Leskov has such a literary form invented by him - "landscape and genre" (by "genre" Leskov means genre paintings). Leskov creates this literary form (which, by the way, is very modern - many of the achievements of twentieth-century literature are anticipated here) for the complete elimination of the author's self. The author does not even hide here behind the backs of his narrators or correspondents, from whose words he allegedly conveys events, as in his other works - he is generally absent, offering the reader, as it were, a shorthand record of conversations taking place in the living room ("Winter Day") or hotel ("The Midnighters"). According to these conversations, the reader himself must judge the character and moral character of those who are talking and about those events and life situations that, behind these conversations, are gradually revealed to the reader.
Leskov's story "Lefty", which is usually perceived as clearly patriotic, as glorifying the labor and skill of the Tula workers, is far from simple in its tendency. He is patriotic, but not only. Leskov, for some reason, removed the author's preface, which states that the author cannot be identified with the narrator. And the question remains unanswered: why did all the skill of the Tula blacksmiths only lead to the result that the flea stopped "dancing dances" and "doing variations"? The answer, obviously, is that all the art of the Tula blacksmiths is put at the service of the whims of the masters. This is not a glorification of labor, but an image of the tragic situation of Russian craftsmen.
Let us pay attention to another extremely characteristic device of Leskov's artistic prose - his addiction to special words-distortions in the spirit of folk etymology and to the creation of mysterious terms for various phenomena. This technique is known mainly from Leskov's most popular story "Lefty" and has been repeatedly studied as a phenomenon of linguistic style.
The "interestingness" of the submitted material from the 70s begins to dominate in the work of N.S. Leskov. The focus on reporting "interesting" facts leads the writer to documentaryism and to a peculiar exoticism of the material. Hence the portraiture of the heroes of his works, in which contemporaries, not without reason, saw pamphlets. The author turns to historical memoirs, archives for his stories, using ancient folk legends, tales, "prologues", lives, carefully collecting folklore material, walking anecdotes, puns and catchphrases.
Starting from the traditions of noble literature in terms of subject matter and composition, Leskov also repelled from it in terms of language. Leskov opposes the meticulous work on the word to the obliterated language that dominates literature. Skaz and stylization are the main methods of Leskov's stylistics. “In almost all of his stories, the narration is conducted through the narrator, whose dialect the writer seeks to convey. One of his main merits, he considers “voicing”, which consists in “the ability to master the voice and language of his hero and not stray from altos to basses. In myself, I tried to develop this skill and it seems that my priests speak in a spiritual way, the peasants in a peasant way, upstarts from them and buffoons with frills, etc. From myself, I speak the language of old fairy tales and church-folk in a purely literary speech. "One of the favorite methods of the writer's language was the distortion of speech and the" folk etymology "of incomprehensible words."
In the works of N.S. Leskov often uses lexical and syntactic elements: archaic vocabulary, phraseological units, speech clichés, colloquial elements and dialectisms, proverbs and sayings, everyday jokes, repetitions and folklore elements. It is also necessary to say about occasional formations (occasionalisms) built according to the type of "folk etymology".
Leskov is like a "Russian Dickens". Not because he resembles Dickens in general, in the manner of his writing, but because both Dickens and Leskov are "family writers", writers who were read in the family, discussed by the whole family, writers who are of great importance for moral formation of a person, are brought up in youth, and then they accompany them all their lives, along with the best memories of childhood. But Dickens is a typically English family writer, and Leskov is a Russian. Even very Russian. So Russian that, of course, he will never be able to enter the English family in the same way that Dickens entered the Russian. And this is despite the ever-increasing popularity of Leskov abroad and, above all, in English-speaking countries.
Images of the sea and sails in M.Yu. Lermontov's novel "A Hero of Our Time"
"A Hero of Our Time" is M. Yu. Lermontov's most famous novel. The writer worked on it in 1835-1839. There has been a lot of controversy about what is the artistic method of the novel: realism or romanticism? Of course, the features of these two methods are bizarrely but harmoniously intertwined in "A Hero of Our Time". We see that "... ne...
The life and work of the writer
Vasil Vladimirovich Bykov was born in 1924 in the Vitebsk region in the village of Cherenovshchina, into a peasant family. Childhood was stingy with joy and difficult, like all that time. After graduating from the seven-year period, Bykov entered the sculpture department of the Vitebsk Art School, but did not finish it and returned to the village again. After graduating from high school...
"The Tale of the Shemyakin Court"
In "certain places" lived two brothers - rich and poor. The rich constantly lend to the poor, but the poor still live in poverty. Once a poor man asked a horse to bring firewood from the forest. The rich man gave a horse, but did not give a collar, reproaching his brother: “And you don’t have that collar.” The poor man tied the firewood to the horse's tail. Entering the yard, he is not from ...
SCIENTIFIC AND PRACTICAL CONFERENCE
"FIRST STEPS INTO SCIENCE"
LINGUISTIC FEATURES OF N. S. LESKOV'S TALK "LEFT-HANDED".
Completed by a student of 8 "G" class MOBU secondary school No. 4
Mayatskaya Anastasia.
(Scientific adviser)
Dostoevsky is equal - he is a missed genius.
Igor Severyanin.
Any subject, any occupation, any work seems uninteresting to a person if it is incomprehensible. The work of Nikolai Semenovich Leskov "Lefty" is not very popular with seventh graders. Why? I think because it is difficult, incomprehensible to schoolchildren of this age. And when you start to think, understand, assume and get to the bottom of the truth, then interesting moments open up. And personally, the story “Lefty” now seems to me one of the most unusual works of Russian literature, in the linguistic structure of which so much that is new for the modern schoolchild is hidden ...
The linguistic features of the story "Lefty" were subject of study our work. We tried to deal with every word usage unusual for the modern Russian language, if possible, to find the reasons for the differences. We had to track this kind of change in all sections of the language: phonetics, morphemics, morphology, syntax, punctuation, spelling, orthoepy. This is what structure our work is a description of language changes in different sections of the language, although it should be noted right away that this classification is very relative, because some language changes can be attributed to several sections at once (however, like many phenomena of the modern language).
So , target work - to study the work "Levsha" (The Tale of the Tula Oblique Left-hander and the Steel Flea) for its linguistic features, to identify usages unusual for the modern Russian language at all language levels and, if possible, find explanations for them.
2. Causes of inconsistencies in word usage in the tale "Lefty" and modern Russian.
"The Tale of the Tula Oblique Lefty and the Steel Flea" was published in 1881. It is clear that significant changes have taken place in the language over 120 years, and this first reason appearance of discrepancies with modern norms of word usage.
The second is the genre feature. "Lefty" entered the treasury of Russian literature also by the fact that such a stylistic device as a tale was brought to perfection in it.
A skaz is, by definition, "an artistic orientation towards an oral monologue of the narrative type, it is an artistic imitation of monologue speech." If you think about the definition, it becomes obvious that a work of this genre is characterized by a mixture of colloquial (“oral monologue”) and book (“artistic imitation”) speech.
“Skaz”, as a word in Russian, clearly came from the verb “to tell”, the completeness of the meanings of which perfectly explains: “to speak”, “explain”, “notify”, “say” or “bait”, that is, the skaz style goes back to folklore. It is closer not to literary, but to colloquial speech (which means that a large number of colloquial word forms are used, words of the so-called folk etymology). The author, as it were, is eliminated from the narrative and reserves the role of the one who writes down what he heard. (Evenings on a farm near Dikanka are sustained in this style). In "Lefty" imitation of oral monologue speech is carried out at all levels of the language, Leskov is especially inventive in word creation. And this The second reason inconsistencies with modern literary norms.
The sources of the writer's artistic language are diverse - they are primarily associated with the stock of his life observations, a deep acquaintance with the life and language of various social groups. The sources of the language were also ancient secular and church books, historical documents. “On my own behalf, I speak the language of old fairy tales and church folk in purely literary speech,” the writer said. In his notebook, Leskov enters the old Russian words and expressions that interested him in their expressiveness, which he later uses in the text of works of art. Thus, in the texts of the works, the author also used Old Russian and Church Slavonic word forms, rooted in the distant linguistic past. And this third reason mismatches of linguistic word forms in Leskov's work with modern ones.
Igor Severyanin, also distinguished by unusual word creation, once wrote a sonnet dedicated to. There were lines:
Dostoevsky is equal, he is a missed genius.
Enchanted wanderer of the catacombs of language!
It is through these catacombs of the language of Leskov's work "Lefty" that I suggest you go.
VOCABULARY.
Turning to folk vernacular, colloquial language, folklore expressions, using words with folk etymology, Leskov tries to show that Russian folk speech is extremely rich, talented, expressive.
Obsolete words and word forms.
The text of the work "Lefty", of course, is unusually rich in archaisms and historicisms (chubuk, postilion, kazakin, erfix (sobering agent), talma ...), but any modern edition contains the necessary number of footnotes, explanations of such words, so that each student can read them on one's own. We were more interested obsolete forms of words:
Comparative adjective more useful, that is, more useful;
Participle "serving" as a noun from the lost verb "serve": "... showed serving on the mouth."
A short participle of "robes" (that is, dressed) from the disappeared head of the robe.
The participle "hosha", formed from the verb "want" (with a modern, by the way, suffix -sh-)
The use of the word “although” instead of the modern “even though”: “Now, if I had Although one such master in Russia…”
The case form “on numbers” is not a mistake: along with the word “digit”, there was also the now outdated (with a touch of irony) form “tsifir”.
An obsolete form of the adverb " alone" instead of "however." (Like " far away burst out: cheers "y).
The appearance of the so-called prosthetic consonant "v" between vowels
("righteous”) was characteristic of the Old Russian language in order to eliminate the unusual phenomenon of gaping (confluence of vowels).
Vernacular expressions:
- “... a glass of sour suffocated";
- ".. helluva lot I drive, that is, quickly
- "... so watered without mercy,” that is, beaten.
- "... something will take…” that is, distract.
- “... smoked without stop"
poodle poodle
Tugament instead of document
Kazamat - casemate
Symphon - siphon
grandevu - rendezvous
Shoes = shoes
Erasable - erasable
Half-skipper-sub-skipper
Puplection - apoplexy (stroke)
Words with folk timology, usually formed by combining words.
Coach two-seater-combination of the words "double" and "sit down"
There are fluctuations in the gender of nouns in the text, which is typical of the literary norm of that time: “. .shutter slammed"; and unusual for the norm, erroneous forms: “his by force did not hold back", that is, the instrumental case is declined according to the masculine pattern, although the nominative case is a feminine noun.
Mixing case forms. The word “look” can be used both with nouns in V. p., and with nouns in R. p., Leskov mixed these forms: “... in different states miracles look."
- "Everything here is in your mind, - and provide.", i.e. "browse".
- “... Nikolai Pavlovich was terribly what ... memorable." (instead of "memorable")
- “... they look at the girl without hiding, but with all relatedness." (native)
- “... so that not a single minute for the Russian utility did not disappear "(benefit)
Inversion:
- "... now very angry."
- "... you will have something worthy to present to the sovereign splendor."
Mixing styles (colloquial and bookish):
- "... I want to return to my native place, because otherwise I can get a kind of insanity."
- "... no emergency holidays" (special)
- "... wants a detailed intention about the girl to discover ..."
- “.. from here with the left-hander and went foreign species.
- “... we are going to see their weapons cabinet of curiosities., there are the nature of perfection"
- “... each person has everything for himself absolute circumstances It has". In addition, the use of such a form of the verb-predicate is not characteristic of the Russian language (as, for example, English; but the hero is talking about the English).
- “.. I don’t know now for what need Do I need such a repetition?
Conclusion.
As can be seen from the above examples, changes have occurred at all levels of the language. I believe, having familiarized themselves with at least some of them, seventh graders will not only receive new information, but will also be very interested in reading the work “Lefty”.
For example, we offered classmates to work with examples from the "Vocabulary" section, here you can show ingenuity, and language flair, and no special preparation is required. After explaining several variants of words with folk etymology, they offered to deal with the rest on their own. The students were interested in the work.
And I would like to end my research with the words of M. Gorky: “Leskov is also a magician of the word, but he did not write plastically, but he told, and in this art he has no equal. His story is a spiritualized song, simple, purely Great Russian words, descending one with the other in intricate lines, now thoughtfully, now laughingly ringing, and a quivering love for people is always heard in them ... "
1. Introduction (relevance of the topic, structure of the work, purpose of the study).
2. The reasons for the occurrence of inconsistencies in word usage in the work "Lefty" and in modern Russian.
3. The study of the features of the language of the tale "Lefty" at all levels:
Vocabulary;
Morphology;
word formation;
Phonetics;
Text science;
Syntax and punctuation;
Spelling.
4. Conclusion.
References.
1. . Novels and stories, - M .: AST Olympus, 1998
2. , . Historical grammar of the Russian language.-M.: Academy of Sciences of the USSR, 1963
3. . Explanatory Dictionary of the Living Great Russian Language (1866). Electronic version.
Poetics N.S. Leskova (Storytelling style. Specificity of style and combination of stories. The story "Lefty")
N.S. Leskov played a significant role in Russian literature, in particular, in the development of special stylistic forms. Studying the work of N.S. Leskov, it should be noted that he turned to a special manner of narration - a tale. A tale, being a structural-typological formation, has a certain set of features and signs. In addition, within a particular genre, in the works of different writers, the tale is modified in connection with the use of new stylistic devices, and the typological stylistic properties, without changing, are replenished with new content.
Leskov is certainly a writer of the first rank. Its significance is gradually growing in our literature: its influence on literature is growing, and readers' interest in it is growing. However, it is difficult to call him a classic of Russian literature. He is an amazing experimenter who gave rise to a whole wave of the same experimenters in Russian literature - a mischievous experimenter, sometimes irritated, sometimes cheerful, and at the same time extremely serious, who set himself great educational goals, in the name of which he conducted his experiments.
The first thing you should pay attention to is Leskov's search in the field of literary genres. He is constantly looking for, trying his hand at new and new genres, some of which he takes from "business" writing, from the literature of magazines, newspapers or scientific prose.
Many of Leskov's works have genre definitions under their titles that Leskov gives them, as if warning the reader about the unusual nature of their form for "big literature": "autobiographical note", "author's confession", "open letter", "biographical sketch" ("Alexey Petrovich Ermolov"), "fantastic story" ("White Eagle"), "public note" ("Big scolding"), "small feuilleton", "notes on family nicknames" ("Heraldic fog"), "family chronicle" ("The seedy family"), "observations, experiences and adventures" ("Hare remise"), "pictures from nature" ("Improvisers" and "Little things of bishop's life"), "from folk legends new addition" ("Leon the Butler's Son (Table Predator)"), "Nota bene to Memoirs" ("Populists and Schismologists in the Service"), "Legendary Case" ("Unbaptized Pop"), "Bibliographic Note" ("Unprinted Manuscripts of Plays by Dead Writers" ), "post scriptum" ("About the "Quakers""), "literary explanation" ("About the Russian left-hander"), "a short trilogy in the dream" ("Selective grain"), "reference" ("Where are the plots of the play by Count L.N. Tolstoy "The First Distiller" borrowed from"), "excerpts from youthful memories" ("Pechersk antiques"), "scientific note" ("On Russian icon painting "), "Historical correction" ("The incongruity about Gogol and Kostomarov"), "landscape and genre" ("Winter Day", "Midnight clerks"), "rhapsody" ("Yudol"), "the story of an official on special assignments" (" Caustic"), "a bucolic story on a historical canvas" ("Part-timers"), "a spiritualistic case" ("The Spirit of Mrs. Janlis"), etc., etc.
Leskov, as it were, avoids the usual genres for literature. If he even writes a novel, then as a genre definition he puts in the subtitle "a novel in three books"("Nowhere"), thus making it clear to the reader that this is not quite a novel, but a novel with something unusual. If he writes a story, then in this case he also seeks to somehow distinguish it from an ordinary story - for example: "story on the grave" ("Dumb Artist").
Leskov, as it were, wants to pretend that his works do not belong to serious literature and that they are written in such a way - casually, written in small forms, belong to the lowest kind of literature. This is not only the result of a special “shamefulness of form”, which is very characteristic of Russian literature, but the desire that the reader does not see something complete in his works, “does not believe” him as an author, and himself thinks out the moral meaning of his work. At the same time, Leskov destroys the genre form of his works, as soon as they acquire some kind of genre tradition, they can be perceived as works of “ordinary” and high literature, “Here the story should have ended,” but ... Leskov continues him, takes him into side, passes to another narrator, etc.
Strange and non-literary genre definitions play a special role in Leskov's works; they act as a kind of warning to the reader not to take them as an expression of the author's attitude to what is being described. This gives readers freedom: the author leaves them face to face with the work: "if you want - believe it, if you want - no." He relieves himself of a certain share of responsibility: making the form of his works as if someone else's, he seeks to shift the responsibility for them to the narrator, to the document that he cites. He seems to be hiding from his reader Kaletsky P. Leskov // Literary Encyclopedia: In 11 volumes [M.], 1929-1939. T. 6. M.: OGIZ RSFSR, state. dictionary-encycle. publishing house "Sov. Entsikl.", 1932. Stb. 312--319. .
It should be noted that the tale of N.S. Leskov differs from the fairy tales of other writers in many ways. His story pays great attention to detail. The speech of the narrator is slow, he strives to explain everything carefully, since the listener can be different. In the slowness and argumentation of the skaz monologue, the narrator's self-esteem appears, in connection with which he receives the right to narrate, and the audience trusts him.
Leskov has such a literary form invented by him - "landscape and genre" (by "genre" Leskov means genre paintings). Leskov creates this literary form (which, by the way, is very modern - many of the achievements of twentieth-century literature are anticipated here) for the complete elimination of the author's self. The author does not even hide here behind the backs of his narrators or correspondents, from whose words he allegedly conveys events, as in his other works - he is generally absent, offering the reader, as it were, a shorthand record of conversations taking place in the living room ("Winter Day") or hotel ("The Midnighters"). According to these conversations, the reader himself must judge the character and moral character of those who are talking and about those events and life situations that, behind these conversations, are gradually revealed to the reader.
Leskov's story "Lefty", which is usually perceived as clearly patriotic, as glorifying the labor and skill of the Tula workers, is far from simple in its tendency. He is patriotic, but not only... Leskov, for some reason, removed the author's preface, which states that the author cannot be identified with the narrator. And the question remains unanswered: why did all the skill of the Tula blacksmiths only lead to the result that the flea stopped "dancing dances" and "doing variations"? The answer, obviously, is that all the art of the Tula blacksmiths is put at the service of the whims of the masters. This is not a glorification of labor, but an image of the tragic situation of Russian craftsmen.
Let us pay attention to another extremely characteristic device of Leskov's artistic prose - his addiction to special words-distortions in the spirit of folk etymology and to the creation of mysterious terms for various phenomena. This technique is known mainly from Leskov's most popular story "Lefty" and has been repeatedly studied as a phenomenon of linguistic style.
The "interestingness" of the submitted material from the 70s begins to dominate in the work of N.S. Leskov. The focus on reporting "interesting" facts leads the writer to documentaryism and to a peculiar exoticism of the material. Hence the portraiture of the heroes of his works, in which contemporaries, not without reason, saw pamphlets. The author turns to historical memoirs, archives for his stories, using ancient folk legends, tales, "prologues", lives, carefully collecting folklore material, walking anecdotes, puns and catchphrases.
Starting from the traditions of noble literature in terms of subject matter and composition, Leskov also repelled from it in terms of language. Leskov opposes the meticulous work on the word to the obliterated language that dominates literature. Skaz and stylization are the main methods of Leskov's stylistics. “In almost all of his stories, the narration is conducted through the narrator, whose dialect the writer seeks to convey. One of his main merits, he considers “voicing”, which consists in “the ability to master the voice and language of his hero and not stray from altos to basses. In myself, I tried to develop this skill and it seems that my priests speak in a spiritual way, the peasants in a peasant way, upstarts from them and buffoons with frills, etc. From myself, I speak the language of old fairy tales and church-folk in purely literary speech. "One of the writer's favorite methods of language was the distortion of speech and the" folk etymology "of incomprehensible words" Kaletsky P. Decree. op. pp. 318-319.
In the works of N.S. Leskov often uses lexical and syntactic elements: archaic vocabulary, phraseological units, speech clichés, colloquial elements and dialectisms, proverbs and sayings, everyday jokes, repetitions and folklore elements. It is also necessary to say about occasional formations (occasionalisms) built according to the type of "folk etymology".
Leskov is like a "Russian Dickens". Not because he resembles Dickens in general, in the manner of his writing, but because both Dickens and Leskov are "family writers", writers who were read in the family, discussed by the whole family, writers who are of great importance for moral formation of a person, are brought up in youth, and then they accompany them all their lives, along with the best memories of childhood. But Dickens is a typically English family writer, and Leskov is a Russian. Even very Russian. So Russian that, of course, he will never be able to enter the English family in the same way that Dickens entered the Russian. And this is despite the ever-increasing popularity of Leskov abroad and, above all, in English-speaking countries.
Leskov's work has its main sources not even in literature, but in the oral colloquial tradition, going back to what is called "talking Russia". It came out of conversations, disputes in various companies and families and again returned to these conversations and disputes, returned to the whole huge family and "talking Russia", giving rise to new conversations, disputes, discussions, awakening the moral sense of people and teaching them to decide on their own. moral issues.
Leskov's style is part of his behavior in literature. The style of his works includes not only the style of the language, but also the attitude to genres, the choice of the "image of the author", the choice of themes and plots, the ways of constructing intrigue, attempts to enter into special "mischievous" relationships with the reader, the creation of the "image of the reader" - distrustful and at the same time simple-hearted, and on the other hand, sophisticated in literature and thinking about social topics, a reader-friend and a reader-enemy, a polemical reader and a “false” reader (for example, a work is addressed to a single person, but is printed for everyone).
Skaz is one of the most important problems of modern linguistics and is considered from a linguistic point of view as a prose work in which the way of narration reveals the real speech and linguistic forms of its existence. The study of the tale began in the 20s of the last century in connection with the beginning of the process of reassessment of artistic values. The interlingual aspect of the study seems to be relevant from the point of view of solving the urgent problems of finding ways to translate individual lexical and syntactic means of fiction.
In the work of the great Russian writer of the XIX century N.S. Leskov "Lefty" most clearly manifests the image of a tale-epic narrator. Literary skaz as a special phenomenon of the Russian national language and culture is a scientific problem in the interlingual aspect, since it carries the features of stylistic and speech non-equivalence.
Skaz N.S. Leskov in "Lefty" is built on stylistic speech contrast. Two authors can be distinguished as subjects of speech: a literary narrator (author) and the narrator himself, who reflects the true meaning of things.
The question of the tale remains debatable, retains its sharpness even today. Until now, there is no definition of a tale that can fully reflect the contradictory essence of this artistic phenomenon. It entered literature at the beginning of the 19th century as an artistically isolated work of oral folk art Gelhardt R. R. The style of Bazhov's tales. Perm: 1958. S. 156 (482 p.). According to G.V. Sepik, "a literary tale is a speech type, and the stylization of this speech type in literary and artistic practice places the tale in the plane of ideas about the type and form of narration, about genre varieties of epic literature" Sepik G.V. the material of short stories and short stories by N. S. Leskov. Abstract dis. ... cand. philol. Sciences / Moscow. state ped. in-t im. V. I. Lenin. Specialized Council D 113.08.09. - M., 1990. - (17 p.). C12.
V.V. Vinogradov believes that "skaz is a kind of combined stylistic form of fiction, the understanding of which is carried out against the background of similar constructive monologue formations that exist in the public practice of speech interactions ..." Vinogradov. Problems of Russian stylistics. - M., 1981 S. 34 (320 s). In the monograph by E.G. Muschenko, V.P. Skobeleva, L.E. Kroichik gives the following definition: "skaz is a two-voice narrative that correlates the author and the narrator..." Mushchenko EG, Skobelev VP, Kroichik LE Poetics of the tale. Voronezh, 1979: 34.
B.M. Eikhenbaum, V.G. Hoffman, M.M. Bakhtin make the installation of the tale on "oral speech" Eikhenbaum.B.M. Leskov and lit. Populism, in collection: Bloch, L., 1927 Bakhtin M.M. Aesthetics of poetic creativity, etc. Various approaches to the tale as a speech type and as a form of narration are reflected in the Great Soviet Encyclopedia.
In Western works, skaz is understood as "a story within a story" by McLean H. Nikolai Leskov. The Man and His Art. Harvard, 2002: 299-300. The same idea is supported by I.R. Titunik, highlighting two types of texts in the tale. The first consists of statements addressed directly by the author to the reader, while the second consists of statements addressed by persons other than the author, persons other than the reader Sperrle I.C. The Organic Worldview of Nikolai Leskov. Evanston, 2002. Some works explore the linguistic side of the tale Safran G. Ethnography, Judaism, and the Art of Nikolai Leskov // Russian Review, 2000, 59 (2), p. 235-251, but it should be noted that in the latter work an attempt is made to characterize the functions of language units of various levels in the text of the narrative, and the question of the connection of stylistic elements with the entire verbal and artistic system of the work is not considered at all.
The study of theoretical sources on the disclosure of the essence of the concept of "skaz manner" ("skaz") makes it possible to come to the conclusion that in research the term "skaz" in a broad sense is considered as a speech type, and in a narrow sense - as a prose work in which the way of narration reveals its main speech and language forms.
In this dissertation, a tale is considered from a linguistic point of view as a prose work in which the way of narration reveals the real speech and linguistic forms of its existence.
Due to its genre specificity, a literary tale work is based on contrast, which is reflected in the speech composition, and the basis of the contrast is the distinction between the author and the narrator, since there are always two speech parts in a tale: the part of the narrator and the part of the author. The categories "image of the author" and "image of the narrator" are considered by many scientists: V.V. Vinogradov 1980, M.M. Bakhtin 1979, V.B. Kataev 1966, A.V. Klochkov 2006, N.A. Kozhevnikova 1977, B.O. Korman 1971, E.G. Muschenko 1980, G.V. Sepik 1990, B.V. Tomashevsky 2002 and others.
The term "category of the author's image" appeared in the early 1920s. V.B. Kataev distinguishes two types of authors: the author, as a real person who created the work, and the author, as a structure in which the elements of objective reality are correlated with the human attitude towards them and thus organized "aesthetically" and which is wider than the categories of author's subjectivism, such as the author's intention , author's position, author's voice, introduction of the author to the number of characters, etc. - are included in it as components Kataev V.B. Problems of interpretation of A.P. Chekhov. Abstract dis. for the competition scientist step. Dr. Philol. Sciences. M. 1984 S. 40. A.V. Klochkov distinguishes three types of narrators in a prose work:
3) "personalized author-narrator", designated (by some name) narrator Klochkov Linguistic and stylistic features of a literary tale in an interlingual aspect: author. dis. pump scientist step. cand. philol. Sciences 2006 (24 p.). S. 16.
As subjects of speech in the tale N.S. Leskov can be distinguished as a "literary narrator" ("author"), as well as a "actual narrator". But often there is a mixture of voices of the author and the narrator.
When considering the "image of the author (narrator)" one should not forget about the "image of the listener (reader)". According to E.A. Popova "listeners are the same necessary component of a tale as the narrator" Popova E.A. narrative universals. Lipetsk, 2006 (144 p.) P. 131. The focus of skaz narration on the listener is connected with the folklore essence of skaz as an oral art, involving direct communication with the audience. In addition, the tale implies an appeal not just to the audience, but to a sympathetic audience.
The communication of the narrator with the listeners can be carried out in different ways. Mushchenko, considering the features of the tale, points to such an interesting aspect as the "loudness ceiling". A tale is not only an oral story, "it is always a quiet conversation, and it can be caught indirectly. It seems that both conversational intonation and its rhythm serve as such indirect signs of the quietness of a tale narrative" Mushchenko E. G., Skobelev V. P., Kroichik L. E. Decree. op. S. 31.
The dialogical relations of the narrator with the listeners are developed using a variety of means and techniques: rhetorical questions, the use of constructions with intensifying particles and interjections, the use of familiarity forms to express one's attitude, the use of constructions with intensifying particles and interjections, etc.
The study focuses on the speech behavior of the narrator. His speech differs from the author's stylistically (with the help of various style-forming elements). In a tale monologue, in the process of narration, the narrator often addresses his listeners, expressing his own attitude to what is being reported. The presence of the interlocutor can be indicated by appeals, as well as pronouns of the second person.
Another feature of the skaz construction can be considered its installation on oral speech. Different attitudes of the skaz depend on the ideas about the skaz. If the skaz is considered as a "speech type", then there is a focus on oral non-literary elements of speech, and if as a "form of narration", then there is a focus on oral monologue of the narrative type as one of the genres of epic prose, i.e. installation on someone else's word.
Studying the tale, scientists distinguish its various types and types. So, N.A. Kozhevnikova speaks of the presence of two types of narration: "unidirectional", in which the assessments of the author and the narrator lie in the same plane or are in close contact, and "bidirectional", in which the assessments of the author and the narrator lie in different planes, do not coincide Kozhevnikova N.A. Types of narration in Russian literature of the XIX-XX centuries. M, 1994. (333 s) S. 99.
S.G. Bocharov believes that a skaz can change in terms of speech if the distance between the direct speech of the author and the skaz changes. On this basis, the types of tale are distinguished: "Neverov's simple unidirectional tale", "Babel's exquisite tale", "Zoshchenko's comic tale" Bocharov S. G. Roman L. Tolstoy "War and Peace" M. 1971. P. 18.
E.V. Klyuev distinguishes three types of narration: "free", "subordinate" and "subordinate". By "free" skaz he means a tale in which the author and the narrator are equal in the sense that neither of them is subordinate to the other. The "subordinating" skaz is singled out by the researcher on the basis of the dominant role of the writer, who offers the addressee to perceive the ideological and figurative content of the skaz text in a certain aspect. And, finally, a "subordinate tale" is a tale in which the author defiantly provides the narrator with complete freedom of expression "Klyuev. Literary tale as a problem of stylistics of artistic and journalistic speech. Author's abstract of the thesis on the competition. M. 1981 S. 15..
In the works of N.S. Leskov, there are mostly skaz works with "free" and "subordinate" skaz. These types of tales differ from each other in their compositional introduction to a more complex structure of the whole, as well as in the principles of distinguishing between the author and the narrator. The "free" tale is more complex in compositional design, it is built on the principle of intra-compositional contrast. Works with a "subordinating" tale are structurally built in such a way that it is impossible to single out the author's narration, which means that there is no intra-compositional contrast in them. Based on these structural features, stories are combined in the writer's work.
conclusions
Literary translation is a translation of a work or texts of fiction in general. It should be noted that the texts of fiction are opposed in this case to all other speech works on the basis of the fact that for a work of art one of the communicative functions is dominant - it is artistic and aesthetic or poetic.
When translating from one language to another, the vocabulary is distributed depending on the transfer of meaning into equivalent, partially equivalent and non-equivalent. In connection with the peculiarities of the lexical composition, various methods and techniques of translation transformations are used in translation. In the theory of translation, realities are of particular difficulty - such words and expressions that denote objects of this kind. In this row, there are also proper stable expressions containing such words.
A feature of the poetics of N.S. Leksova is to develop a stylistic genre - a tale form. In the works of N.S. Leskov, there are mostly skaz works with "free" and "subordinate" skaz. These types of tales differ from each other in their compositional introduction to a more complex structure of the whole, as well as in the principles of distinguishing between the author and the narrator.
Development of a lesson on literature on the topic "N.S. Leskov "Lefty". The concept of the genre of a tale. Lexical features of the tale of N.S. Leskov"
Goals and objectives: expanding knowledge about the life and work of N. S. Leskov; formation of text analysis skills, work with vocabulary, development of skills to find the desired meaning in the dictionary; the development of monologue speech of students, to interest students in the unusualness of the narrative, the cultivation of love for the word, for the folk speech of heroes.
1. Organizational moment
Message about the topic and purpose of the lesson.
2. Lesson progress
Preparing for perception.
1) Brief information from the biography of N.S. Leskov. A prepared student speaks. slide 1
Nikolai Semyonovich Leskov is a Russian writer of the 19th century, according to many, the most national writer of Russia. Leskov was born on February 4 (16), 1831 in the village of Gorohovo (Oryol province) in a spiritual environment. The writer's father was an official of the criminal chamber, and his mother was a noblewoman. Nicholas spent his childhood years in the family estate in Orel. In 1839 the Leskov family moved to the village of Panino. Life in the village left its mark on the writer's work. He studied the people in everyday life and conversations, and also considered himself one of the people.
From 1841 to 1846 Leskov attended the Oryol Gymnasium. In 1948, he lost his father, and their family property burned down in a fire. Around the same time, he entered the service of the criminal chamber, where he collected a lot of material for his future work. A year later he was transferred to the state chamber of Kyiv. There he lived with his uncle S.P. Alferyev. In Kyiv, in his free time, he attended lectures at the university, was fond of icon painting and the Polish language, and also attended religious and philosophical circles and talked a lot with the Old Believers. During this period, he developed an interest in Ukrainian culture.
In 1857, Leskov retired and entered the service of A. Ya. Scott, his aunt's English husband. While working for Schcott & Wilkens, he gained vast experience in many sectors, including industry and agriculture. For the first time as a publicist, he showed himself in 1860. A year later, he moved to St. Petersburg and decided to devote himself to literary activity. His works began to appear in the Notes of the Fatherland. Many of his stories were based on the knowledge of Russian original life, and were saturated with sincere participation in the needs of the people.
In his stories, Leskov also tried to show the tragic fate of Russia and the unpreparedness for the revolution. In this regard, he was in conflict with the revolutionary democrats. Much has changed in the writer's work after meeting Leo Tolstoy. In his works of 1870-1880, national-historical issues also appeared. During these years he wrote several novels and short stories about artists. Leskov always admired the breadth of the Russian soul, and this theme was reflected in the story "Lefty". The writer died on February 21 (March 5), 1895 in St. Petersburg.
2) The word of the teacher. The history of the creation of "Lefty". slide 2
Tale Nikolay Leskov was written and published in1881 .
First published in the magazine "Rus", in 1881, No. 49, 50 and 51 under the title "The Tale of the Tula Oblique Lefty and the Steel Flea (Shop Legend)". First published as a separate edition in 1882. When published in "Rus", as well as in a separate edition, the story was accompanied by a preface:
"I can't say exactly where the first steel flea fable was born, that is, whether it started inThule , on Izhme or in Sestroretsk , but apparently she came from one of those places. In any case, the tale of a steel flea is a special gunsmithing legend, and it expresses the pride of Russian gunsmiths. It depicts the struggle of our masters with the English masters, from which our masters came out victoriously and the English were completely shamed and humiliated. Here is a secret reasonmilitary failures in the Crimea . I wrote down this legend in Sestroretsk according to a local tale from an old gunsmith, a native of Tula, who moved tosister river during the reign of the emperorAlexander the First . The narrator two years ago was still in good spirits and in fresh memory; he willingly recalled the old days, greatly honored the sovereignNikolai Pavlovich , lived "according to the old faith", read divine books and bred canaries. People treated him with respect."
Nikolai Semenovich himself defined the genre of his work as a tale. What is it?
Skaz is the principle of narration, based on the imitation of the speech manner of the character-narrator, lexically, syntactically, and intonationally oriented towards oral speech.The narration is conducted on behalf of the narrator, a person with a special character and style of speech. slide 3
Perception. And now let's turn directly to the work itself and find lexical features. The first interesting phrase that we meet is internecine conversations. Let's look at the meaning of this word in the explanatory dictionary.
The meaning of the word Internecine according to Efremova:
Internecine - 1. Correlating in meaning. with noun:civil strife,
civil strife,
connected
with them.
In Ozhegov's dictionary we find the meaning of the word - (usually about antiquity, the distant past)disagreement
,
discord
between any social groups in the state.
This interpretation does not fit our text. How to determine the value? To do this, get acquainted with the concept of folk etymology.
Folk etymology is falseetymology , a lexical association arising under the influencevernacular ; in the future, it can also be perceived in the literary language. slide 4
Let's think on the basis of what associations this word could have arisen.
Students' answers: internecine conversations - conversations among themselves.
And now you yourself will begin to compile an explanatory-etymological dictionary. Divide the notebook into 2 columns, in the first one write down the words that have a definition in the dictionary, in the second - they do not. (The class can be divided into 2 groups, one works on chapter 1, the other on the second. It is better for children to work in pairs using mobile Internet and Internet dictionaries)
Before writing the interpretation of the word, children are invited to think from which words new concepts could form.
Interpretation. Conversation on:
Why are there so many unusual, distorted words in the text of the work?
Suggested answer: The narrator is a simple person, illiterate, who changes foreign words to make it "clearer". Many words have acquired a humorous meaning in the spirit of popular understanding.
What do you think of the characters' speech?
Suggested answer: The speech of the heroes is unusual and unusual for the modern reader due to the wide use of words of folk etymological origin.
3. The result of the lesson. Reflection.
Continue offers.
I met ..... (creative biography of N.S. Leskov)
I learned about .... (the history of the creation of "Lefty")
I memorized new terms... (tale, folk etymology)
Especially liked..
4. Homework.
Continue compiling the dictionary for the following chapters.
1) Lesson number 2 can be started by checking the assimilation of the meaning of new words.
Indicate the numbers of words, the interpretation of which is an error.
1) escorts - One who accompanies someone
2) coven - Enough is overthat's it.
3) nymphosoria - a type of ciliates, a unicellular organism
4) orderly - day duty.
5) agitation - agitation
6) Folder - folding icon
7) Ceramides - Egyptian pyramids.
Match words and realities (an object or a drawing of this object) when interpreting the lexical meaning of a word.
Ceramides |
|
Merblues montons |
|
Nymphosoria |
|
Folder. |
|
pistol |
To complicate the task, in the right column you can not give words, but ask students to choose them themselves.
2) As homework, you can give a crossword puzzle.
3) In lesson number 3, to consolidate the knowledge of new words, you can solve a couple of the most successful crossword puzzles.
Crossword. Sample. The work of Yulia Vodopyanova (6th grade 2015)
Questions:
1. This type of clothing was made from camel hair
2. What was the name of the sea along which Levsha sailed on the ship?
4. The meaning of this word is explained as embarrassing, embarrassing.
5. Device for looking at small objects
6. This is the name of the food warehouse.
7. Definition of a hump nose
8. They are Egypt's main attraction
9. In the text, a synonym for the word expectation.
10 The name of the wine drink.
4) After a more detailed conversation about the genre of the tale, give the children a creative task, come up with their own tale. An example of the work of a 6th grade student.
A story about how a grandmother visited a competition in rhythmic gymnastics.
Once my granddaughter called my neighbor in the village on a sotel (cell phone) and invited her to her performance in rhythmic gymnastics. She is a group player (performs in group exercises). Grandma went to the railway (to the railway station), took a ticket and went to the city of Nizhny Novgorod.
Her granddaughter performed at the Olympic Reserve School. Grandma went into the hall, the people were in darkness. Sat down and began to wait (wait). Here the girls came out in bright, beautiful bodysuits (swimsuit on the body), painted on their faces, like Serezha Zersky (Zverev). The music played. The girls began to perform various tricks (throwing their legs high, behind their ears), tossing maces up. Grandma's breath was taken away. The number was performed flawlessly (no errors and falls). They won.
Folk etymology - false etymology, lexical association arising under the influence of vernacular; in the future, it can also be perceived in the literary language.
table Words recorded in the explanatory dictionary The first chapter escorts - The one who accompanies someone (according to the dictionary of Ozhegov S.I. http://tolkslovar.ru /) sabbath - Enough, over, that's it. (according to the dictionary of T.F. Efremova) Kunstkamera - Museum, a collection of rarities, outlandish objects (Ozhegs) cloak - Men's clothing in the form of a long, widening cape made of thin felt. orderly - a soldier (sailor), who was with a general (admiral) or an officer as a government servant Skladen - a folding icon The second chapter swung - Start to gasp intensely, complain. (according to the dictionary of Ushakov D.N. http://www.classes.ru/) embarrass - embarrass, embarrass, put in an awkward position Words of folk etymological origin hunchbacked) Kislyarka (Kizlyarka) - low-quality grape vodka produced in the city of Kizlyar in the Caucasus Internecine conversations - here in the sense of "talking among themselves" busts "and" chandeliers "buremeters (barometer) from the association with the words - measure the storm merbluz (camel) instead of" camel "; combination of the words "freeze" and "camel"
