset of the language, replaced by modern synonyms. Their main purpose in fiction is to create the historical flavor of the era. They are also used for other purposes - they give solemnity, pathos to speech, serve as a means of creating irony, satire, parody, color the statement in playful tones. However, in these functions, archaisms find application not only in fiction: they are also found in journalistic articles, newspaper feuilletons, in the epistolary genre, etc.

Noting that in fiction the language acts in a special, aesthetic function, we mean the use of the figurative possibilities of the language - the sound organization of speech, expressive and visual means, expressive and stylistic coloring of the word. The figurativeness of the word is due to its artistic motivation, purpose and place in the artwork, according to its figurative content. The word in the artistic context is two-dimensional: being a nominative-communicative unit, it also serves as a means of creating artistic expression, creating an image.

A feature of the style of a work of art is the “image of the author” (“narrator”) that appears in it, not as a direct reflection of the writer’s personality, but as its original reincarnation. The choice of words, syntactic constructions, intonation pattern of a phrase serves to create a speech “image of the author” (or “image of the narrator”), which determines the whole tone of the narration, the originality of the style of a work of art.

Often the artistic style is opposed to the scientific one. This opposition is based on Various types thinking - scientific (with the help of concepts) and artistic (with the help of images). different forms knowledge and reflection of reality find their expression in the use of various linguistic means.

To confirm this position, two descriptions of a thunderstorm can be compared - in a scientific article and in a work of art.

Conversational style

The colloquial style is opposed to the book styles; he alone has the function of communication, he forms a system that has features on all "tiers" of the language structure: in phonetics (more precisely, in pronunciation and intonation), vocabulary, phraseology, word formation, morphology, syntax.

The term " colloquial style' is understood in two ways. On the one hand, it is used to indicate the degree of literary speech and is included in the series: high (bookish) style - medium (neutral) style - reduced (conversational) style. Such a subdivision is convenient for describing vocabulary and is used in the form of appropriate marks in dictionaries (words of a neutral style are given without a mark). On the other hand, the same term refers to one of the functional varieties literary language.

The colloquial style is a functional system so separate from the book style (it is sometimes called the literary language) that this allowed L.V. Shcherba to make the following remark: “Literary language can be so different from spoken language that sometimes one has to talk about two different languages". Literary language should not be literally contrasted spoken language, i.e. take the latter out of the literary language. This refers to two varieties of the literary language, each with its own system, its own norms. But in one case it is a codified (strictly systematized, ordered) literary language, and in the other it is not codified (with a freer system, a lesser degree of regulation), but also a literary language (beyond which there is something that is partly included in literary speech, partly beyond it). the framework of the so-called vernacular). And in the future we will adhere to this understanding. And to distinguish between the available options within the literary language - lexical, morphological, syntactic - the terms "bookish" and "colloquial" will be used.

The colloquial style finds its expression both in writing (remarks of characters in plays, in certain genres of fiction and journalistic literature, entries in diaries, texts of letters on everyday topics), and in oral form. This does not mean oral public speech (report, lecture, speech on radio or television, in court, at a meeting, etc.), which refers to a codified literary language, but unprepared dialogical speech in the conditions of free communication of its participants. For the latter case, the term "colloquial speech" is used.

Conversational speech is characterized by special conditions of functioning, which include:

1) the lack of preliminary consideration of the statement and the related lack of preliminary selection of linguistic material;

2) immediacy speech communication between its participants;

3) the ease of the speech act, associated with the lack of formality in relations between speakers and in the very nature of the statement.

An important role is played by the context of the situation (the environment of verbal communication) and the use of extralinguistic means (facial expressions, gestures, the reaction of the interlocutor).

K purely language features colloquial speech relate:

1) the use of non-lexical means: intonation - phrasal and emphatic (emotionally expressive) stress, pauses, speech rate, rhythm, etc.;

2) the widespread use of everyday vocabulary, and phraseology, emotionally expressive vocabulary (including particles, interjections), various categories of introductory words;

The language of fiction -

1) the language in which works of art are created (his,), in some societies, is completely different from everyday, everyday (“practical”) language; in this sense, I. x. l. - the subject of the history of language and history; 2) poetic language, a system of rules underlying literary texts, both prose and poetry, their creation and reading (interpretation); these rules are always different from the corresponding rules of everyday language, even when, as, for example, in modern, the lexicon, grammar and phonetics of both are the same; in this sense, I. x. l., expressing the aesthetic function, is the subject of poetics, in particular historical poetics, and also, namely, the semiotics of literature.

For the 1st meaning, the term "fiction" should be understood broadly, including, for past historical eras, its oral forms (for example, Homer's poems). A special problem is the language of folklore; in accordance with the 2nd value, it is included in Ya x. l.

In societies where everyday communication occurs in, and there is no common or literary language, Ya x. l. acts as a special, "supradialectal" form of speech. This was supposed to be the language of the most ancient Indo-European poetry. In ancient Greece, the language of the Homeric poems "Iliad" and "Odyssey" is also not associated with any territorial dialect, it is only the language of art, epic. A similar situation is observed in the societies of the East. So, in I. x. l. (same as in literary languages) Central Asia- Khorezm-Turkic (the language of the Golden Horde; 13-14 centuries), Chagatai and further on its basis Old Uzbek (15-19 centuries), Old Turkmen (17-19 centuries) and other essential components include - the language of religious and philosophical writings associated with Manichaeism and Buddhism, which had developed by the 10th century.

In ancient societies I. x. l. closely correlated with the genre as a type of texts; there are often as many different languages ​​as there are genres. So, in Ancient India in the 2nd half of the 1st millennium BC. e. the language of the cult was the so-called language of the Vedas, collections of sacred hymns; the language of epic poetry and science, as well as the colloquial language of the upper strata of society - (later it also became the language of drama); the spoken dialects of the lower classes were . AT Ancient Greece material elements of grammar, lexicon, and the languages ​​of epic, lyric, tragedy and comedy differed. The latter, more than others, included elements, first of Sicily, then of Attica.

This relationship between language and genre subsequently, indirectly, through the teachings of grammarians and Rome, came down to European theory. three styles, which initially provided for a connection between the subject of presentation, genre and style and, accordingly, regulated the "high", "medium" and "low" styles. In Russia, this theory was developed and reformed by M. V. Lomonosov, for whom it served mainly as a form of expression of the results of his observations on the historical development and stylistic organization of the Russian literary language.

During the Renaissance in Europe, there was a struggle for the introduction of the national language into the sphere of fiction and science; in the Romance countries it resulted in a struggle against Latin; in Russia, especially in the reform of Lomonosov, who resolutely excluded obsolete book-Slavic elements from the composition of the Russian literary language, into gradual displacement.

After, having won, folk, national languages ​​become Y. x. l., the latter acquire a new quality and begin to develop in close connection with the change in styles and methods of fiction - classicism, romanticism, realism. A special role in the formation of I. x. l. 19th-century realism played a role in European countries, since it was in it that the subject of the image, the hero of literature, became, along with the nobleman and the bourgeois, a man of labor, a peasant, a raznochinets and a worker, introducing into its language the features of his speech. Realism is associated with the final rejection, proclaimed by the Romantics, of genre partitions and restrictions. In a single sphere I. x. l. all layers of the so-called common language are involved. In process of loss I. x. l. material (lexical, grammatical, phonetic) differences, its differences increase as a system of rules for creating and interpreting literary texts, that is, as a poetic language.

In parallel to processes of development of Ya. x. l. developed his theory. Already in ancient rhetoric and poetics, the duality of poetic language was recognized - the features of its material means, and its specificity as a special "way of speaking". This duality was reflected in Aristotle's writing of two different treatises: in Poetics, he considers poetic language from the point of view of its special subject, its semantics - correspondence to nature, imitation of nature (mimesis); in "Rhetoric" "non-everyday" oratorical language is considered regardless of the subject, as a "way of speaking", a structure of speech (lexis). , according to Aristotle, there is a doctrine not about objective objects and their image, but about a special sphere - about conceivable objects, possible and probable. Here the concepts of "intensional world", "possible world", which play such an important role in modern logic and the theory of language, are anticipated.

The concepts of "language as art" and "language of art" have appeared over the centuries in connection with almost every new artistic movement. In the 2nd half of the 19th century. in the works of A. A. Potebnya and A. N. Veselovsky, mainly on the material of epic forms, the foundations of the doctrine of constant signs poetic language and at the same time about their different manifestations in different historical eras- the foundations of historical poetics.

The processes occurring in I. x. l. in connection with the change in styles of literature, were studied in detail on the basis of the Russian language by V. V. Vinogradov, who created a special discipline, the subject of which is Y. x. l.

From the beginning of the 20th century, initially in the works of the school of "Russian formalism", the relative qualities of poetic language were fully realized theoretically. I. l. each direction in the history of literature began to be described as an immanent system of “techniques” and “rules” that are significant only within its framework (the works of V. B. Shklovsky, Yu. N. Tynyanov, R. O. Yakobson and others). These works were continued in the French structural school; in particular, an important concept was established about the global significance of each given system of Ya. x. l. - “morality of form” (M. P. Foucault) or “ethos” of poetic language (R. Barthes). These terms are understood as a system of ideas and ethical ideas associated with the understanding of I. x. l. in this literary and artistic direction. It has been argued, for example, that European avant-gardism, while breaking with classical, romantic and realistic traditions and asserting the "tragic isolation" of the writer, at the same time seeks to justify the view of its poetic language as having no traditions, as a "zero degree of writing". The concept of "I. X. l." began to be realized on a par with such concepts as the “style of scientific thinking” of a certain era (M. Born), “scientific paradigm” (T. Kuhn), etc.

Advancing to the fore as the main feature of Ya x. l. any one feature (“psychological imagery” in the concept of Potebnya, “elimination of the familiar” in the concept of Russian formalism, “setting on expression as such” in the concept and Yakobson, “typical imagery” in the concepts of a number of Soviet aesthetics) is just a sign of I . X. l. given literary and artistic trend or method, to which the given theoretical concept belongs. In general, I. x. l. characterized by a combination and variability of these features, acting as their invariant.

As such (i.e., invariant) I. x. l. can be characterized as a system of linguistic means and rules, different in each era, but equally allowing the creation of an imaginary world in fiction, an “intensional, possible world” of semantics; as a special intensional language, which is built according to the laws of logic, but with some specific laws of semantics. So, in I. x. l. (in each of its given, relatively closed system- a given work, author, cycle of works) the rules of truth and falsity of statements of practical language do not apply (“Prince Bolkonsky was on the Borodino field” is neither true nor false in an extensional sense, in relation to extralinguistic reality); it is impossible, in the general case, to replace the practical language (it is impossible, in the novel by L. N. Tolstoy, instead of “Prince Bolkonsky saw the face of Napoleon” to say “Prince Bolkonsky saw the face of the hero of the Hundred Days”); on the contrary, a wider semantic and lexical of words and utterances is allowed, substitution within the framework of implicit agreements of a given poetic language, the language of a separate work or author (“Was there a boy? Maybe there was no boy?” as a synonym for doubt in the novel M. Gorky "The Life of Klim Samgin"), etc.

However, I. x. l., the language of aesthetic values, is itself an artistic value. Therefore, in particular, the rules of Ya. x. l., being expressed by the masters of the word, appear as an object of beauty and aesthetic pleasure. Such, for example, is the definition of poetry (from a theoretical point of view, the definition of permissions for semantic compatibility) given by F. Garcia Lorca: “What is poetry? And here's what: the union of two words that no one suspected that they could combine and that, when combined, they would express a new secret every time they were pronounced.

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• Jacobson R., Linguistics and poetics, trans. from English, in the book: Structuralism: “for” and “against”. Sat. articles, M., 1975;
• Language processes of modern Russian fiction. Prose. Poetry, M., 1977;
• Todorov Ts., Grammar of the narrative text, trans. from French, "New in linguistics", v. 8. Linguistics of the text, M., 1978;
• Grigoriev V. P., Poetics of the word, M., 1979;
• Literary manifestos of Western European romantics, M., 1980;
• Types of supradialectal forms of language, M., 1981;
• Nikitin SA, Oral folk culture as a linguistic object. Proceedings of the Academy of Sciences of the USSR, ser. LiYA, 1982, vol. 41, no. 5;
• Poetics. Proceedings of Russian and Soviet poetic schools, Budapest, 1982;
• Bart R., Zero degree of writing, trans. from French, in the book: Semiotics, M., 1983;
• Khrapchenko M. B., The language of fiction. Art. 1-2, "New World", 1983, No. 9-10;
• Hansen-Love A.A., Der russische Formalismus. Methodologische Rekonstruktion seiner Entwicklung aus dem Prinzip der Verfremdung, W., 1978;
• Searle J. R., The logical status of fictional discourse, in book: Contemporary perspectives in the philosophy of language, .

Yu. S. Stepanov.

Linguistic encyclopedic Dictionary. - M.: Soviet Encyclopedia. Ch. ed. V. N. Yartseva. 1990 .

See what "Language of fiction" is in other dictionaries:

LANGUAGE OF ART LITERATURE- (sometimes also poetic language), one of the most important means of artistic communication: a language system that functions in society as an instrument of aesthetically significant, verbally figurative (written) reflection and transformation of reality ... ... Literary Encyclopedic Dictionary

the language of fiction- (poetic language), supranational type of language, many character traits which, however, are revealed only within the framework of the work of writers of a certain nation and only when compared with the norms and features of the corresponding national language. ... ... Literary Encyclopedia

the language of fiction- the totality and system of linguistic means used in works of art. Its originality is determined by the special tasks facing fiction, its aesthetic function, the specifics of the construction of verbal ... ... Terminological dictionary-thesaurus on literary criticism

Language of fiction- - 1) the most important component of the art form lit. works, along with the composition expressing their content (see the concept of V.V. Odintsov, 1980); 2) artist fiction style as one of the functions. varieties of lit. language, which has its own ... ... Stylistic encyclopedic dictionary of the Russian language

the language of fiction- the language of works of art, verbal art. It differs from the literary language, serving various spheres of society and fixed by the literary norm in various dictionaries and grammars, focusing on the poetic ... ... Dictionary of literary terms

the language of fiction- A language that does not completely coincide with the literary language, since the language of a work of art, along with literary normalized speech, incorporates the individual style of the author and the speech of the characters, which implies a deviation from the norm, ... ... Dictionary of linguistic terms T.V. Foal

LANGUAGE OF ART LITERATURE (YHL)- LANGUAGE OF ART LITERATURE (YHL). One of the functional varieties of the Russian literary language, which involves the use of such linguistic means, the choice of which is determined by the content of the work and the implementation of the aesthetic function ... ... New dictionary methodological terms and concepts (theory and practice of teaching languages)

Stylistics of fiction- see Poetic language. Literary encyclopedia. In 11 tons; M .: publishing house of the Communist Academy, Soviet Encyclopedia, Fiction. Edited by V. M. Friche, A. V. Lunacharsky. 1929 1939 ... Literary Encyclopedia