Many words not only define concepts, but also express the speaker's attitude towards them, a special kind of evaluativeness. For example, admiring the beauty white flower, you can call it snow-white, white, lilac. These words are emotionally colored: a positive assessment distinguishes them from the stylistically neutral definition white. The emotional coloring of the word can also express a negative assessment of the concept called: blond, whitish. Therefore, emotional vocabulary is also called evaluative ( emotional-evaluative).

At the same time, it should be noted that the concepts of emotionality and evaluativeness are not identical, although they are closely related. Some emotional words (for example, interjections) do not contain evaluation; and there are words in which the assessment is the essence of their semantic structure, but they do not belong to the emotional vocabulary: good, bad, joy, anger, love, suffer.

A feature of the emotional-evaluative vocabulary is that emotional coloring"is superimposed" on the lexical meaning of the word, but is not reduced to it: the denotative meaning of the word is complicated by the connotative one.

As part of the emotional vocabulary, three groups can be distinguished.

Words with strong connotative meaning containing an assessment of facts, phenomena, signs, giving an unambiguous description of people: inspire, delightful, daring, unsurpassed, pioneer, predestinate, herald, self-sacrifice, irresponsible, grumbler, double-dealer, businessmanship, antediluvian, mischief, defame, fraud, toady, windbag, slob. Such words, as a rule, are unambiguous, expressive emotionality prevents the development of figurative meanings in them.

Polysemantic words, neutral in the main meaning, receiving a qualitative-emotional connotation when used figuratively. So, about a person of a certain character, you can say: hat, rag, mattress, oak tree, elephant, bear, snake, eagle, crow, rooster, parrot; verbs are also used in a figurative sense: saw, hiss, sing, gnaw, dig, yawn, blink and etc.

Words with subjective evaluation suffixes conveying various shades of feelings: son, daughter, granny, sunshine, neatly, close- positive emotions; beards, kid, breech- negative. Their evaluative meanings are determined not by nominative properties, but by word formation, since affixes give emotional coloring to such forms.

The emotionality of speech is often conveyed especially expressive expressive vocabulary. expressiveness(expression) (lat. Expressio) - means expressiveness, the power of manifestation of feelings and experiences. There are many words in Russian that have an element of expression added to their nominative meaning. For example, instead of the word good, getting excited about something, we say wonderful, marvelous, marvelous, marvelous; I can say I don’t like it, but it’s not difficult to find stronger, more colorful words hate, despise, loathe. In all these cases, the semantic structure of the word is complicated by connotation.

Often one neutral word has several expressive synonyms that differ in the degree of emotional stress; compare: misfortune - grief, disaster, catastrophe; violent - unrestrained, indomitable, furious, furious. Vivid expression highlights the words solemn ( herald, accomplishments, unforgettable), rhetorical ( companion, aspirations, proclaim), poetic ( azure, invisible, silent, sing). Expressively colored and playful words ( faithful, newly minted), ironic ( deign, don Juan, vaunted), familiar ( ugly, cute, poking around, whispering) Expressive shades delimit disapproving words ( mannered, pretentious, ambitious, pedant), disparaging ( to paint, pettiness), contemptuous ( tease, tease), derogatory (skirt, squishy), vulgar ( grabber, lucky), swear words (boor, fool). All these nuances of the expressive coloring of words are reflected in stylistic notes to them in explanatory dictionaries.

The expression of a word is often superimposed on its emotional and evaluative meaning, and in some words expression prevails, in others - emotionality. Therefore, it is often not possible to distinguish between emotional and expressive coloring, and then they talk about emotional and expressive vocabulary (expressive-evaluative).

Words similar in expressiveness are classified into: 1) vocabulary expressing a positive assessment of the called concepts, and 2) vocabulary expressing a negative assessment of the called concepts. The first group will include words high, affectionate, partly playful; in the second - ironic, disapproving, abusive, contemptuous, vulgar and so on.

The emotional and expressive coloring of a word is influenced by its meaning. Thus, such words as fascism, Stalinism, repression. Positive assessment stuck to the words progressive, peace-loving, anti-war. Even various meanings of the same word can noticeably diverge in stylistic coloring: in one sense the word acts as a solemn, lofty one: Stop, prince. Finally, I hear not a boy speaking, buthusband(P.), in another - as ironic, mocking: B. Polevoy proved that the venerable editor enjoys the fame of a scientisthusband(P.).

The development of expressive shades in the semantics of the word is also facilitated by its metaphorization. So, stylistically neutral words used as metaphors get a vivid expression: burn at work, fall from fatigue blazing gaze, blue dream, flying gait, etc. The context finally shows the expressive coloring of words: in it, stylistically neutral units can become emotionally colored, high - contemptuous, affectionate - ironic, and even a swear word ( scoundrel, fool) can sound approvingly.

Naming certain objects and phenomena, the speakers in some cases express their attitude towards them in the name itself - positive or negative. The emotional coloring of words reflects the social and individual assessment of phenomena and objects of reality.

Yes, the words patriarchy, criminality, circleism not only denote certain phenomena(“remnants of tribal life, backwardness”; “a criminal offense, as well as everything related to such a crime”, “preference for the interests of a narrow circle over common interests”), but also express condemnation of these phenomena and contempt for them.

Emotionally colored words are also frequent in everyday speech - when expressing contempt or condemnation: rude, weakling, vulgar; love weasels: grandmother, daughter and etc.

To express various shades of feeling in the Russian language, evaluation suffixes are widely used: diminutive - petting, dismissive, magnifying (see about them in detail in § 151), for example: cow, cow, cow, cow, cow; head, head, head, head, heads etc. Various shades of feeling are also associated with other suffixes; for example, with the suffix -j-(o) (on a letter -yo) – a hint of disdain, condemnation: crow, animal(for example, Mayakovsky: Damier shied away from me with a rocket); shades of condemnation are associated with the suffix -an (-yan): gorlan, brawler; with suffixes -shina, -sheep: Zubatovism, circleism etc.

In speech, a rude word can take on a tinge of tenderness and affection, and an affectionate word can become an expression of contempt. The contrast in this case emphasizes the expressiveness of speech more strongly. Let us recall, for example, the patronizing and affectionate appeal of the poet Nekrasov to a peasant boy carrying a “cart of brushwood” from the forest: "Hey, boy!" On the other hand, the expression Sissy has (despite the petting diminutive suffixes) a negative connotation, denoting a spoiled, pampered person: The boys started teasing him that he was a sissy. (Ext.)

Not all words in a language have an emotional connotation; many only name something - an object, property or action: table, school, white, in a new way, go, write etc. This is a stylistic and neutral vocabulary.

Emotionally colored words make up two other groups: stylistically reduced, or colloquial, vocabulary (compare, for example, such words as to balk, dead. take a nap, nag) and book vocabulary (for example, words such as argumentation, consideration, proper, such and etc.).

In the stylistic description of vocabulary, it is established in what varieties of speech this or that word is used (book-scientific, book-poetic, colloquial-everyday speech, etc.) and what expressive connotation it has.

Compare the highlighted words: 1) Do not humiliate yourself: do not tell lies; 2) The main thing - don't lie to myself. (Dost.); 3) He wanted to calm her down and in ra l, that the hand hurts less. (Paust.); 4) - I I'm not lying- the Stupid answered with dignity, - and you you're lying. (T.)

Combination tell a lie and word lie used both orally and writing and do not have special expressive shades. The word lie used in colloquial everyday speech and has. a hint of roughness. Word to lie used colloquially and has a tinge of rudeness, harsh condemnation. Interesting use of words lie and to lie in the last example: Stupid says to himself I'm not lying but about Morgach you're lying.

Emotionally expressive coloring of words

Many words not only define concepts, but also express the speaker's attitude towards them, a special kind of evaluativeness. For example, admiring the beauty of a white flower, you can call it snow-white, white, lilac. These words are emotionally colored: a positive assessment distinguishes them from the stylistically neutral definition of white. The emotional coloring of the word can also express a negative assessment of the called understood: blond, whitish. Therefore, emotional vocabulary is also called evaluative (emotional-evaluative).

At the same time, it should be noted that the concepts of emotionality and evaluativeness are not identical, although they are closely related. Some emotional words (for example, interjections) do not contain evaluation; and there are words in which the assessment is the essence of their semantic structure, but they do not belong to the emotional vocabulary: good, bad, joy, anger, love, suffer.

A feature of the emotional-evaluative vocabulary is that the emotional coloring is "superimposed" on lexical meaning word, but is not reduced to it: the denotative meaning of the word is complicated by the connotative one.

As part of the emotional vocabulary, three groups can be distinguished.

• 1. Words with a bright connotative meaning, containing an assessment of facts, phenomena, signs, giving an unambiguous description of people: inspire, delightful, daring, unsurpassed, pioneer, predestinate, herald, self-sacrifice, irresponsible, grump, double-dealer, businessmanship, antediluvian, mischief, defame, fraud, sycophant, windbag, slob. Such words, as a rule, are unambiguous, expressive emotionality prevents the development of figurative meanings in them.
• 2. Polysemantic words, neutral in the main meaning, receiving a qualitative-emotional connotation when used figuratively. So, about a person of a certain character, you can say: hat, rag, mattress, oak, elephant, bear, snake, eagle, crow, rooster, parrot; verbs are also used in a figurative sense: saw, hiss, sing, gnaw, dig, yawn, blink and etc.
• 3. Words with subjective assessment suffixes that convey various shades of feelings: son, daughter, granny, sunshine, neatly, close - positive emotions; beards, kid, breech- negative. Their evaluative meanings are determined not by nominative properties, but by word formation, since affixes give emotional coloring to such forms.

The emotionality of speech is often conveyed by especially expressive expressive vocabulary. expressiveness(expression) (lat. expressio) - means expressiveness, the power of manifestation of feelings and experiences. There are many words in Russian that have an element of expression added to their nominative meaning. For example, instead of the word good, getting excited about something, we say wonderful, marvelous, marvelous, marvelous; you can say I do not like, but it is not difficult to find stronger, more colorful words hate, despise, loathe. In all these cases, the semantic structure of the word is complicated by connotation.

Often one neutral word has several expressive synonyms that differ in the degree of emotional stress; compare: misfortune - grief, disaster, catastrophe; violent - unrestrained, indomitable, frantic, furious. Vivid expression highlights the words solemn ( herald, accomplishments, unforgettable), rhetorical ( companion, aspirations, proclaim), poetic ( azure, invisible, silent, sing). Expressively colored and playful words ( faithful, newly minted), ironic ( deign, don Juan, vaunted), familiar (not bad, cute, to mumble, whisper) Expressive shades delimit disapproving words ( mannered, pretentious, ambitious, pedant), disparaging ( to paint, pettiness), contemptuous ( tease, tease), derogatory (skirt, squishy), vulgar ( grabber, lucky), swear words ( ham, fool). All these nuances of the expressive coloring of words are reflected in stylistic notes to them in explanatory dictionaries.

The expression of a word is often superimposed on its emotional and evaluative meaning, and in some words expression prevails, in others - emotionality. Therefore, it is often not possible to distinguish between emotional and expressive coloring, and then they talk about emotionally expressive vocabulary ( expressive-evaluative).

Words that are similar in nature of expressiveness are classified into: 1) vocabulary expressing positive assessment of the named concepts, and 2) vocabulary expressing negative assessment of the named concepts. The first group will include words high, affectionate, partly playful; in the second - ironic, disapproving, abusive, contemptuous, vulgar and so on.

The emotional and expressive coloring of a word is influenced by its meaning. Thus, such words as fascism, Stalinism, repression. A positive assessment was attached to the words progressive, peace-loving, anti-war. Even different meanings of the same word can diverge noticeably in stylistic coloring: in one meaning, the word appears as solemn, lofty: Stop, prince. Finally, I hear not a boy speaking, but husband (P.), in another - as ironic, mocking: G. Polevoy proved that the venerable editor enjoys the fame of a scientist husband (P.).

The development of expressive shades in the semantics of the word is also facilitated by its metaphorization. So, stylistically neutral words used as metaphors get a vivid expression: burn at work, fall from fatigue suffocate under the conditions of totalitarianism, blazing gaze, blue dream, flying gait and so on. The context finally shows the expressive coloring of words: in it, stylistically neutral units can become emotionally colored, high - contemptuous, affectionate - ironic and even a swear word ( scoundrel, fool) might sound positive.

The stylistic characteristic of a word is determined by how it is perceived by speakers: as assigned to a certain functional style or as appropriate in any style, commonly used.

The stylistic fixation of the word is facilitated by its thematic relevance. We feel the connection of words-terms with the scientific language ( quantum theory, assonance, attributive ); we attribute to the journalistic style words related to political topics ( world, congress, summit, international, law and order, personnel policy ); we single out as official business words used in office work ( following, proper, victim, residence, notify, prescribe, forwarded ).

In the most in general terms functional-style stratification of vocabulary can be depicted as follows:

The most clearly contrasted book and colloquial words (compare: intrude - get in, meddle; get rid of - get rid of, get rid of; criminal - gangster ).

As part of book vocabulary, one can single out words that are characteristic of book speech in general ( subsequent, confidential, equivalent, prestige, erudition, preface ), and words assigned to specific functional styles(for example , syntax, phoneme, litote, emission, denomination tend to scientific style; election campaign, image, populism, investment - to journalistic; action, consumer, employer, prescribed, above, client, prohibited - to official business).

The functional fixedness of vocabulary is most definitely revealed in speech.

Book words are not suitable for casual conversation.

For example: The first leaves appeared on the green spaces.

Scientific terms cannot be used in a conversation with a child.

For example: It is highly probable that the Pope will enter visual contact with Uncle Petya during the coming day.

Colloquial and colloquial words are inappropriate in a formal business style.

For example: On the night of September 30, racketeers ran into Petrov and took his son hostage, demanding a ransom of 10 thousand dollars.

The ability to use a word in any style of speech indicates its general use.

So, the word house is appropriate in various styles: House No. 7 on Lomonosov Street is to be demolished; The house was built according to the project of a talented Russian architect and is one of the most valuable monuments of national architecture; Pavlov's house in Volgograd became a symbol of the courage of our fighters, who selflessly fought against the Nazis in the slots of the city; Tili-bom, tili-bom, the cat's house caught fire(March.).

In functional styles special vocabulary used against the backdrop of common usage.

Emotionally expressive coloring of words

Many words not only name concepts, but also reflect the attitude of the speaker towards them.

For example , admiring the beauty of the white flower, you can call it snow-white, white, lilac. These adjectives are emotionally colored: the positive evaluation contained in them distinguishes them from a stylistically neutral word. white. The emotional coloring of the word can also express a negative assessment of the called concept ( blond ).

That's why emotional vocabulary is called evaluative (emotionally-evaluative).

A feature of emotional-evaluative vocabulary is that the emotional coloring is “superimposed” on the lexical meaning of the word, but is not reduced to it, the purely nominative function is complicated here by evaluativeness, the speaker’s attitude to the phenomenon being called.

As part of the emotional vocabulary, the following three varieties are distinguished.

1. Words with strong evaluative meaning, as a rule, unambiguous; “the evaluation contained in their meaning is so clearly and definitely expressed that it does not allow the word to be used in other meanings.” These include the words "characteristics" ( forerunner, forerunner, grouch, idler, toady, slob etc.), as well as words containing an assessment of a fact, phenomenon, sign, action ( predestination, destiny, deceit, fraud, marvelous, miraculous, irresponsible, antediluvian, dare, inspire, defame, mischief ).

2. Polysemantic words, usually neutral in the main meaning, but getting a bright emotional coloring when used metaphorically.

So, about a person they say: hat, rag, mattress, oak, elephant, bear, snake, eagle, crow ; verbs are used in a figurative sense: sing, hiss, saw, gnaw, dig, yawn, blink and under common.

3. Words with subjective evaluation suffixes, conveying various shades of feeling: containing positive emotions - son, sun, granny, neat, close, and negative - beards, kid, bureaucracy etc.

Since the emotional coloring of these words is created by affixes, the estimated meanings in such cases are determined not by the nominative properties of the word, but by word formation.

The image of feeling in speech requires special expressive colors.

expressiveness (from Latin expressio - expression) - means expressiveness, expressive - containing a special expression.

At the lexical level, this linguistic category gets its embodiment in the “increment” to the nominative meaning of the word of special stylistic shades, special expression.

For example, instead of the word good We are speaking wonderful, marvelous, marvelous, marvelous ; you can say I do not like, but stronger words can be found: hate, despise, loathe .

In all these cases, the lexical meaning of the word is complicated by expression.

Often one neutral word has several expressive synonyms that differ in the degree of emotional stress (compare: misfortune - grief - disaster - catastrophe, violent - unrestrained - indomitable - violent - furious ).

Vivid expression highlights the words solemn ( unforgettable, herald, accomplishments ), rhetorical ( sacred, aspirations, herald ), poetic ( azure, invisible, chant, unceasing ).

A special expression distinguishes the words playful ( faithful, newly minted ), ironic ( deign, don Juan, vaunted ), familiar ( ugly, cute, poking around, whispering ).

Expressive shades delimit words disapproving (pretentious, mannered, ambitious, pedant ), dismissive (to paint, pettiness ), contemptuous (slander, servility, sycophancy ), derogatory (skirt, squishy ), vulgar (grabber, lucky ), swear words (ham, fool ).

Expressive coloring in a word is superimposed on its emotional and evaluative meaning, and in some words expression prevails, in others - emotional coloring. Therefore, it is not possible to distinguish between emotional and expressive vocabulary. The situation is complicated by the fact that "the typology of expressiveness is, unfortunately, not yet available." This leads to difficulties in developing a common terminology.

Combining words close in expression into lexical groups, we can distinguish:

1) positive words called concepts,

2) words expressing their negative assessment .

The first group will include words high, affectionate, partly playful; in the second - ironic, disapproving, abusive, etc.

The emotionally expressive coloring of words is clearly manifested when comparing synonyms:

stylistically neutral:	reduced:	high:
face	muzzle	face
let	hindrance	block
cry	roar	sob
afraid	to be afraid	fear
drive away	expose	drive out

The emotional and expressive coloring of a word is influenced by its meaning. Sharp negative evaluation we got words like fascism, separatism, corruption, assassin, mafia .

Behind the words progressive, law and order, sovereignty, glasnost etc. is fixed positive color .

Even different meanings of the same word can differ markedly in stylistic coloring: in one case, the use of a word can be solemn ( Stop, prince. Finally, I hear the speech not of a boy, but of a husband.- P.), in another - the same word gets an ironic coloring ( G. Polevoy proved that the venerable editor enjoys the fame of a learned man, so to speak, on my word of honor. - P.).

The development of emotional and expressive shades in the word is facilitated by its metaphorization.

So, stylistically neutral words used as tropes get a vivid expression.

For example: burn (at work), fall (from fatigue), suffocate (under adverse conditions), glowing (look), blue (dream), flying (gait) etc.

The context finally determines the expressive coloring: neutral words can be perceived as lofty and solemn; high vocabulary in other conditions acquires a mockingly ironic coloring; sometimes even a swear word can sound affectionate, and affectionate - contemptuously.

The appearance of additional expressive shades in a word, depending on the context, significantly expands the visual possibilities of vocabulary.

The emotionally expressive coloring of the word, layered on the functional, complements its stylistic characteristics. Emotionally-expressive neutral words usually belong to common vocabulary (although this is not necessary: ​​terms, for example, in emotionally expressive terms, are usually neutral, but have a clear functional fixation). Emotionally expressive words are distributed between book, colloquial and vernacular vocabulary.

Subdivisions of expressive-colored vocabulary

D.E. Rosenthal identifies 3 groups of vocabulary:

1) Neutral (interstyle)

2) colloquial

3) colloquial

1. Neutral(interstyle) is a vocabulary that is used in all styles of the language, it is a category of words that are not expressively colored, emotionally neutral.

Interstyle vocabulary is the basis for the vocabulary of both oral and written speech.

You can compare the common word lie and words compose, flood, which belong to colloquial vocabulary and have a colloquial and playful character.

2. To colloquial vocabulary include words that give speech a touch of informality, ease, but do not go beyond the literary language. This is vocabulary oral speech. It is characterized by informality and emotionally expressive coloring. Gestures, facial expressions, posture, intonation play an important role in oral communication.

The group of colloquial vocabulary includes words that differ in the way of expression, stylistic coloring and those whose semantics already contain appraisal ( troublemaker, bedlam poseurs etc.), as well as those whose evaluativeness is created by affixes, the addition of bases ( old man, shoemaker, poor thing etc.). Words with subjective evaluation suffixes ( healthy, small, sonny, domina etc.). Familiar words also belong to this vocabulary ( grandma, grandpa, aunt, son etc.).

3. Colloquial vocabulary is on the verge or outside the strictly normalized lexical literary speech and is distinguished by a greater stylistic reduction compared to colloquial vocabulary, although the boundaries between them are unsteady and mobile and are not always clearly defined.

There are three groups of colloquial vocabulary:
Roughly expressive vocabulary grammatically represented by nouns, adjectives, adverbs and verbs (bore, madman, scoundrel, etc.). The expressiveness of these words shows the attitude to any object, person, phenomenon.
Rough colloquial vocabulary but it is distinguished by a greater degree of rudeness: (snout, bulldozer, mug, etc.). These words have stronger expression and negative attitude to some phenomena.
The colloquial vocabulary includes some words actually vernacular, non-literary , they are not recommended in the speech of cultured people ( just now, I suppose, maybe, having spawned etc.)

The use of stylistically colored vocabulary in speech

The tasks of practical stylistics include the study of the use of vocabulary of various functional styles in speech - both as one of the style-forming elements and as a different style means, which stands out by its expression against the background of other linguistic means.

The use of terminological vocabulary, which has the most definite functional and stylistic significance, deserves special attention.

Terms- words or phrases naming special concepts of any sphere of production, science, art.

For example: deposit(money or securities deposited with a credit institution for safekeeping); express loan (term loan, provision of valuables in debt); business(entrepreneurial activity, generating income, profit); mortgage(pledge of real estate in order to obtain a long-term loan); percent(payment received by the lender from the borrower for the use of a cash loan).

Each term is necessarily based on the definition (definition) of the reality it denotes, due to which the terms represent a capacious and at the same time concise description of an object or phenomenon. Each branch of science operates with certain terms that make up the terminological system of this branch of knowledge.

The term is usually used in only one area.

For example: phoneme to be - in linguistics, cupola- in metallurgy. But the same term can be used in different areas. In each case, the term has its own special meaning.

For example: Term operation used in medicine, military and banking. Term assimilation used in linguistics, biology, ethnography; iris– in medicine and biology (botany); reversion- in biology, technology, jurisprudence.

Becoming a term, the word loses its emotionality and expressiveness. This is especially noticeable when compared common words in diminutive form and related terms.

For example: cam in a child and cam in car, front sight- a small fly and front sight in the meaning of "a small protrusion on the front of the barrel of a firearm, which serves for aiming", cheeks child and cheeks at a machine gun, etc.

The diminutive form of a common word very often becomes a term. Zubok from the word tooth in the meaning of "a bone formation, an organ in the mouth for grasping, biting and chewing food" and the term clove- cutting tooth of a machine, tool. tongue from the word language in the meaning of "movable muscular organ in the oral cavity" and the term uvula- a small process at the base of the blade of a leaf of cereals and some other plants. Hammer from the word a hammer in the meaning of "a tool for hammering, blows" and the term hammer- one of the auditory ossicles of the middle ear and the name of various percussion devices in mechanisms.

Terminological vocabulary contains more information than any other, so the use of terms in a scientific style is necessary condition brevity, conciseness, accuracy of presentation.

Scientific and technological progress has led to intensive development scientific style and its active influence on other functional styles of the modern Russian literary language. The use of terms outside the scientific style has become a kind of sign of the times.

Studying the process of terminology of speech that is not bound by the norms of scientific style, researchers point to distinctive features the use of terms in this case. Many words that have precise terminological meanings are widely used and are used without any stylistic restrictions.

For example: radio, television, oxygen, heart attack, psychic, privatization .

Another group combines words that have a dual nature: they can be used both in the function of terms and as stylistically neutral vocabulary. In the first case, they differ in special shades of meanings, giving them special accuracy and unambiguity.

Yes, the word mountain, meaning in its broad, interstyle usage " significant elevation rising above the surrounding area”, and having a number of figurative values, does not imply an accurate quantitative measurement of height. In geographical terminology, where the distinction between concepts is essential mountain - Hill, clarification is given: elevation over 200 m high.

Thus, the use of such words outside the scientific style is associated with their partial determinology.

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The second side of the stylistic coloration is emotionally expressive stylistic coloration. It is associated with the ability of speech to influence the emotions of the perceiver of speech, evoke certain feelings in him and convey the emotions of the speaker, as well as enhance expressiveness, that is, the expressiveness of speech. So, for example, the word children stylistically neutral (both in terms of functional and stylistic coloring, and in terms of emotional and expressive), since it does not have any connotations beyond its lexical meaning; the same denotation can be denoted by the word guys(Compare: The children played in the yard near the school / The guys played in the yard near the school), which is characterized colloquial functional and stylistic coloring, but it is devoid of emotionally expressive coloring, like the word children. Unlike the above, the words kids to kids, in addition to colloquial functional and stylistic coloring, they also have emotional and expressive coloring, since connotations of familiarity and flattery are superimposed on their main lexical meaning. To determine the types of emotionally expressive coloring, one should consider the content and correlation of four concepts: emotionality, appraisal, figurativeness and expressiveness.

The emotionality of speech is the expression in the speech of the speaker's feelings and the impact of speech on the feelings of the listener; it is conveyed by various linguistic means. These include: 1) intonation, in writing, transmitted by punctuation and other graphic signs, as well as a violation of the objective word order, i.e. inversion; for example: Moscow! How much has merged in this sound for the Russian heart ...(Pushkin) (the so-called exclamatory intonation forms a detached theme (nominative theme), conveying a solemnly excited emotional condition author); Mom, I got my feet wet...(colloquial speech): here in the phrase with control the objective order of the main and dependent components is violated, since with the objective order of words in the phrase with the connection of control main component must be in preposition, and dependent - in postposition; violation of this norm of word order at the level of a phrase is marked by the appearance of emphatic stress on the prepositive controlled component; cf. with a phrase without inversion: wet his feet. In the oral form of speech, an indicator of its emotional coloring can be the pronunciation of vowel sounds as long, "stretched"; for example, a regular question is framed using the pronoun what?; which is pronounced with the usual [o] stress, and the same question, but complicated by the emotions of surprise or indignation, indignation, will sound with a long, “stretched”: What-oh-oh? / tone on will go up sharply; at the same time, the diphthongoid character will be revealed brighter, i.e., the presence of [y] in the excursion phase: [about]; 2) repetitions: Explain to you, explain,- and all to no avail!(Speaking); 3) rhetorical exclamations and rhetorical questions, for example: Gentlemen of thought! Are we really indifferent to the fate of our children, the fate of our youth, our future?!(publicistic speech); 4) some categories of words, for example, interjections and such particle, which do not contain evaluation and express "pure" emotions: joy, surprise, fear, fear, grief, horror, regret, etc.; for example: Fathers! Look~ka... look... dead! Killed!(M. Gorky). Really?!

Among other parts of speech, it is difficult to detect actually emotional words, since in them the expression of the speaker's feelings is already superimposed grade- approval or disapproval. For example, eh combined with second person pronouns (Eh, you/or Eh, you!) serves to express a negative attitude towards the interlocutor, his condemnation: Our commanders fled, the commanders sold out. We run like sheep.- Eh, you! - only Khvedin said to this.- Oh, you landlords! (BUT. Tolstoy).

Thus, the concepts of emotionality and evaluativeness are closely related, but not identical. Emotionality is associated exclusively with the mental side of the personality and with the expression of emotions in speech, and evaluativeness - both with the psyche and with mental activity speaker. Emotional words, in particular: emotional interjections and particles, do not contain evaluation; evaluative words are usually emotional. Let us give examples of words-characteristics with different functional and stylistic coloring, i.e. belonging to different functional styles, conveying an emotional attitude to the signified, its emotional assessment: wondrous, initiator, exciting(for example, spectacle), bribe taker, antediluvian, businesslike, bite(trans.), wipe(trans.), bore, tinker(in meaning delay), shepherd, good, do-gooder, meekness, gangs, extremists; examples of words with subjective evaluation suffixes: sun, old man, hands, coat.

As we can see, the emotional assessment is superimposed in all cases on the nominative, conceptual meaning of the word, and is not reduced to it. Therefore, such words in which it is the assessment, moreover, not emotional, but intellectual, that constitutes the nominative content of the word itself, cannot be qualified as emotional-evaluative, for example: bad, good, approve, disapproving, positive, negative, true, false etc. They should be characterized from the point of view of emotionally expressive stylistic coloring as neutral.

When it comes to emotionally expressive stylistic coloring, one of its sides, one of its components, is also connotation. imagery. Examples figurative speech we find, of course, most often in fiction, but figurative elements can also be in texts designed in newspaper-journalistic, church-religious and colloquial styles (more on this below, as well as when characterizing functional styles).

Imagery- this is the pictorial quality of the word, the quality of speech, thanks to which language means, naming objects, signs or actions, simultaneously evoke in the addressee an idea, an image of the designated; for example: Maple leaves, like paws, stood out sharply on yellow sand alleys(A. Chekhov). More AL. Potebnya spoke about the figurativeness of the word, linking this concept with the concept internal form words, first introduced into linguistics by W. Humboldt. According to the concept of A.A. Potebni, any word at the moment of its occurrence includes three elements: 1) sound (= external sign of meaning), 2) representation (= internal sign of meaning, or internal form) and 3) self-meaning. The sound and meaning in the word always exist, and the idea that formed the basis of the naming may disappear, be erased over time. When this representation is alive, the inner form of the word is also alive, and then the word is figurative; and if the word has lost its inner form, it has become ugly. AL. Potebnya writes: “All meanings in a language are figurative in origin, each can become ugly over time ... The development of a language takes place through obscuring representation and emergence, because of this and because of new perceptions, new figurative words” (Potebnya 1905: 302 ; 22). Calling to A.A. Potebney, French researcher J.-P. Richter figuratively called language a "graveyard of metaphors". When do native speakers use words now? minute, inch, coast, sour cream, they do not feel their inner form; but when these words appeared, representations were taken as the basis about small, petty(hence - minute), about thumb(hence - inch), oh woe(cf. German Bergw Russian Coast), about action sweep away, remove from the surface(hence the word sour cream). So AL. Potebnya connects figurativeness with the internal form of the word and extends the concept of figurativeness to language in general. Evaluating this concept, we can conclude that the scientist is right when he believes that, in principle, every word has the ability to become figurative, that is, to convey a phenomenon in its concreteness and visibility; but it is not at all necessary to associate such a capacity only with the presence or rebirth, the revival of the inner form of the word. If compared with the stated concept of A.A. Sweat the views of scholars such as A.M. Peshkovsky, G.O. Vinokur, V.V. Vinogradov, it can be found that they are in solidarity with AL. Potebnee is that figurativeness is not limited only to the use of any tropes (comparisons, metaphors, epithets, etc.), but is understood widely; they also believe that, in principle, any linguistic means can cause a concrete-sensory representation of the signified. However, unlike A.A. Potebni, he sees the condition for this not in the presence or revival of the inner form of the word, but in the presence context with a figurative task, i.e. context of artistic speech. Only here, in a literary text, the most diverse, often in themselves neutral, linguistic means “work” to create an image. (Recall an example from A.S. Pushkin's poem "Count Nulin": p. 61). Imagery here is achieved by the system of all linguistic means used by the writer. So, analyzing Dead Souls» Gogol, A.M. Peshkovsky writes that for readers Chichikov's imagery is made up of all the words of Dead Souls that depict Chichikov directly or indirectly. Developing the idea of ​​A.M. Peshkovsky, GO. Vinokur emphasizes that the imagery of language is the use of language in its aesthetic function. He writes that the artistic word is figurative not only in the sense that it is metaphorical. The point is that the real meaning artistic word never closes in its literal sense. Here often the broader content is conveyed in the form of another word taken literally. For example, in A.N. Tolstoy "Bread", the word in the title has the meaning that is inherent in it in the general literary language, and at the same time, as GO writes. Vinokur, it "represents a well-known image that conveys in artistic synthesis one of the major events of the revolution and civil war"(Vinokur 1959:247). This phenomenon is called increase in meaning. The increment of meaning creates the figurativeness of artistic speech. V. V. Vinogradov also wrote about this, noting that the word in work of art, coinciding in its external form with the word of the corresponding national-linguistic system and relying on its own meaning, is also addressed to the world of artistic reality. It is two-dimensional in its semantic orientation and, therefore, figuratively. So, imagery, which is widely understood (not reducible to the internal form of the word), is a property of only artistic speech.

In a number of works, imagery is interpreted, on the contrary, very narrowly: as the use of a figurative meaning of a word in speech, that is, as the use of tropes, and also as the use of various figures of speech (comparisons, personifications, hyperbole, litotes, etc.)

Imagery in a broad sense is a property of language fiction, and the figurative means of language in the narrow sense (epithets, comparisons, metaphors, personification, etc.), i.e., individual figurative elements, are also characteristic of journalistic, popular science, church-religious and colloquial speech. In popular science speech, for example, the purpose of using figurative elements is purely illustrative, they are intended to explain some thought of the author, to make it more visual and therefore more accessible to the addressee; for example, D.I. Mendeleev in the text of the lecture compares the smell of ozone with the smell of boiled crayfish. Of the four concepts mentioned above, which are associated with the presence of emotionally expressive stylistic coloring (emotionality, evaluativeness, imagery and expressiveness), the broadest, including the rest, is concept of expressiveness.

Expressiveness is an increase in the expressiveness of speech, an increase in its influencing power. Any speech, if it has emotional-evaluative or figurative connotations, is expressive. At the same time, expressiveness does not necessarily come down to emotionality, evaluativeness and imagery. For example, from two statements: (1) Get up.(2) Get up/- the second statement, having neither evaluativeness, nor emotionality, nor figurativeness, can, nevertheless, be characterized in comparison with the first as more expressive, since two more connotative meanings are superimposed on the meaning of motivation, which is available in both cases, in the second: categorical , not allowing objections, and underlined officiality.

The expressive coloring of speech is created due to the most diverse shades of a connotative character, in particular, a shade of ease, liveliness of speech; compare: We approach him this way and that, and he responds- (1) only silent(neutral) / (2) not a word(expressive) / (3) no hoo-hoo(even more expressively). Let's also compare the following series: got used to / got used to, stopped paying attention / waved his hand; suddenly screamed / how to scream.

It can also be a shade that conveys a greater intensity of the manifestation of the trait; for example, the second (and third) members of the above series that have this connotative element are more expressive than the first ones: darkness / gloom / at least gouge out your eye; ask / beg / beg; a lot / a lot / abyss; little / the cat cried / with a gulkin nose.

Sometimes, shades of bookishness and colloquialism are distinguished as two types of expression. For example, in the stories of Tendryakov:

(1) Chairman- so he is Yurkin's friend!

- I left. - L may have left you?(expression of colloquialism as a means of stylization of colloquial speech). An example of book expression is the description in “Dead Souls” by N.V. Gogol of the Koshkarev library, where Chichikov found six huge volumes called “A preparatory entry into the realm of thought. Theory of generality; totality, essence in application to the understanding of the organic principles of the mutual bifurcation of the social producer. posts." Let us immediately emphasize that the two named shades as expressive can be said primarily in relation to fiction, where stylization of either book or colloquial speech is carried out. But since both colloquial and book coloring are not emotionally expressive, but functional and stylistic, then, consequently, colloquial coloring will not be an expressive connotation in the context of colloquial speech (For example: Today we have fried for lunch potatoes) and book coloring will not be an expressive connotation in book styles (For example: researched features of thinking patients with aphasia). In other words, the expression of colloquialism can arise when units with colloquial coloring are transferred to texts of bookish styles or into the context of artistic speech, and the expression of bookishness can occur when units with a general functional-style coloring are transferred to the context of colloquial or artistic speech.

Since expressivity is the broadest of all four of the above concepts, then all emotional, emotional-evaluative, as well as figurative means, which were discussed above, fall into the number of linguistic means of enhancing the expressiveness of speech. In addition, any deliberate violation of linguistic norms at all levels of the structure of the language also serves as the basis for the emergence of an expressive effect.

So, at the phonetic level, the intentional change in the normative pronunciation can serve as the basis for the expressive effect: for example, the Chekhov heroine said: Here in Pytyurbürg(the writer imitates a cutesy pronunciation here); A. Kuprin in "The Cadets" also uses the reproduction of non-normative pronunciation as a characterological trait: “Ke-ek you’ll see? Ke-eks you’ll see, Cossack?!” In Y. Nagibin we meet the same technique: “If an infection has been introduced ...” Shelukhin began importantly, proud of the word “infection” and pronouncing it through [e], but Rachmaninov did not let him finish ... Expressive is also enhanced pronunciation of vowels or consonants, onomatopoeia, slow or, conversely, accelerated tempo of speech, special pausing, etc.

At the level of morphemes, the unusual use of derivational affixes is expressive. Thus, the purposes of enhancing expression are the author's neologisms - occasionalisms created according to the existing word-formation model, but with a change in the usual affixal composition; for example, well-known neologisms - occasionalisms of V. Mayakovsky: passportina, hammered, sickle etc.; by model mist - misty, forest- wooded A.P. Chekhov from a noun Frenchman creates an adjective francious and writes in a letter to Ya.P. Polonsky: Yut has nothing to do wrote an empty franjustic vaudeville called "Bear"".

In morphology, emotionally expressive are those forms that appear in an unusual meaning for them, that is, when one form is used in the meaning of another (the phenomenon transposition); for example: And so it could hurt you?(about a man); the use of a neuter pronoun instead of a masculine one conveys the contemptuous attitude of the speaker towards the person - the subject of speech.

The expressive so-called real historical(Praesens historicum), that is, the present tense of the verb used instead of and in the meaning of the past tense; With the help of such a transposition, the speaker, as it were, brings an event that took place in the past closer to the moment of speech, making it concrete and visual: And so a year or two passes. And finally three. And five years pass, and the matter is approaching our days. And then 1933 comes... Here they go to Leningrad. They go to Astoria. Carpets. Tables. The orchestra is playing. Great couples are dancing. So they sit down at the table, order chickens and so on.(M. Zoshchenko). The use of this form is expressive also because, thanks to its use, the narration from the author is, as it were, translated into the narration plan from actor: Events are told as the character sees them.

Of the syntactic means of enhancing expressiveness, one can name the inversion already mentioned above; for example: 1) The lonely sail turns white in the blue mist of the sea(M. Lermontov); 2) The successes of the builders of Moscow this year are significant / (From newspapers). Sentences with objective word order would begin with a local determinant in the blue mist of the sea(in the first sentence) or temporal determinant this year(in the second), since it is they in both cases that serve as a theme in the actual articulation of these sentences; the determinant must be followed in the first sentence by a predicate-subject complex that performs the function of a rheme white sail“What is taking place? What's happening?)", and in the second sentence, the determinant must be followed by an extended subject the successes of the builders of Moscow, which is the second component of a complex theme, and only after it should be the predicate weighty(as an answer to a latent question: “What are the successes of the builders of Moscow this year?”) At the same time, all phrases included in the topic or in the rheme should also have an objective word order in a non-expressive text (for example, in blue haze). Deprived of inversion, sentences with an objective word order would perform the same communicative task as sentences in real texts, would convey the same communicative meaning, but would be deprived of the expression that arises due to inversion; let's compare with the given expressively colored sentences from the texts the experimental sentences without inversion, which have the same actual articulation, but the objective word order:

1) In the blue mist of the sea(detailed, common determinant - topic) // white lonely sail(predicate-subject complex = rheme);

2) This year / successes of Moscow builders(determinant + expanded subject = topic) // weighty(predicate = rheme).

As you can see, experimental sentences without inversion, with an objective word order, have lost their expression.

The study and description of the expressive possibilities of language means of all levels is carried out by the stylistics of resources (they will be discussed in more detail in Chapter 3), the above examples are intended to show that, firstly, language means of all levels can have an emotionally expressive coloring, and in secondly, that the types of emotionally expressive coloring are extremely diverse and heterogeneous, therefore the classification of these types (or types) seems to be a very difficult matter and there is no unity of views on this issue among linguists. Even the question of the emotionally expressive coloring of vocabulary is solved ambiguously. At the same time, not all linguists distinguish between the two sides of stylistic coloring, as was done above. For example, A.N. Gvozdev in "Essays on Stylistics" identifies about 20 groups of emotionally expressive colored words; in particular:

Rhetorical (irresistible- "invincible" unforgettable-"memorable");

Poetic (azure- "blue", cherish -"caress");

- "fresh words" (look -"watch", gaze- "sight");

Folk poetic (comely- "beautiful", darling -"native");

Pompous archaic-comic (gluttony - "gluttony", honey-sucking- "flattering");

familiar-affectionate (grandmother- "grandmother", pichuga- "bird"); - disapproving (throw -"throw", shred- "cut"), etc.

I.N. Shmeleva divides all the words of the Russian literary language in terms of their stylistic coloring into two groups. AT first group includes the words:

Solemn: aspirations, led, glorify, be done, coming, indestructible, crucible, deeds, forever;

Official: henceforth to ..., research (of funds), name, inform, assign, events, assign (rank, degree), present(in the meaning of "this");

Spoken: gradebook, oatmeal, goofy, fizzle out(meaning "get tired") sunbathe(meaning "do not work");

Colloquial familiars: deliciousness, roar(meaning "to laugh").

Although the author of this classification points out that these words are united by the fact that they reveal one or another correlation with functional styles, however, it is obvious that the distinction between the functional-stylistic and emotional-expressive sides of stylistic coloring is not made here, as a result of which the classification is inconsistent.

In second the group includes "especially colored elements of artistic speech that do not correlate with functional speech styles":

Traditional poetic: flame, close, from childhood, silent, forehead, fire, eyelids, chamber, fire, foam;

Folk-peasant (words “bearing the stamp of primordially Russian, peasant origin. They are rarely used in the live speech of modern native speakers of the literary language, but are used in artistic creativity how means of expression with a special "folk-peasant" flavor"): to ripen, darling, solonitsa;

Regional: bases, siverko, hut;

Non-normative (this is a group of words that are entrenched in fiction as a means of speech characteristics): teacher, sorry, risky;

Folk poetic: fire, oak forest, beauty(Shmeleva 1975).

The second group is also distinguished inconsistently, since the characteristics "regional" and "profanity" vocabulary do not belong to varieties of emotionally expressive coloring, and besides, these are words that are not included in the lexical system of the literary language. Thus, stylistic literature reveals, firstly, a lack of unity among linguists on the issue of the nature and types of stylistic coloring of vocabulary; secondly, the indistinguishability between the language of fiction and the literary language, which results in the inclusion in the stylistically colored layers of the vocabulary of the literary language of those words that are used in literary texts, but as dialectisms or colloquial elements, i.e., non-literary lexical means that do not lose their functional affiliation with such use and do not turn into “artistic” language units; thirdly, the indistinguishability of the functional-style and emotional-expressive sides of the stylistic coloring, which manifests itself, in particular, in the following: in referring to rhetorical (for example, in A.N. Gvozdev) words and with newspaper-journalistic functional-style coloring (irresistible) and with emotionally expressive (unforgettable), and in the fact that solemn words (this term speaks of emotionally expressive coloring) and official, colloquial (terms characterizing functional and stylistic coloring) are put in one row (for example, by I.N. Shmeleva).

Since the types of emotional-expressive coloring do not represent a closed, final list, we can stop (with a certain degree of convention) on such a classification of types of emotional-expressive coloring, which will make it possible to bring it closer to the scale of functional and stylistic characteristics presented above, which, as we recall, of three divisions: + (plus) / O (zero) / - (minus).

Let's single out three main types of emotionally expressive coloring

(repeat, very conditional):

\) stylistic+ (a plus): a) sublime, solemn and b) ameliorative (with a positive emotional and evaluative connotation);

2) stylistic 0 (zero): neutral;

3) stylistic - (minus): a) reduced, familiar and b) pejorative (with a negative emotional-evaluative connotation).

Since emotionally expressive stylistic coloring is associated with the expression of feelings in speech, with the impact of speech on feelings, with an increase in the expressiveness of the word, it is clear that the variety of emotions, assessments, expressive connotations in no way allows such a classification to be made strictly logical, and the list of coloring types is closed. It is possible, only for the convenience of analysis, to propose this typology as allowing a fairly consistent characterization of vocabulary in terms of both functional-style and emotional-expressive stylistic coloring.

Sublime, solemn emotionally expressive stylistic coloring characterizes texts that are distinguished by an elevated, solemn emotional tone. This takes place in oratorical public speech, sustained in (1) newspaper-journalistic or (2) church-religious styles. For example: (1) Let us glorify all the women of the world - workers, creators, friends and mothers!(2) Sisters and brothers! Let's rejoice and give praise to the Almighty!

The following words, for example, have a sublime, solemn emotionally expressive coloring: year, crucible, companion, forever, from now on, all-victorious, led, all-conquering, coming, irresistible, unforgettable, inscribe, glorify.

Ameliorative vocabulary, i.e., positively evaluative, also has connotations of an emotionally expressive nature “with a + sign”: initiator, innovator, worker, champion, righteous, merciful, God-saving.

Neutral in the aspect of emotionally expressive coloring include, for example, the words: inflection, protocol, beginning, stable, popular, fast, many, five, and, know, work, good, negative.

Reduced, familiar emotionally expressive stylistic coloring is observed in cases where speech is characterized by an extreme degree of ease; for example: granny, dodger, cutie, face, talker, thrashing, hundred, shirk, stretch out("fell"), yell, yell, useless, shaggy, quickly, five.

The emotional-evaluative connotation "with the sign - (minus)", i.e., negative-evaluative, is called pejorative. This stylistic coloring is characteristic of such words, for example, like a voyage, a bandit, an accomplice, an aggressor, a varmint, a slut, a satan, demonic.

When establishing stylistic coloring, it is important to remember that an emotionally expressive language tool (in particular, a word) is capable of coloring speech in a certain way, that is, enriching it with appropriate connotations. Without them, speech is perceived as emotionally-expressively uncolored; for example: The initiator of these cases is a boy from the fifth "B" grade. This sentence does not convey the subjective attitude of the speaker either to the fact described in it, or to the message itself. On the contrary, the proposal The instigator of these deeds is a boy from the fifth "B"! - is perceived as emotionally expressively colored, since emotionally evaluative connotations are layered on the denotative content (it is the same in both cases) in the second sentence. Therefore, words like kindness, affectionate, rudeness, being rude, politeness, loving, sadness etc. cannot be considered stylistically colored: what is connected with emotions and evaluation constitutes the very nominative meaning of these words, and they do not contain any stylistic connotations beyond the nominative meaning. Therefore, according to such a statement as He showed kindness again one cannot judge the attitude of the speaker to the phenomenon denoted by the word kindness(example of E.F. Petrishcheva). On the contrary, in the proposal He wants to look good again! the negative emotional attitude of the speaker to the designated event is expressed and, at the same time, the speaker's assessment of his speech as unconstrained, familiar. Consequently, there are connotations of a functional-stylistic and emotionally-expressive nature.