Artistic style of speech, its distinctive features and main properties. Artistic style: concept, features and examples

In general terms, the main linguistic features of the artistic style of speech include the following:

1. Heterogeneity of the lexical composition: a combination of book vocabulary with colloquial, colloquial, dialect, etc.

Let's look at some examples.

“The feather grass has matured. The steppe for many miles was dressed in swaying silver. The wind took it elastically, flowing, roughened, bumped, and drove bluish-opal waves to the south, then to the west. Where the flowing air stream ran, the feather grass bowed prayerfully, and a blackened path lay for a long time on its gray ridge.”

“Various grasses have bloomed. On the ridges of the ridge there is a joyless burnt-out wormwood. The nights faded quickly. At night, countless stars shone in the charred black sky; the month - the Cossack sun, darkened by the damaged sidewall, shone sparingly, whitely; The spacious Milky Way intertwined with other star paths. The astringent air was thick, the wind was dry and wormwood; the earth, saturated with the same bitterness of the all-powerful wormwood, yearned for coolness.”

(M. A. Sholokhov)

2. The use of all layers of Russian vocabulary in order to realize the aesthetic function.

“Daria hesitated for a minute and refused:

No, no, I'm alone. I'm there alone.

She didn’t even know where “there” was and, leaving the gate, headed towards the Angara.”

(V. Rasputin)

3. Activity of polysemantic words of all stylistic varieties of speech.

“The river seethes all in a lace of white foam.

Poppies are blooming red on the velvet meadows.

Frost was born at dawn."

(M. Prishvin).

4. Combinatorial increments of meaning.

Words in an artistic context receive new semantic and emotional content, which embodies the author’s figurative thought.

“I caught the departing shadows in my dreams,

The fading shadows of the fading day.

I climbed the tower. And the steps shook.

And the steps trembled under my feet.”

(K. Balmont)

5. Greater preference for using concrete vocabulary and less preference for abstract vocabulary.

“Sergei pushed the heavy door. The porch step whimpered barely audibly under his foot. Two more steps - and he’s already in the garden.”

“The cool evening air was filled with the intoxicating aroma of blooming acacia. Somewhere in the branches a nightingale was singing its trills, iridescent and subtle.”

(M. A. Sholokhov)

6. Minimum of generic concepts.

“Another piece of advice that is essential for a prose writer. More specifics. The more precise and specific the object is named, the more expressive the imagery is.”

“You have: “Horses chew grain. The peasants were preparing the “morning food”, “the birds were noisy”... In the artist’s poetic prose, which requires visible clarity, there should be no generic concepts, unless this is dictated by the very semantic task of the content... Oats are better than grain. Rooks are more appropriate than birds.”

(Konstantin Fedin)

7. Wide use of folk poetic words, emotional and expressive vocabulary, synonyms, antonyms.

“The rose hips, probably, have been creeping up the trunk to the young aspen since spring, and now, when the time has come for the aspen to celebrate its name day, it all burst into red, fragrant wild roses.”

(M. Prishvin).

“New Time was located in Ertelev Lane. I said “fit.” That's not the right word. Reigned, dominated."

(G. Ivanov)

8. Verbal speech management.

The writer names each movement (physical and/or mental) and change of state in stages. Pumping up verbs activates reading tension.

“Grigory went down to the Don, carefully climbed over the fence of the Astakhovsky base, and approached the window covered with shutters. He heard only the frequent beats of his heart... He quietly knocked on the frame binding... Aksinya silently went to the window and peered. He saw her press her hands to her chest and heard her inarticulate moan escape her lips. Grigory motioned for her to open the window and took off his rifle. Aksinya opened the doors. He stood on the rubble, Aksinya’s bare hands grabbed his neck. They trembled and beat so much on his shoulders, these dear hands, that their trembling was transmitted to Gregory.”

(M.A. Sholokhov “Quiet Don”)

The dominant features of the artistic style are the imagery and aesthetic significance of each of its elements (down to sounds). Hence the desire for freshness of the image, unhackneyed expressions, a large number of tropes, special artistic (corresponding to reality) accuracy, the use of special expressive means of speech characteristic only of this style - rhythm, rhyme, even in prose a special harmonic organization of speech.

The artistic style of speech is characterized by imagery and extensive use of figurative and expressive means of language. In addition to its typical linguistic means, it also uses means of all other styles, especially colloquial. In the language of artistic literature, colloquialisms and dialectisms, words of a high, poetic style, slang, rude words, professional business figures of speech, and journalism can be used. The means in the artistic style of speech are subordinate to its main function - aesthetic.

As I. S. Alekseeva notes, “if the colloquial style of speech primarily performs the function of communication, (communicative), scientific and official business message function (informative), then the artistic style of speech is intended to create artistic, poetic images, emotional and aesthetic impact. All linguistic means included in a work of art change their primary function and are subordinate to the objectives of a given artistic style."

In literature, language occupies a special position, since it is that building material, that matter perceived by hearing or sight, without which a work cannot be created.

An artist of words - a poet, a writer - finds, in the words of L. Tolstoy, “the only necessary placement of the only necessary words” in order to correctly, accurately, figuratively express a thought, convey the plot, character, make the reader empathize with the heroes of the work, enter the world created by the author.

All this is accessible only to the language of fiction, which is why it has always been considered the pinnacle of literary language. The best in language, its strongest capabilities and rarest beauty are in works of fiction, and all this is achieved through the artistic means of language. The means of artistic expression are varied and numerous. First of all, these are the trails.

Tropes are a figure of speech in which a word or expression is used figuratively in order to achieve greater artistic expressiveness. The trope is based on a comparison of two concepts that seem close to our consciousness in some respect.

1). An epithet (Greek epitheton, Latin apositum) is a defining word, mainly when it adds new qualities to the meaning of the word being defined (epitheton ornans - decorating epithet). Wed. in Pushkin: “ruddy dawn”; Theorists pay special attention to the epithet with a figurative meaning (cf. Pushkin: “my harsh days”) and the epithet with the opposite meaning - the so-called. oxymoron (cf. Nekrasov: “poor luxury”).

2). Comparison (Latin comparatio) - revealing the meaning of a word by comparing it with another according to some common characteristic (tertium comparationis). Wed. from Pushkin: “youth is faster than a bird.” Discovering the meaning of a word by determining its logical content is called interpretation and refers to figures.

3). Periphrasis (Greek periphrasis, Latin circumlocutio) is a method of presentation that describes a simple subject through complex phrases. Wed. Pushkin has a parodic periphrase: “The young pet of Thalia and Melpomene, generously gifted by Apollo.” One type of periphrasis is euphemism - the replacement with a descriptive phrase of a word that for some reason is considered obscene. Wed. from Gogol: “get by with the help of a scarf.”

Unlike the tropes listed here, which are built on enriching the unchanged basic meaning of the word, the following tropes are built on shifts in the basic meaning of the word.

4). Metaphor (Latin translatio) - the use of a word in a figurative meaning. The classic example given by Cicero is the “murmur of the sea.” The confluence of many metaphors forms an allegory and a riddle.

5). Synecdoche (Latin intellectio) is the case when a whole thing is recognized by a small part or when a part is recognized by the whole. The classic example given by Quintilian is “stern” instead of “ship”.

6). Metonymy (Latin denominatio) is the replacement of one name for an object with another, borrowed from related and similar objects. Wed. from Lomonosov: “read Virgil.”

7). Antonomasia (Latin pronominatio) is the replacement of one’s own name with another, as if borrowed from outside, nickname. The classic example given by Quintilian is “destroyer of Carthage” instead of “Scipio”.

8). Metalepsis (Latin transumptio) is a replacement, representing, as it were, a transition from one trope to another. Wed. from Lomonosov - “ten harvests have passed...: here, after the harvest, of course, it’s summer, after the summer, a whole year.”

These are the paths built on the use of words in a figurative meaning; theorists also note the possibility of simultaneous use of a word in a figurative and literal sense, the possibility of a confluence of contradictory metaphors. Finally, a number of paths are identified in which not the main meaning of the word changes, but one or another shade of this meaning. These are:

9). Hyperbole is an exaggeration taken to the point of “impossibility.” Wed. from Lomonosov: “running, faster than wind and lightning.”

10). Litotes is an understatement expressing through a negative phrase the content of a positive phrase (“a lot” in the meaning of “many”).

eleven). Irony is the expression in words of a meaning opposite to their meaning. Wed. Lomonosov’s characterization of Catiline by Cicero: “Yes! He is a timid and meek man...”

The expressive means of language also include stylistic figures of speech or simply figures of speech: anaphora, antithesis, non-union, gradation, inversion, polyunion, parallelism, rhetorical question, rhetorical appeal, silence, ellipsis, epiphora. The means of artistic expression also include rhythm (poetry and prose), rhyme, and intonation.

Introduction

1. Literary and artistic style

2. Imagery as a unit of figurativeness and expressiveness

3. Vocabulary with subject meaning as the basis for visualization

Conclusion

Literature

Introduction

Depending on the scope of language, the content of the utterance, the situation and the goals of communication, several functional-style varieties, or styles, are distinguished, characterized by a certain system of selection and organization of linguistic means in them.

Functional style is a historically established and socially conscious variety of a literary language (its subsystem), functioning in a certain sphere of human activity and communication, created by the peculiarities of the use of linguistic means in this sphere and their specific organization.

The classification of styles is based on extralinguistic factors: the scope of use of the language, the subject matter determined by it and the goals of communication. The areas of application of language correlate with types of human activity corresponding to forms of social consciousness (science, law, politics, art). Traditional and socially significant areas of activity are: scientific, business (administrative and legal), socio-political, artistic. Accordingly, they also distinguish between the styles of official speech (book): scientific, official business, journalistic, literary and artistic (artistic). They are contrasted with the style of informal speech - colloquial and everyday.

The literary and artistic style of speech stands apart in this classification, since the question of the legality of its isolation into a separate functional style has not yet been resolved, since it has rather blurred boundaries and can use the linguistic means of all other styles. The specificity of this style is also the presence in it of various visual and expressive means to convey a special property - imagery.

1. Literary and artistic style

As we noted above, the question of the language of fiction and its place in the system of functional styles is resolved ambiguously: some researchers (V.V. Vinogradov, R.A. Budagov, A.I. Efimov, M.N. Kozhina, A. N. Vasilyeva, B.N. Golovin) include a special artistic style in the system of functional styles, others (L.Yu. Maksimov, K.A. Panfilov, M.M. Shansky, D.N. Shmelev, V.D. Bondaletov) believe that there is no reason for this. The following are given as arguments against distinguishing the style of fiction: 1) the language of fiction is not included in the concept of literary language; 2) it is multi-styled, open-ended, and does not have specific features that would be inherent in the language of fiction as a whole; 3) the language of fiction has a special, aesthetic function, which is expressed in a very specific use of linguistic means.

It seems to us that the opinion of M.N. is very legitimate. Kozhina that “extending artistic speech beyond functional styles impoverishes our understanding of the functions of language. If we remove artistic speech from the list of functional styles, but assume that literary language exists in many functions, and this cannot be denied, then it turns out that the aesthetic function is not one of the functions of language. The use of language in the aesthetic sphere is one of the highest achievements of the literary language, and because of this, neither the literary language ceases to be such when it enters a work of art, nor the language of fiction ceases to be a manifestation of the literary language.”

The main goal of the literary and artistic style is to master the world according to the laws of beauty, satisfy the aesthetic needs of both the author of a work of art and the reader, and have an aesthetic impact on the reader with the help of artistic images.

It is used in literary works of various kinds and genres: stories, tales, novels, poems, poems, tragedies, comedies, etc.

The language of fiction, despite its stylistic heterogeneity, despite the fact that the author’s individuality is clearly manifested in it, is still distinguished by a number of specific features that make it possible to distinguish artistic speech from any other style.

The features of the language of fiction as a whole are determined by several factors. It is characterized by broad metaphoricality, imagery of linguistic units of almost all levels, the use of synonyms of all types, polysemy, and different stylistic layers of vocabulary is observed. The artistic style (compared to other functional styles) has its own laws of word perception. The meaning of a word is largely determined by the author’s goal setting, genre and compositional features of the work of art of which this word is an element: firstly, in the context of a given literary work it can acquire artistic ambiguity not recorded in dictionaries; secondly, it retains its connection with the ideological and aesthetic system of this work and is assessed by us as beautiful or ugly, sublime or base, tragic or comic:

The use of linguistic means in fiction is ultimately subordinated to the author's intention, the content of the work, the creation of an image and the impact through it on the addressee. Writers in their works proceed, first of all, from accurately conveying thoughts and feelings, truthfully revealing the spiritual world of the hero, and realistically recreating language and image. Not only the normative facts of language, but also deviations from general literary norms are subject to the author’s intention and the desire for artistic truth.

The breadth of literary speech covering the means of the national language is so great that it allows us to affirm the idea of ​​the fundamental potential possibility of including all existing linguistic means (though connected in a certain way) into the style of fiction.

The listed facts indicate that the style of fiction has a number of features that allow it to take its own special place in the system of functional styles of the Russian language.

2. Imagery as a unit of figurativeness and expressiveness

Figurativeness and expressiveness are integral properties of an artistic and literary style, therefore we can conclude from this that imagery is a necessary element of this style. However, this concept is still much broader; most often in linguistic science the issue of imagery of a word is considered as a unit of language and speech, or, in other words, lexical imagery.

In this regard, imagery is considered as one of the connotative characteristics of a word, as the ability of a word to contain and reproduce in verbal communication the concrete sensory appearance (image) of an object, recorded in the minds of native speakers - a kind of visual or auditory representation.

In the work of N.A. Lukyanova “On semantics and types of expressive lexical units” contains a number of judgments about lexical imagery, which we fully share. Here are some of them (in our formulation):

1. Imagery is a semantic component that actualizes sensory associations (ideas) associated with a certain word, and through it with a specific object, phenomenon, called a given word.

2. Imagery can be motivated or unmotivated.

3. The linguistic (semantic) basis of motivated figurative expressive words is:

a) figurative associations that arise when comparing two ideas about real objects, phenomena - metaphorical imagery (boil - “to be in a state of strong indignation, anger”; dry - “to worry greatly, to care about someone, something”);

b) sound associations – (burn, grunt);

c) imagery of the internal form as a result of word-formation motivation (play up, star, shrink).

4. The linguistic basis of unmotivated imagery is created due to a number of factors: obscurity of the internal form of the word, individual figurative ideas, etc.

Thus, we can say that imagery is one of the most important structural and semantic properties of a word, which affects its semantics, valence, and emotional-expressive status. The processes of formation of verbal imagery are most directly and organically associated with the processes of metaphorization, that is, they serve as figurative and expressive means.

Imagery is “figurativeness and expressiveness,” that is, the functions of a linguistic unit in speech with the peculiarities of its structural organization and a certain environment, which reflects precisely the plane of expression.

The category of imagery, being a mandatory structural characteristic of each linguistic unit, covers all levels of reflection of the surrounding world. It is precisely because of this constant ability to potentially generate figurative dominants that it has become possible to talk about such qualities of speech as figurativeness and expressiveness.

They, in turn, are characterized precisely by the ability to create (or actualize linguistic figurative dominants) sensory images, their special representation and saturation with associations in consciousness. The true function of imagery is revealed only when referring to a real objective action - speech. Consequently, the reason for such qualities of speech as figurativeness and expressiveness lies in the system of language and can be detected at any of its levels, and this reason is imagery - a special inseparable structural characteristic of a linguistic unit, while the objectivity of the reflection of the representation and the activity of its construction can be studied only at the level of the functional implementation of a language unit. In particular, this can be vocabulary with a subject-specific meaning, as the main means of representation.

As a means of communication, artistic speech has its own language - a system of figurative forms expressed by linguistic and extralinguistic means. Artistic speech, along with non-fiction, constitute two levels of the national language. The basis of the artistic style of speech is the literary Russian language. The word in this functional style performs a nominative-figurative function. Here is the beginning of V. Larin’s novel “Neuronal Shock”:

“Marat’s father Stepan Porfiryevich Fateev, an orphan from infancy, was from a family of Astrakhan binders. The revolutionary whirlwind blew him out of the locomotive vestibule, dragged him through the Mikhelson plant in Moscow, machine gun courses in Petrograd and threw him into Novgorod-Seversky, a town of deceptive silence and bliss.”(Star. 1998. No. 1).

In these two sentences, the author showed not only a segment of individual human life, but also the atmosphere of the era of enormous changes associated with the revolution of 1917. The first sentence gives knowledge of the social environment, material conditions, human relations in the childhood years of the life of the father of the hero of the novel and his own roots. Simple, rude people surrounding the boy (Bindyuzhnik– the colloquial name for a port loader), the hard work that he has seen since childhood, the restlessness of orphanhood - this is what stands behind this proposal. And the next sentence includes private life in the cycle of history. Metaphorical phrases The revolutionary whirlwind blew..., dragged..., threw... they liken human life to a certain grain of sand that cannot withstand historical cataclysms, and at the same time convey the element of the general movement of those “who were nobody.” In a scientific or official business text, such imagery, such a layer of in-depth information is impossible.

The lexical composition and functioning of words in the artistic style of speech have their own characteristics. The number of words that form the basis and create the imagery of this style primarily includes figurative means of the Russian literary language, as well as words that realize their meaning in the context. These are words with a wide range of usage. Highly specialized words are used to a small extent, only to create artistic authenticity when describing certain aspects of life. For example, L.N. Tolstoy in “War and Peace” used special military vocabulary when describing battle scenes; we will find a significant number of words from the hunting vocabulary in “Notes of a Hunter” by I. S. Turgenev, in the stories of M. M. Prishvin, V. A. Astafiev, and in “The Queen of Spades” by A. S. Pushkin many words from the card game vocabulary and so on.

In the artistic style of speech, the verbal polysemy of a word is very widely used, which opens up additional meanings and shades of meaning, as well as synonymy at all linguistic levels, which makes it possible to emphasize the subtlest shades of meaning. This is explained by the fact that the author strives to use all the riches of the language, to create his own unique language and style, to create a bright, expressive, figurative text. The author uses not only the vocabulary of the codified literary language, but also a variety of figurative means from colloquial speech and vernacular. Let's give a small example:

“At Evdokimov’s tavern it’s alreadywere about to gather turn off the lamps when the scandal began. The scandal started like this.First everything looked nice in the hall, and even the tavern floor guard Potap told the owner that,they say, now God has had mercy - not a single broken bottle, when suddenly in the depths, in the semi-darkness, in the very core, there was a buzz, like a swarm of bees.

- Fathers of light, - the owner was lazily amazed, - here,Potapka, your evil eye, damn it! Well, you should have croaked, damn it!” (Okudzhava B. The Adventures of Shilov).

The emotionality and expressiveness of the image come to the fore in a literary text. Many words, which in scientific speech act as clearly defined abstract concepts, in newspaper and journalistic speech - as socially generalized concepts, in artistic speech carry concrete sensory ideas. Thus, the styles functionally complement each other. For example, adjective lead in scientific speech realizes its direct meaning (lead ore, lead bullet), and the artistic one forms an expressive metaphor (lead clouds, lead night, lead waves). Therefore, in artistic speech an important role is played by phrases that create a kind of figurative representation.

Artistic speech, especially poetic speech, is characterized by inversion, that is, a change in the usual word order in a sentence in order to enhance the semantic significance of a word or give the entire phrase a special stylistic coloring. An example of inversion is the famous line from A. Akhmatova’s poem “I still see Pavlovsk as hilly...” The author’s word order options are varied and subordinated to the general concept.

The syntactic structure of literary speech reflects the flow of figurative and emotional impressions of the author, so here you can find a whole variety of syntactic structures. Each author subordinates linguistic means to the fulfillment of his ideological and aesthetic tasks. Thus, L. Petrushevskaya, in order to show the unsettledness and “troubles” of the family life of the heroine of the story “Poetry in Life,” includes several simple and complex sentences in one sentence:

“In Mila’s story, everything went from bad to worse, Mila’s husband in the new two-room apartment no longer protected Mila from her mother, her mother lived separately, and there was no telephone either here or here. - Mila's husband became his own Iago and Othello and watched with mockery from around the corner as Mila was accosted on the street by men of his type, builders, prospectors, poets, who did not know how heavy this burden was, how unbearable life was if you fought alone , since beauty is not a helper in life, this is how one could roughly translate those obscene, desperate monologues that the former agronomist, and now a researcher, Mila’s husband, shouted on the streets at night, and in his apartment, and when drunk, so Mila hid somewhere with her young daughter, found shelter, and the unfortunate husband smashed furniture and threw iron pans,”

This sentence is perceived as an endless complaint from countless unhappy women, as a continuation of the theme of a woman’s sad lot.

In artistic speech, deviations from structural norms are also possible, due to artistic actualization, that is, the author highlighting some thought, idea, feature that is important for the meaning of the work. They can be expressed in violation of phonetic, lexical, morphological and other norms. This technique is especially often used to create a comic effect or a bright, expressive artistic image:

"Oh, Cute, - Shipov shook his head, “why do you do this?” No need. I see right through you, mon cher… Hey, Potapka, why did you forget the man on the street?? Bring him here, waking him up. Well, Mr. Student, how do you rent this tavern? It's dirty and you think I like him?... I've been to real restaurants, sir, I know.... Pure Empire, sir... But you can’t talk to people there, but here I can find out something” (Okudzhava B. The Adventures of Shilov).

The speech of the main character characterizes him very clearly: not very educated, but ambitious, wanting to give the impression of a gentleman, a gentleman. Shipov uses basic French words (my sher) along with vernacular waking up, here, which do not correspond not only to the literary, but also to the colloquial norm. But all these deviations in the text serve the law of artistic necessity.

Bibliography:

1. Azarova, E.V. Russian language: Textbook. allowance / E.V. Azarova, M.N. Nikonova. – Omsk: Omsk State Technical University Publishing House, 2005. – 80 p.

2. Golub, I.B. Russian language and speech culture: Textbook. allowance / I.B. Blue – M.: Logos, 2002. – 432 p.

3. Culture of Russian speech: Textbook for universities / ed. prof. OK. Graudina and prof. E.N. Shiryaeva. – M.: NORMA-INFRA, 2005. – 549 p.

4. Nikonova, M.N. Russian language and culture of speech: A textbook for non-philological students / M.N. Nikonova. – Omsk: Omsk State Technical University Publishing House, 2003. – 80 p.

5. Russian language and speech culture: Textbook. / edited by prof. IN AND. Maksimova. – M.: Gardariki, 2008. – 408 p.

6. Russian language and speech culture: Textbook for technical universities / ed. IN AND. Maksimova, A.V. Golubeva. – M.: Higher Education, 2008. – 356 p.

A linguistic-stylistic feature of an artistic style is called special life of words in thin work. Its specific. feature is updating internal form(G.O. Vinokur), when the means of language (in particular, lexical) and their meanings turn out to be the basis from which the artist creates a poetic word-metaphor, entirely oriented towards the theme and idea of ​​a particular artist. works. Moreover, the metaphorical meaning of a word can often be understood and determined only after reading the entire work, i.e. follows from the art. the whole.

Formation of artistic meaning. words in the broad context of the whole work noted B.A. Larin, which revealed the systematic relationship of the word with other words of the artist. the whole when expressing a cross-cutting poetic thought-idea, i.e. the leitmotif of the work is a property of the poetic word of B.A. Larin named "combinatorial increments of meaning."

Concepts of the internal form of art. words and combinatorial increments of meaning are closely related to the concept “general imagery” (A.M. Peshkovsky), which lies in the fact that all linguistic units of a particular work of art are aimed at expressing an artistic image, being at the same time strictly aesthetically and stylistically motivated and justified, and therefore the elimination of any one word from the text already leads to “baldness” » image. The same applies to modifying the forms of a word - it’s impossible to change a word that way. fish on fish in the title and text of Pushkin’s “Tales of the Fisherman and the Fish.”

According to V.V. Vinogradov, artist. the word is fundamentally two-dimensional: coinciding in its form with the word of the national language and relying on its meaning, the artist. the word is addressed not only to the national language, but also to that world of art. reality, which is created or recreated in a work. The semantic structure of the word “expands and is enriched by those artistic and visual “incrementations” that develop in the system of an entire aesthetic object” (Vinogradov V.V.). A more general and precise concept is artistic-figurative speech concretization(M.N. Kozhina).

So, the main style feature is called ARTISTIC-FIGURARY SPEECH CONCRETE, which is expressed by the systemic organization of artistic speech, capable of translating a word-concept into a word-image through a system of linguistic means combined author's image, and capable of activating the reader's imagination. The linguistic means used in artistic texts are intended to serve mainly to express a system of images, since in an artistic context words express not just concepts and ideas, but artistic images. Therefore, concretization here has a different character, means and methods of expression (not a word-concept or a word-representation is used, but a word-artistic image).

Artist a work is capable of transforming the semantics of any word, including a neutral one, endowing it with textual increments of meaning, primarily emotional, expressive and aesthetic, which is achieved, in particular, by repeating a lexical unit in different contexts. This is related to the manifestation of such an important feature of artistic semantics. works like dynamism of meaning(Vinogradov V.V.). Repeated predication of a repeated nomination leads to the addition of each new feature to the previous ones and the formation of a textual meaning that is more complex than the linguistic one. This phenomenon is typical and of great significance, so some researchers even suggest identifying a special type of lexical meaning - "artistic meaning"(Barlas L.G.). A word with artistic meaning is an element of the text that is significant for the deeper semantic layers of the artist. text – figurative and ideological (Kupina N.A.). A specific feature of the functioning of linguistic means in fiction. style is also the predominance of the meaning of a word over its meaning, which leads to the creation of an implicit ideological and aesthetic content of the work (subtext), requiring special interpretation.

Artistic style is a special style of speech that has become widespread both in world fiction in general and in copywriting in particular. It is characterized by high emotionality, direct speech, a wealth of colors, epithets and metaphors, and is also designed to influence the reader’s imagination and act as a trigger for his fantasy. So, today we will detail and visually examples we are considering artistic style of texts and its application in copywriting.

Features of the artistic style

As mentioned above, the artistic style is most often used in fiction: novels, short stories, short stories, stories and other literary genres. This style is not characterized by value judgments, dryness and formality, which are also characteristic of styles. Instead, he is characterized by narration and the transfer of the smallest details in order to form in the reader’s imagination a filigree form of the conveyed thought.

In the context of copywriting, the artistic style has found a new embodiment in hypnotic texts, to which an entire section “” is dedicated on this blog. It is the elements of artistic style that allow texts to influence the limbic system of the reader’s brain and trigger the mechanisms necessary for the author, thanks to which sometimes a very interesting effect is achieved. For example, the reader cannot tear himself away from the novel or he experiences sexual attraction, as well as other reactions, which we will discuss in subsequent articles.

Elements of artistic style

Any literary text contains elements that are characteristic of its presentation style. The most characteristic artistic style is:

• Detailing
• Conveying the author's feelings and emotions
• Epithets
• Metaphors
• Comparisons
• Allegory
• Using elements from other styles
• Inversion

Let's look at all these elements in more detail and with examples.

1. Detail in literary text

The first thing that can be highlighted in all literary texts is the presence of details, and for almost everything.

Art Style Example #1

The lieutenant walked along the yellow construction sand, heated by the scorching afternoon sun. He was wet from the tips of his fingers to the tips of his hair, his whole body was covered with scratches from sharp barbed wire and ached from maddening pain, but he was alive and was heading towards the command headquarters, which was visible on the horizon about five hundred meters away.

2. Conveying the author’s feelings and emotions

Art Style Example #2

Varenka, such a sweet, good-natured and sympathetic girl, whose eyes always shone with kindness and warmth, with the calm look of a real demon, walked to the Ugly Harry bar with a Thompson machine gun at the ready, ready to roll into the asphalt these vile, dirty, smelly and slippery types who dared stare at her charms and drool lustfully.

3. Epithets

Epithets are most typical for literary texts, since they are responsible for the richness of vocabulary. Epithets can be expressed by a noun, adjective, adverb or verb and are most often represented by groups of words, one or more of which complement the other.

Examples of epithets

Example of artistic style No. 3 (with epithets)

Yasha was just a small dirty trickster, who, nevertheless, had very great potential. Even in his pink childhood, he masterfully stole apples from Aunt Nyura, and not even twenty years had passed before, with the same dashing fuse, he switched to banks in twenty-three countries of the world, and managed to peel them so skillfully that neither the police nor There was no way Interpol could catch him red-handed.

4. Metaphors

Metaphors are words or expressions with a figurative meaning. Found widespread among the classics of Russian fiction.

Artistic Style Example #4 (Metaphors)

5. Comparisons

An artistic style would not be itself if it did not contain comparisons. This is one of those elements that add a special flavor to texts and form associative connections in the reader’s imagination.

Examples of comparisons

6. Allegory

Allegory is the representation of something abstract using a concrete image. It is used in many styles, but it is especially typical for artistic ones.

7. Using elements from other styles

Most often this aspect manifests itself in direct speech, when the author conveys the words of a particular character. In such cases, depending on the type, the character can use any of the speech styles, but the most popular in this case is conversational.

Art Style Example #5

The monk grabbed his staff and stood in the way of the intruder:

– Why did you come to our monastery? - he asked.
- What do you care, get out of the way! – the stranger snapped.
“Uuuu...” the monk drawled meaningfully. - Looks like you weren't taught any manners. Okay, I'm just in the mood today, let's teach you a few lessons.
- You got me, monk, hangard! – the uninvited guest hissed.
– My blood is starting to play! – the clergyman moaned with delight, “Please try not to disappoint me.”

With these words, both jumped out of their seats and grappled in a merciless fight.

8. Inversion

Inversion is the use of reverse word order to enhance certain fragments and give words a special stylistic coloring.

Inversion examples

conclusions

The artistic style of texts may contain all of the listed elements, or only some of them. Each performs a specific function, but they all serve the same purpose: to saturate the text and fill it with colors in order to maximally involve the reader in the conveyed atmosphere.

Masters of the artistic genre, whose masterpieces people read without stopping, use a number of hypnotic techniques, which will be discussed in more detail in subsequent articles. or email newsletter below, follow the blog on Twitter and you will never miss them.