The pragmatic attitude of the author. Functional and pragmatic aspects in the study of the text. Pragmatic attitudes in the text

05.03.2021

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MINISTRY OF EDUCATION AND SCIENCE OF THE RUSSIAN FEDERATION

Federal State Educational state-financed organization higher education

"SAINT PETERSBURG STATE

THE UNIVERSITY OF ECONOMICS"

Faculty of Humanities

Department of English Language and Translation

Direction of training - Linguistics. Qualification - bachelor

GRADUATION

QUALIFYING WORK

Ways of translating the linguistic representation of the author's emotive-pragmatic attitude based on the material of R. Kipling's cycle of fairy tales "Pack from the Magic Hills"

Students

Osipova

Svetlana Leonidovna

St. Petersburg

Introduction
Chapter 1. Theoretical research in the field of the category of emotivity and literary fairy tale

1.1 Emotivity as a linguistic embodiment of emotionality

1.1.1 Correlation of the category of emotiveness with the categories of expressiveness and evaluativeness
1.1.2 Main approaches to the classification of emotive vocabulary
1.1.3 Features of the translation of emotive vocabulary

1.2 Emotivity as a component of language pragmatics

1.2.1 The author's emotive-pragmatic attitude

1.3 Literary fairy tale as a genre of children's literature

1.3.1 Genre originality of a literary fairy tale
1.3.2 The specifics of the cycle of fairy tales by R. Kipling "Pack from the Hills"

Chapter I Conclusions
Chapter II. Lexical means of emotiveness and features of their translation (on the example of R. Kipling "Pack from the Magic Hills")

2.1 Components of the lexical component of the emotive fund of the English language in R. Kipling's fairy tale "Pack from the Magic Hills"

2.1.1 Words with emotive semantics from the point of view of literary translation

2.1.1.1 A set of words with emotive semantics in the status of meaning
2.1.1.2 A set of words with emotive semantics in the status of consonance or connotation

2.1.2 Words naming emotions
2.1.3 Words that indirectly describe emotions

2.2 Comparison of emotive vocabulary in the author's and character speech

Chapter Conclusions II
Conclusion
Bibliography
Application
Introduction
During the last decades in linguistics there has been a change of the system-structural paradigm to the anthropocentric one. This means that now the focus is not on the object of knowledge, but on the subject - a person, with his thoughts, judgments, emotions. A person is considered as a bearer of language and culture and as a key figure for further linguistic analysis. Under the influence of the anthropocentric approach, which is now firmly established in modern linguistics, one of the urgent problems has become the problem of the representation, implementation and principles of the functioning of emotions in language, as well as their pragmatic purpose in the text. This study is devoted to the study of lexical means expressing the author's emotive-pragmatic attitude in the text of a literary fairy tale, and methods of their translation. It seems to us that the features of the pragmatic orientation of emotive language units in a literary fairy tale have not been fully studied at the moment, which leads to relevance our work.
aim This work is a study of the category of emotiveness and the emotive-pragmatic setting of the author in the text of a fairy tale and translation techniques used to convey the emotions of the original when translating a literary text from English into Russian.
The set goal determines the solution of the following tasks:
· Research the scientific literature on emotivity and identify the main approaches to compiling a typology of emotive language units;
· To identify lexical emotive means functioning in children's fiction (on the example of a literary fairy tale);
· To analyze the features of the representation of the author's emotive-pragmatic attitude with the help of lexical means;
· To study ways of translating and conveying the author's emotive-pragmatic attitude in a fairy tale when translating from English into Russian.
Scientific novelty of the ongoing research lies in the fact that the emotive component of the language is considered in conjunction with the pragmatic aspect within the framework of a specific genre of fiction - a literary fairy tale. Also, the classification of lexical means of conveying the emotional state is carried out and the features of the translation of lexical units from English into Russian are analyzed, taking into account the pragmatic setting of the author, which determines the choice of language units. translation artistic emotionality emotiveness
Object of study is an authentic work by Rudyard Kipling "Puck of Pook" s Hills "and two versions of its translation, made by Grigory Kruzhkov ("Puck from the Magic Hills", 2010) and Anna Enquist ("Old England", 1916). Subject of study are lexical means of transferring emotive information and emotive-pragmatic attitude of the author from English into Russian.
theoretical basis monographs, scientific articles, dissertations of foreign and domestic linguists and literary critics served for our research: V.I. Shakhovsky, E.V. Strelnitskaya, V.N. Komissarov, Yu. Naida, O.E. Filimonova, L.Yu. Braude, L.V. Ovchinnikova, N.S. Valgina, V.V. Vinogradov and others.
As the main research method the work uses the method of contrastive analysis when comparing the English original with Russian translations; dictionary definition analysis, contextual analysis, descriptive method and quantitative calculation method are also used.
The structure of the work includes an introduction, abstract and research chapters, conclusion, bibliographic list and application.

Chapter 1

1.1 Emotivity as a linguistic embodiment of emotionality

In recent decades, especially in connection with the firmly established anthropocentric linguistic paradigm, the interest of both foreign and domestic linguists has been riveted to the study of emotions as one of the forms of reflection of reality (Boldyrev 2001; Kostomarov 2014). More A.A. Potebnya emphasized the anthropocentric nature of language: "In reality, language develops only in society.<…>a person understands himself only by testing the intelligibility of his words on others" (Potebnya, 1999: 87). Emotions can acquire social reality only if they are expressed in one form or another.The universal way of actualizing emotions is their verbalization in external speech.
In linguistics, many disciplines are engaged in the study of emotivity, but emotivity has received the most complete and detailed coverage in the framework of an interdisciplinary science - emotiology or linguistics of emotions, which studies the connection between language and emotions. She makes a distinction between the concepts of "emotionality" and "emotivity", as belonging to the terminological apparatus of different sciences - psychology and linguistics, respectively (I.I. Turansky, V.I. Shakhovsky, T.V. Larina, V.A. Maslova ).
However, within the framework of emotiology, there is no single definition of emotivity yet. IN AND. Shakhovsky believes that emotivity is "a semantic property inherent in language to express emotionality as a fact of the psyche with a system of its means" (Shakhovsky 1987: 24). A slightly different opinion is held by L.A. Piotrovskaya, who believes that emotivity is a kind of function of language units to express the emotional attitude of the speaker to objective reality (Piotrovskaya 1993). In our opinion, the definition of L.A. Piotrovskaya more accurately reflects the features of emotivity, since in our work we first of all turn to the pragmatics of emotive lexical units that outwardly express emotions in speech activity.
Within the framework of emotiology, emotions and their pragmatic impact are interrelated and are studied in parallel. This is explained by the fact that during the transmission of a message, the emotional impact of the text on the addressee occurs, and it is pragmatics that is responsible for choosing the relevant language means for the best impact on the recipient of the message.
In emotiology, emotions are considered in close connection with cognitive processes. According to the cognitive interpretation, a person perceives and realizes the world around him, fixing the received information, experience in the language (Ilinskaya 2006). And all these mental processes are regulated by emotions, thus separating the important from the insignificant, which did not cause any sensory experiences.
The basis for the cognitive approach to the study of language, as a tool involved in human cognitive activity, is the principle of ordering knowledge, ways of storing, transmitting and processing it through the processes of categorization and conceptualization. In cognitive linguistics, emotivity has a status language category, i.e. a group of linguistic elements that is formed and distinguished on the basis of some common property - a feature that underlies the assignment of homogeneous linguistic units to a certain class, characterized by the same value of this feature (Filimonova 2007). Emotivity, like any other cognitive category, is a system of multi-level units - lexical, stylistic, graphic, phonological (Filimonova 2007). In our work, we will consider the lexical level of linguistic emotiveness as the most representative and meaningful in terms of the realization and verbalization of emotions.

1.1.1 Correlation of the category of emotiveness with the categories of expressiveness and evaluativeness
Within the framework of this study, it is advisable to consider the category of emotivity in conjunction with other language categories. Of greatest interest are the categories of expressiveness and evaluativeness, as related concepts that enter into linguistic relations directly in the text.
In the semantic structure of a linguistic sign, it is customary to single out two macro components - denotative and connotative. The denotative component, being the logical and objective part of the meaning, is interpreted quite unambiguously by almost all linguists, while the definition of connotation is controversial. AT general view connotation - "information about the attitude of the speaker to the nominated object, the realities of the objective world" (Vstavsky, 2006).
A.N. Vstavsky and N.A. Lukyanova believe that the connotative component has a tripartite structure, including expressiveness, emotiveness and evaluativeness as the main interrelated and complementary elements (Lukyanova, 1979). Therefore, it is most often customary to consider emotivity and evaluativeness as a complex, since the speaker's attitude to the information being communicated, expressed with the help of emotive markers, implies an assessment of this information through the binary opposition "good" / "bad". We also take into account the classification of assessment types proposed by G.G. Sokolova. This typology implies the existence of not only a positive and negative assessment, but also a situational one, which is characterized by the subjective-personal perception of the speaker or evaluator (Sokolova, 1981). Different cultures can interpret the same phenomena in different ways and give them their own special meanings.
Emotivity and expressiveness are identified in many works. We are of the opinion that these concepts are completely different linguistic phenomena, sharing the point of view of M.V. Nikitina, I.I. Turansky, O.E. Filimonova, V.I. Shakhovsky. Emotivity is usually expressive, while expressiveness is not always associated with the expression of emotions, but is always opposed to a neutral form of presentation (Bukina, 2009). Expressiveness indicates the measure, the degree of manifestation of a particular feature.
Since it is the pragmatic effect of language units that is of great interest to us, we take into account and take into account the conjugation of all three concepts when studying the emotive-pragmatic setting of the author and the functions of language units in the text of a fairy tale. An explanation of the pragmatics of an utterance is impossible without an analysis of the evaluative and expressive components, especially in children's literature, which is characterized by increased figurativeness and expressiveness.
1.1.2 Main approaches to the classification of emotive vocabulary
The lack of a unified psychological concept of emotions makes it difficult to study linguistic emotivity and to compile a unified typology of linguistic verbalization of emotions. In our work, we will consider several currently existing classifications that help to more systematically approach the consideration of the category of emotivity. However, despite the difficulties that arise in determining the meaningful features of emotions, most researchers recognize the functional characteristic of emotion - its sign (positive or negative) (Kondakov 2007). A certain concretizer of emotion appears, expressed in the opposition "approval" / "disapproval".
A.S. Ilinskaya, developing the semiotic concept of emotions, suggests dividing signs into emotive signs that can directly express emotions and signal an experience, and other signs that non-emotively represent emotions in the language through nomination, description, and metaphorical representation (Ilinskaya 2006). The nomination and description of emotions is purely symbolic. Another way of the existence of emotions in the language is in emotional conceptual metaphors, by likening emotional phenomena and their indirect signs to physiological or physical signs ( to go dark with anger, to brighten up with joy, to be hit by grief). N.F. adheres to a similar classification. Yezhov, highlighting the nomination, description, metaphors and expression (Ezhova 2003).
Also worth noting research work L.G. Babenko, devoted to the classification of emotive vocabulary by class. L.G. Babenko identifies the following groups of words: 1) nominative emotives; 2) nominative emotives with included meanings; 3) expressive emotives with accompanying meanings (Babenko 1989).
In our opinion, the classification proposed by V.I. Shakhovsky, explains in most detail the features of emotive vocabulary classes. To designate emotive vocabulary, a linguist introduces the concept of "emotive" - a language unit whose main function is to convey emotions (Shakhovsky 1987). According to V.I. Shakhovsky, the lexical fund of emotive means consists of: 1) emotives - affectives (emotive meaning is the only lexical meaning) and connotatives (emotive semantics has the status of connotation); 2) neutral vocabulary that can become emotive in speech (potentially emotive). The rest of the vocabulary that nominates or describes emotions, according to the scientist, does not belong to emotive. Let us consider in more detail the means of conveying emotiveness in the language and, accordingly, in the text.
The main group of words that can directly convey the emotional experience of the speaker are emotives, whose primary function is emotional self-expression. At the same time, the emotive may have an impact on the recipient (reader) or not. Since it is the emotive-pragmatic aspect of the author's attitude and perception that is of interest to us, we will also take into account the expressive-influencing side of emotives in order to determine what the author was trying to convey to his readers. The emotive acts as a hypernym in relation to affective - "emotive", the meaning of which for a given word is the only way to signify the reflected emotion, without its name "(Shakhovsky 1987: 25). It is customary to include interjections, interjectional words, swear words and curse words, i.e. those lexemes that serve only for the direct expression of emotions and do not have a logical and objective meaning.The main feature of affective vocabulary is that it does not describe emotions, unlike other emotive words, but reports on the immediate emotional state of the subject.At the same time, the emotive meaning of such lexemes can represent as a generalized reflection of a certain emotion, as well as a personal-individual one, due to the growth in the semantics of the word of additional meanings in the context.
Another subgroup of emotives are connotatives , whose emotive share of meaning accompanies the main logical-objective meaning. Connotatives, in comparison with affectives, characterize a greater awareness of the expressed emotions. These are word-forming derivatives of different types: zoolexics, comparisons and metaphors with a zoonymic component, evaluative lexemes, emotionally colored vocabulary, colloquial vocabulary, archaisms, poetisms, diminutives, color designations, etc.
Let us especially emphasize the importance of comparative and metaphorical processes verbalized in the text as connotatives. The entire comparison structure serves to reinforce or emphasize any feature. Metaphor and comparison are two cognitive mechanisms that closely intersect and interpenetrate each other's structure. Both mental operations serve to process information, its structuring. It is generally accepted that comparison is more explicit than metaphor, and its language formulas are easier to recognize in the text, thanks to special comparative operators ("as", "like", "as if", "as" and others); in turn, the metaphor is a convoluted, implicit comparison (Balashova 2011: 20).
Comparison can be used to build new associative links and images or to strengthen existing ones. The units of comparison are not lexical units and their definitions, but images, mental concepts that combine the entire set of features and characteristics. Comparison of concepts allows you to highlight the necessary elements by setting the angle, the depth of meaning deployment, the distinctness of objects, connections and comparison relations (Denisova 2010). V.P. Moskvin, exploring the semantic features of metaphor, singles out the animalistic/zoomorphic type of metaphor, when an animal acts as an auxiliary subject for comparison (Moskvin 2006). Zoom metaphors play a very significant role in the linguistic implementation of the category of emotiveness in the text of a fairy tale.
Zoonyms, zoolexemes, animal vocabulary are "lexical units that are direct names of animals" (Raspolikhina 1984). Both in Russian and English language most of the zoolexemes can be used to express the evaluative characteristics of a person and the emotional attitude towards the object of evaluation. (Sagitova 2014). Zoometaphor is a linguistic characteristic of a person and is formed on the basis of various images. It is based on a certain stereotype, the most striking and distinct feature that characterizes any animal. This sign is usually easily comprehended in the minds of the speakers, therefore it is the leading one when comparing a person with an animal.
We see that not all linguists approach the definition of emotive vocabulary in the same way. Thus, there are two main interpretations of emotiveness. According to the first one (L.G. Babenko, E.M. Galkina-Fedoruk), the category of emotivity includes the names of emotions, pure emotives, and potentially emotive words. According to another position (V.I. Shakhovsky, I.V. Arnold, A.S. Ilinskaya), words that name emotions and feelings are excluded from emotives, since, in their opinion, these words carry only the thought of experiencing, but not direct his expression. In our study, it is advisable to study all types of vocabulary that can be markers of emotion, because from a functional point of view, such vocabulary is of great importance in the text of a fairy tale to simplify the decoding of emotions and designate the author's intention.
1.1.3 Features of the translation of emotive vocabulary
Why does the translation of emotively colored vocabulary always present a certain problem for translators? Most often this happens due to the fact that the emotional expression, unlike the logical, rational one, tends more towards implicitness, and, being embodied in linguistic units, does not lend itself to traditional literal interpretation in a different language system during translation. I.V. Gubbenet argues that within the framework of a literary text, emotional situations develop semantically and connotatively, acquire subtext, additional internal meanings and forms, due to which a vertical context is formed at the content level, relevant only in a specific text (Gubbenet 1981). Therefore, the process of deducing certain universal ways of translating the emotive content of an utterance becomes more difficult.
In addition to the fact that emotiveness in the text is most often contextual, it usually includes complex, multi-component language units (metaphors, comparisons, phraseological units), which cover not only individual lexemes or phrases, but also sentences, entire parts of the text. Such forms rarely coincide in English and Russian, and the selection of appropriate equivalents does not always bring the desired result, both from an emotive point of view and from a content or stylistic point of view.
Therefore, in our study, we will rely on the concept of "dynamic equivalence" proposed by the American translation theorist Eugene Nida. He makes a distinction between formal and dynamic equivalence. The most important principle of dynamic equivalence is that it is supposed to adapt vocabulary and grammar in such a way that the translation sounds like "the author would write in another language." According to Yu. Naida, "dynamic equivalence can ensure the fulfillment of the main function of translation - a full-fledged communicative replacement of the original text" (Nida 1964). It is in this way that it is possible to transfer emotive information from one language to another, because it is important not only to convey factual information to the reader, but also to have an impact, to evoke emotions that are as close as possible to those that the original text evoked in native speakers. Dynamic equivalence requires the translator to work hard to transform and transform the source text, adjusting it to the cultural, social and other realities and norms of the TL people, and also helps to solve the problems of different perceptions of reality and the world by different peoples and cultures, to smooth out the influence of the corresponding extralinguistic factors. This is manifested in the fact that "instead of immersing the recipient of the translation in a foreign culture, the translator offers him a" mode of behavior that is relevant to the context of his own culture, "so the reader does not need a thorough knowledge of another culture to understand the text.
Of course, no translation is perfect and accurate and cannot fully reproduce the original work exactly as the author intended and embodied it. Partial loss of information, meaning, mood or emotions is inevitable, but it is dynamic equivalence, in contrast to the formal one, that enables readers who are not native speakers of the source language to feel the text.
In the process of adapting the translated text, both in terms of content and language, the translator resorts to various translation transformations - "interlingual operations of re-expression of meaning" (Schweitzer 1988). We consider the classification of translation transformations by V.N. Komissarov, including: lexical, grammatical and complex lexico-grammatical substitutions (Komissarov 1990). Based on the classification of V.N. Komissarov in the practical part of our work, we will analyze how the emotive-pragmatic setting of the author is transmitted in a fairy tale from English into Russian.

1.2 Emotivity as a component of language pragmatics
The pragmatic tasks of the author can be realized primarily through the creation of a certain emotional mood in the recipient. An effective impact on the reader occurs due to the expression of the author's personal-significant attitude to what is depicted in the text. Emotivity ensures the success of the pursued communicative task, due to an indifferent, complicit attitude to the events, persons and situations described in the work. The author of the work, through a certain pragmatic attitude, helps the reader in the interpretation of the text, the creation of additional associations, the emotional evaluation of events, and provides important information (Kudashina 2006).
Among the emotive-pragmatic attitudes of the author may be: the impact on emotional sphere reader, causing sympathy and sympathy for certain positions in the text, anticipation of a certain emotional reaction.

1.2.1 The author's emotive-pragmatic attitude
One of the main tasks of emotsiology is to determine the pragmatic attitudes of the author within the framework of the text. Emotivity always seeks to evoke an emotional reaction in the reader, to provide a more vivid and figurative picture of the logical, rational side of the literary text, to convey the author's aesthetic, ideological, social, and moral intention. The author's ideas may not be perceived by the reader immediately, but after some time, since the recipient receives the largest amount of information and impressions not by analyzing or comprehending aspects of the text, but by empathizing with the characters and/or partially identifying with them. Thus, with the help of various speech means, a conscious pragmatic impact on the reader is carried out, which is one of the main functions of the category of emotiveness. The implementation of pragmatic attitudes in the text is also aimed at establishing and maintaining contact between the author of a literary text and its reader.
N.S. Valgin notes that pragmatic attitude of the author bears in itself first of all the relation of the author to the reported information. The author acts not only as the creator of the text, in addition, he guides the reader in interpreting the test. Even obeying general rules and the laws of construction of a work of art, the author supplements the text with his own individual corrections, implementing a pragmatic setting (Valgina, 2004). The author's speech controls the reader's perception, controls the processes of speech interaction and the course of narration inside and outside the depicted world.
The importance of the personal, individual aspect in reflecting the author's intention is noted by V.V. Vinogradov. He defines the manifestation of the author's attitude as "" a concentrated embodiment of the essence of the work, uniting the entire system of speech structures ..." (Vinogradov, 1971). to be not only the author, but also the narrator, narrator, various characters personifying the image of the author within the framework of the work itself.
It should be noted that in many works the concepts " author's goal setting" , " communicative setting" , " author's intention" are synonymous with the concept " pragmatic attitude" . So, T.M. Dridze T.M. and G.P. Grice, speaking of "communicative attitude" and "intention" respectively (Dridze 1984; Grice 1969), imply the same intention of the speaker (addresser) to communicate something, to convey a certain subjective meaning in the utterance. By definition, O.S. Akhmanova, intention is understood as the potential or implicit content of the utterance and is opposed to the actual, real content of the utterance (Akhmanova 1966).
Within the framework of a work of art, as well as any other speech work, not only the author's installation, but also the text one, functions. Both settings can be both a synthesis and a contradiction in conflict, since the settings of the text are dictated by its type, genres, tasks and general goal setting. Research by V.L. Naera, devoted to comparing the "intention of the author" and the "pragmatic attitude of the text", led him to the conclusion that these attitudes are two complementary, but opposite aspects of the realization of the author's intention. First - nonverbalized the stage of forming an unconscious or conscious intention to communicate something, and the second - verbalized stage, i.e. specific and formalized setting in the text. Thus, according to Naer, the pragmatic setting of the text is a "materialized intention" (Naer 1985).
The author's pragmatic attitude, which has an emotive component, provides extensive material for studying the designation of emotions, revealing their hidden possibilities, additional, implicit information. The pragmatic potential of such an attitude is associated with the peculiarities of the author's choice of a language unit to designate a particular emotion, psychological state.
In the process of translation, the pragmatic attitude of the author becomes a derivative of the intentions of the author of the original, the translator, the degree of translatability of certain elements, the presence of suitable correspondences of pragmatic meanings in the target language. It is also worth noting that the socio-cultural adaptation of the text during translation is a key point, since the transfer of cultural specificity in most cases is associated with problems and losses during translation, especially the emotive-pragmatic component of the text (Dortmuzieva 2006).
For the successful implementation of the author's pragmatic attitude, emotiveness can be associated with expressiveness, representing a single set of means and techniques for creating the pragmatic effect of a work or statement. Pragmatic emotivity is also able to independently carry out the necessary transmission of the author's intentions, but unlike expressiveness, which is always focused on the recipient, the recipient, emotivity does not require the presence of such.
Also worth noting is the phenomenon " author's accompaniment of direct speech of characters" and its linguistic embodiment, analyzed by E.A. Kazankova. The entire space of a literary text can be divided into speech "from the author" - the narration itself and the author's accompaniment of direct speech, and into "alien" speech for the author - replicas and statements of characters. Author's accompaniment plays an important role in the analysis of a pragmatic attitude, because it contains a particularly pronounced intention. Where the author's accompaniment is absent, freedom is given to interpret the meaning and emotions of the characters. In other cases, the author independently determines what should be emphasized and what means to use for this (Kazankova 2010).
According to E.A. Kazankova, the following types of information provided by the author can be distinguished: 1) information about the fact of transmission of a voice message; 2) information informing about the goals, intentions of the speech message; 3) information about the paralinguistic component; 4) information about the emotional and psychological state of the character; 5) information about the accompanying non-semiotic movements of the character (Kazankova 2010). To clarify the author's pragmatics, the last three types are of interest, since they carry the emotional component of the statement, but at the same time expressing emotions indirectly through a description or an indication of them. Noting the positions that the author's speech can take in relation to the hero's statement, E.A. Kazankova highlights the following: preposition- author's accompaniment prepares the perception of the replica; postposition- explication of meaning or emotional content inaccessible to the reader; inside direct speech(Kazankova 2010).
Thus, we can conclude that almost any text has two types of pragmatic attitudes - textual and author's - regardless of its genre specificity. However, it is in a literary text that the key role is given to the intention of the author, colored by a personal, individual beginning, since the less standardized and canonical the text, the higher the manifestation of the author's style and originality. The pragmatic setting of the author, aimed at conveying the originality of the emotional world and potential, is realized both in separate, abstract units (lexicon, syntax, graphics), and in superphrasal units entirely (in the text). The pragmatic orientation of the category of emotivity (and also expressiveness) - the desire to evoke a certain response - is one of the main functional aspects of emotivity.

1.3 Literary fairy tale as a genre of children's literature

1.3.1 Genre originality of a literary fairy tale

Having considered the features of the implementation and functioning of the category of emotivity in the language, as well as the emotive-pragmatic attitude of the author, we will make a brief digression into the field of studying a literary fairy tale, as the main genre of text taken by us to study emotivity. There has been an increase in the interest of domestic and foreign researchers in the literary fairy tale in recent decades. Among the scientists involved in the study of fairy tales, it is worth noting V.P. Anikina, L.Yu. Braude, N.M. Lipovetsky, L.V. Ovchinnikov, E.M. Meletinsky.

Consequently, many researchers have developed their own genre features of the fairy tale, its definitions. The most complete and adequate within the framework of this work is the definition given by L.Yu. Braude in the article "On the history of the concept of a literary fairy tale": " literary tale- author's, artistic, prose or poetic work, based either on folklore sources, or purely original; the work is predominantly fantastic, magical, depicting the wonderful adventures of fictional or traditional fairy tale characters…" (Braude 1979).

Well-known Russian folklorist V.Ya. Propp in his writings did a significant amount of work on the analysis and identification of the main features of the tale. According to V.Ya. Proppu, a fairy tale: 1) has a certain compositional and stylistic structure; 2) has the purpose of entertainment and edification; 3) the basis of the tale is something unusual (everyday, miraculous or historical) event (Propp 1984).

L.V. Ovchinnikova in her monograph writes that "a literary fairy tale is a multi-genre type of literature realized in an infinite variety of works by different authors" (Ovchinnikova 2001). Thus, it emphasizes the idea of the diversity of species and subtypes included in the more generalized concept of "literary fairy tale", as a whole separate view literary activity. According to L.V. Ovchinnikova's tales can be classified into two large groups - folklore-literary and individual author's. In turn, both types of fairy tales differ thematically: fairy tales about animals, household, magical, historical (Ovchinnikova 2001).

Russian literary critic V.G. Belinsky noted the enormous moral, ethical and aesthetic potential of a literary fairy tale. He emphasized the educational nature of such literature, relying on numerous Russian and European fairy tales (A.S. Pushkin, V.A. Zhukovsky, Hoffman, the Grimm brothers). V.G. Belinsky believed that fairy tales play a huge role in shaping a child's sense of beauty and taste, as well as value orientations in life. In his opinion, a writer-storyteller must have a "calm, childishly simple-hearted soul," "an exalted mind," and "a lively, poetic fantasy" (Belinsky 1972).

A literary tale is directly related to a special type of reader - a child, which makes its content special and different from complex adult literature. The authors of the literary fairy tale are driven by the desire and need to form in the child an idea of life, morality, which has deep national and historical roots.

Story- this is the artistic space where, first of all, spiritual values are important, preserved by entire generations, transmitted and not losing their significance over time. The author aims to create the most idealized understanding of the world, the beliefs of a small reader, thanks to the artistic features of the genre.

Within the framework of a literary fairy tale, the possibility of correlating and connecting both entertaining and moralizing aspects, "an adventure story with a didactic and cognitive orientation" is realized. (Ovchinnikova 2001). The presence of an educational orientation of a literary fairy tale is also emphasized by K.I. Chukovsky, saying that the fairy tale "improves, enriches and humanizes the child's psyche", since the child in the process of reading identifies himself with the hero and adopts his perception of the world (Chukovsky 2001).

In itself, the phenomenon of genre uniqueness of a literary fairy tale lies in the fact that it has become an example of an amazing synthesis of folklore and literature, absorbing and rethinking the traditions, achievements and experience of the people, closely intertwined with the author's individuality and worldview. This is emphasized by M.N. Lipovetsky: "A literary tale is basically the same as a folk tale, but unlike a folk tale, a literary tale was created by a writer and therefore bears the stamp of the author's unique creative individuality" (Lipovetsky 1992).

However, a literary fairy tale is not only the subject of the author's understanding of reality and life events, but also reflects the most important changes and trends in the literary and historical process. The embodiment of this idea can be found in the works of L.V. Ovchinnikova: "For centuries, the folk tale, in certain aspects of its ideological and artistic world, corresponded to the creative searches of poets and writers<.>Each period of literary development had its dominant literary-fairy "reflections". Given these features, a special place belongs to the literary tale of the turn of the XIX-XX centuries.

1.3.2 The specifics of the cycle of fairy tales by R. Kipling "Pack from the Hills"

In the era of the change of centuries in European, in particular English, literature, there was a change in the focus of attention of writers from adult classical literature to fairy-tale children's literature. The period was marked by a deep interest in folklore, experimental creativity and the development of the figurative and plot outline of the fairy tale genre. The English literary fairy tale was formed at the beginning of the 19th century and relied on the classic examples of fairy tales of the Romantic era: the fairy tales of the Brothers Grimm, G.K. Andersen, Ch. Perrault (Burtsev 1991). However, the final formation of the genre takes place only in the last decades of the 19th century, during the heyday of a new literary trend - neo-romanticism. First of all, the emergence of neo-romanticism is characterized as a reaction of naturalism, pessimism and unbelief, inherent in English society at the end of the 19th century.

It was in England that neo-romanticism manifested itself most clearly, since English writers sought to drown out the obsolete "values" of the outgoing Victorian era and bourgeois reality, expressed in the desire for a philistine, stagnant lifestyle.
Neo-romantic writers sang of beauty, the beauty of the surrounding world, the fullness of human existence. The literary fairy tale occupies a central place in the genre system of neo-romanticism, with its own special type of hero and specific artistic means.
On the example of R. Kipling's cycle of fairy tales "Pack from the Hills" we will consider the main genre and structure-forming features of a literary fairy tale, both of the era of neo-romanticism and fairy tales in a more general sense. One of the most important structure-forming principles of the fairy-tale space is " fairy tale balance" (Meletinsky 2001). The term was introduced by the Russian philologist E.M. Meletinsky to describe the basic binary-dual oppositions that organize the alignment of images and plot in a fairy tale. Oppositions are built on the value ideas of the people, they include the following: "friend/foe", "good/evil", "right/wrong", "fair/unfair". In the space of a fairy tale, everything breaks up into paired-opposite elements, and this is realized both in the reflection of static elements - images of characters, realities, and plot dynamics - events, situations (Shlepova 2014). For example, the basis of social and moral contradictions for neo-romantic writers is the eternal struggle between Good and Evil. At the same time, Evil for them is not only cruelty, meanness, but also routine, mediocrity (Pasechnaya 2013).
The category of intertextuality is also of great importance in the literary fairy tale genre. Intertextuality in the text is woven into the concept of "vertical context", being the main category for its construction. The vertical context, according to V.S. Vinogradov, is background knowledge, "not explicitly expressed historical and philological information" (Vinogradov 2001), i.e. information expressed implicitly. The vertical context is formed with the help of markers: allusions, symbols, realities, idioms, quotations. N.S. Olizko, studying the functions of intertextuality, determines that these include communicative, cognitive, emotionally expressive, poetic. Those. intertextuality is directly involved in the inclusion of additional emotiveness in the text (Olizko 2008).
Under the influence of the information embedded in the work, the reader sees the world around him in the light and with the focus of attention that the writer emphasized. Taking into account the specifics of the type of reader of a literary fairy tale - a child, R. Kipling gives footnotes or explanatory inclusions that make it possible to understand the intertextual markers presented in the text. And in this case, the reader does not need an extensive background knowledge base, since by introducing intertextuality into a fairy tale, the author seeks to give a certain emotion, mood, referring to certain elements.
An important role in the fairy tale is given to the main characters-listeners - Dana and Una. Their children's perception gives rise to a trusting tone of stories and a special emotional mood, contributing to the identification of real readers and child characters.
Thanks to this technique, the child's consciousness is able to carry out the transfer of experiences, emotions and attitudes to what is happening in a fairy tale. It can be concluded that despite R. Kipling's individualism, the cycle of fairy tales "Pook of the Pook" s Hills "obeys the general laws of the fairy tale genre. It proclaims primordial values (kindness, duty and honor, nobility, justice), condemns vices (selfishness, malice, cruelty, arrogance, vanity).

Chapter I Conclusions
Having considered the theoretical foundations for studying the category of emotiveness, the emotive-pragmatic attitude of the author in the text and the literary tale, let us briefly summarize.
Given the anthropocentric approach to the study of language, which puts the personality of a person at the center of linguistic teachings, emotivity, as one of the most important forms of reflection of the surrounding world, occupies a key place in linguistics in recent decades. A science was formed - emotiology, which makes it possible to approach the study of the category of emotiveness in a multilateral and comprehensive way. Emotiology distinguishes between the concepts of psychological "emotionality" and linguistic "emotivity" and develops classifications and typologies of linguistic signs that are used as markers of emotions in the text.
As part of our work, we will use the definition of emotivity given by L.A. Piotrovskaya, that emotivity is a function of language units, which consists in the ability to express the emotional attitude of the speaker to objective reality.
We also found that from the point of view of the cognitive direction of linguistics, within which there is emotiology, emotivity is considered as a multi-level language category that is capable of reporting the emotional experience of the speaker through its system of means. At the same time, emotivity is an important component of linguistic pragmatics, influencing the feelings of the recipient, causing the necessary reactions. The author in the text creates emotive-pragmatic attitudes that form the framework of the work and influence the choice of language means for their successful implementation.
Further, we made a brief overview of the study of a literary fairy tale as a genre of children's literature and formulated a working definition of a fairy tale, which we will rely on in the research chapter of our work: a fairy tale is an author's, artistic, work based on folklore sources; a work predominantly magical, depicting the adventures of fictional and traditional fairy tale characters; entertaining, developing and instructive functions are the main ones for a literary fairy tale.
Chapter II. Lexical means of emotiveness and features of their translation (on the example of R. Kipling "Pack from the Magic Hills")
The main research method in our work is the method of contrastive analysis used to compare the English original with Russian translations. When studying the semantic features of emotive lexical units, we will rely on the analysis of dictionary definitions and contextual analysis, with the help of which we will identify individual characteristics functioning of emotive lexemes in the text of a fairy tale. A descriptive method is also used in explaining and considering particular cases of the use of certain means, and the method of quantitative calculations to create statistical material.

2.1 Components of the lexical component of the emotive fund of the English language in R. Kipling's fairy tale "Pack from the Magic Hills"
Summarizing all the theoretical material that we considered in Chapter 1, we received the following classification of vocabulary that can communicate emotions in the text of a fairy tale:
I. emotive vocabulary (emotives):
a) words with emotive semantics in the status of meaning(affective words expressing the emotional state of the speaker - swear words, interjections and interjection words)
b) words with emotive semantics in the status of meaning(connotatives that convey the emotional attitude of the speaker to the subject of the nomination or its features: affectionate expressions, curses, metaphors, phraseological units, diminutives, animalistic comparisons and metaphors, color designations, etc.).
P. vocabulary of emotions: words naming emotions.
Sh. lexical units describing emotions(words indicating the cause, result, indirect sign of emotion).
Having established the classification of emotive vocabulary, the features of the implementation of the author's emotive-pragmatic attitude and adequate ways of transferring this vocabulary from English into Russian, let's proceed to the analysis of lexical means in the text of R. Kipling's fairy tale "Pack from the Magic Hills".

2.1.1 Words with emotive semantics from the point of view of literary translation

2.1.1.1 A set of words with emotive semantics in the status of meaning

In such a group of emotives as affectives, interjections occupy a central place and play a fundamental role in the formation of children's emotive space. This is evidenced by the frequency of interjections themselves, as well as interjective words or interjectives (full-meaning words that have passed into the category of interjections).

Imagery and emotionality are the key features of children's fiction that help highlight the author's intention and ensure the success of its transmission in children's communication. Consider a few examples that most successfully demonstrate the features of the implementation of affectives in the speech of a fairy tale and their translation from English into Russian:

"Well, well ! They do sayhoppin" "ll draw the very deadest , and now I believe 'em. You, Tom? Tom Shoesmith?" Hobden lowered his lanthorn (R. Kipling" Dymchurch Flit" ; 127).

well well ! Apparently, it is not in vain that they say that harvesting hops will even pull the dead out of the grave ! Is that you, Tom? Tom Shoemaker! - exclaimed old man Hobden, lowering the lantern (translated by G. Kruzhkov)

original " well, well" according to the dictionary means " indicating pondering or consideration, sometimes with sarcasm or mock surprise", i.e. either neutral, or with a touch of sarcasm or discontent. G. Kruzhkov uses " well well" , which in Russian also has a connotation of discontent or surprise. At the same time, in both versions, it is precisely the emotion of surprise that is preserved, which is supported in the translation by the author’s accompaniment verb - " exclaimed" , and the very speech of the character - in circulation " hoppin" "ll draw the very deadest".

"Whoop! Holiday!"cry Hal, leaping up (R. Kipling" Hal o' the Draft" ; 117).

Hooray, holiday! -- shouted Gal and jumped out of place (translated by A. Enquist; 89).

Excellent! Let's take a break. - Gal jumped to his feet . (translated by G. Kruzhkov).

This example is of interest because the two translations reflect different degrees of emotiveness. Interjection " whoop" meaning in the dictionary " a noise or cry often made in excitement", i.e. it conveys the emotion of surprise, joy, and is complemented by a description of the movements performed by the character during this emotional state. Combined lexemes " Cried" and " leaping up" mark the intensity of the experience and the physical reflection of the emotion. A. Enkvist almost verbatim traces the original phrase, in contrast to G. Kruzhkov, who, omitting the verb of author's accompaniment " cry" slightly reduces the level of emotiveness, making the cue more restrained. Interjected adverb " Excellent!" here it acts as an interjection, and expresses approval of what is happening, but it sounds more dry than " Hooray!" , used by A. Enquist.

" Pest !" he says (R. Kipling" Hal o' the Draft" ;121).

Damn it ! - exclaimed he. (G. Kruzhkov)

...

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The processes of generation and interpretation, being interconnected and interdependent, form the communicative-speech mechanism of interaction between the speaker and the listener. The essence of the mechanism is the functioning of the adaptation model of two texts or, in the terminology of E.V. Sidorov, models of correcting the primary communicative activity of the speaker and the secondary communicative activity of the listener: “Primary communicative activity creates a subject-sign program for building secondary communicative activity… Secondary communicative activity constructively participates, still in a subjective form (as an “internal image”), in the creation of a text . This means that secondary communicative activity as an internal image, an ideal model, to a certain extent determines not only the function of a speech work, but also its elemental composition, i.e. the communicative aspect of the text system, and the relationship between the elements of the statement, i.e. text structure. Consequently, both the element-by-element composition and the structure of the text, n its functions are determined in the process of the primary communicative activity by the corresponding parameters of the secondary communicative activity, more precisely, by the properties of the ideal model of this activity, acting through the primary communicative activity and subordinate to it. Through the text, primary communicative activity sets the specific nature of the flow of secondary communicative activity and, in this sense, programs the latter, manages it" [Sidorov 1987, p. 15, 16].

Preliminary remarks. The text, being a fairly young object of linguistic research, has recently become a field for studying various types of interactions. This is due to the need for various kinds of coordination between the activities of the sender of the message (the speaker) and the recipient of the message (the listener). This agreement is concluded in a holistic conjugation of the activity models of communication participants. Models, in turn, form the communicative content of the text. Accordingly, the text in non-textual activity functions both as a result of the generation of meaning (due to the adjustment of the generative intention, the pragmatic attitude of the author and communicative intention), and as a way and result of the interpretation of meaning. Thus, the text fully reflects the essence of communication, which lies in “the construction in the cognitive system of the recipient of conceptual structures, “models of the world”, which in a certain way correlate with the “models of the world” of the speaker, but do not necessarily repeat them ... Texts exchanged by participants often have a greater influence on the formation of their models of the situation than on the actual state of affairs. Models of the world and knowledge of the participants in the situation become no less, and perhaps more “substantial” than external, objectively determined circumstances” [Sergeev 1998, p. 3].

The category of communicativeness, as a reflection of the essence of the inclusion of text in extra-textual spaces, functions as a result of the mechanism of generation and determines the basis for interpretation. Generation, interpretation, intertext are considered in terms of the mechanism, conditions, situation of functioning (which is reflected in the division of the chapter into paragraphs).

Generation of text as a way of including text in extra-textual reality. Essence of the text generation process. The generation of a text is primarily associated with the generation of meaning in a broad sense. According to Yu.M. Lotman, “one can imagine a certain meaning that remains invariant under all transformations of the text. This meaning can be represented as a pre-text message realized in the text. The “sense-text” model is built on such a presumption. It is assumed that in the ideal case, the information content does not change either qualitatively or in volume: the recipient decodes the text and receives the original message. Again, the text acts only as a “technical packaging” of the message in which the recipient is interested ... But with this approach, the ability to serve other functions inherent in the text in its natural state is lost” [Lotman 1996, p. 13].

If we talk about generation as a way to include text in the extra-textual space, then the most significant functions are the creative function and the function of memory.

The creative function includes the process of generation in the field of activity for “the production of texts or for the production and consumption of texts (and in essence, communicants as complex linguistic-paralinguistic-non-linguistic texts)” [Fundamentals of general rhetoric 2000, p. 7]. Thus, generation affects the material of culture. In this aspect, the main thing is the ratio of text and context, which, in turn, is transformed into the ratio:

1) text and subtext (in which hidden meanings inherent in the text are revealed);

2) text and overtext (in which a combination of psycholinguistic factors preceding the moment of generation is revealed).

This aspect reveals the specifics of the socio-cultural immersion of the text as a representative of a separate socio-cultural area.

In this regard, two types of generation of the meaning of the text can be distinguished:

1) implicit, based on the associative unfolding of the text;

2) explicit, in which deployment occurs through grammatical, lexical, intonation and other connections.

In addition, meaning generation is the action of two mutually directed mechanisms: contamination (clotting) and compression (deployment) [Murzin, 1976]. The essence of folding is to identify the content dominant of the text, and the expansion is carried out through the methods of meaningful compression (associative, synonymous, etc. connections), which are based on three types of background knowledge:

1. social, that is, known to all participants in the speech act even before the start of the message;

2. individual, i.e. known only to two participants before the start of the message;

3. collective, i.e. known to members of a particular team, associated with the profession, social relations, etc. (for example, special medical knowledge, political, etc.) [Valgina 2003, p. 16].

The implementation of the text memory function is connected, first of all, with the idea of “linguistic existence”: “Language surrounds our being as a continuous environment, outside of which and without the participation of which nothing can happen in life. However, this environment does not exist outside of us as an objectified given; it is in ourselves, in our consciousness, in our memory, changing its shape with every movement of thought, every manifestation of our personality. This is our constant, never-ending life “with language” and “in language” and this is what is called linguistic existence” [Gasparov 1996, p. 5].

According to B.M. Gasiarov, the generation of a text is connected and follows from the ability of memory to continual, undivided processing of linguistic and speech information. Everything that the speaker needs to produce is already contained in his language memory in the form of ready-made blocks of information. These blocks genetically go back not only to the language experience of the speaker, but are also associated with his subject-communicative activity. This activity is connected both with the peculiarities of the situation and with the ability to evoke and transform previously known texts: “The linguistic memory of a speaking subject is a grandiose conglomerate that accumulates and develops throughout his life. In a semi-fused, fluid state, it contains a gigantic stock of communicatively charged particles of linguistic fabric of different volume, texture, varying degrees of distinctness and completeness: separate word forms, each surrounded by a whole field of more or less obvious combinational possibilities; ready-made verbal groups, in each of which there are various possibilities of modification, expansion, truncation, replacement of individual elements, syntactic-intonation figures, only partially filled with individual key words, surrounded by entire fields of word forms and phrases suitable for their full implementation; whole ready-made remarks-statements (again with the possibility of their modification); various rhetorical "gestures", behind which larger speech blocks and even entire texts associated with such "gestures" are visible, and finally, separate pieces of texts related to various spheres and genres of linguistic existence, which the speaker remembers with varying degrees of distinctness - be it exact knowledge by heart, or approximate, blurred by lacunae of memories, or a vague image, barely visible in the memory” [Gasparov 1996, p. 104]. Thus, all our language activity is permeated with block-citations from previous language experience. The speaker does not need to construct a message every time, all fragments of the text already exist in the memory as a whole (in the form of evoked or transformed fragments of the situation), and linguistic memory brings the necessary fragments to the surface of consciousness. The required fragment is simply “recognised”.

The mechanism of recognition during text generation is connected, first of all, with the peculiarities of the conditions for text generation.

Conditions for generating text. The conditions of generation are the generative intention (the pragmatic setting of the author), the author's modality, the ways of its implementation in the text modality, the goal setting and the communicative intention. “The text as an integral speech work has its own patterns of formation. Text formation is carried out under the influence of the goal setting of the text itself and the goal setting of a particular author of the text. The first is dictated by the text itself, its type, genre, and the tasks it implements. The second is entirely related to the author's modality, since any message contains not only information, but also the author's attitude to the information being communicated. The latter is especially important in establishing the pragmatics of the text, since it is connected with the interpretive side of the text. The author not only forms the actual text, but also guides the reader in its interpretation. The pragmatic setting of the text comes from the text itself - its purpose, type, genre ... When you start working on a text, its general goal setting is known - informing, teaching, instructing, declaring, etc. Thus, each text has its own pragmatic setting. It determines both the form of the text, and the selection of material, and the general style, etc. However, the author, as a specific subject, obeying the general rules for constructing a text of this direction, makes his own, personal adjustments to the construction of the text, i.e., carries out his own, author's pragmatic setting. Both attitudes are combined, they can overlap, but for some reason they diverge and even come into conflict” [Valgina 2003, p. 24].

Essence pragmatic attitude lies in the conscious intention of the speaker to have a certain effect on the listener. The hierarchy of pragmatic attitudes forms the pragmatic orientation of the text, which is realized, in turn, in communicative-pragmatic structure text content. The communicative-pragmatic structure is understood as “the content of the text organized and ordered by means of the language in a certain way in accordance with the communicative goal setting of the authors and the pragmatic orientation of the text” [Krizhanovskaya 1997, p. 131]. For example, in a scientific text, the nature of the content structure depends on the genre. Thus, the structure of an empirical article (an article containing a description of an experiment) is created by a sequence of the following communicative and pragmatic blocks: “introducing the topic”, “formulating the problem”, “setting the goal and objectives of the study”, “description of the stages of the experiment”, “proposing a hypothesis ”, “final imperative”, or “prediction”. The obligatory components of the communicative-pragmatic structure of a theoretical article are the components "maintenance of the topic", "setting the goal and objectives of the study", "formulation of the problem", "ultimate imperative". In the structure of a scientific and methodological article, it is very conditionally possible to single out only the communicative-pragmatic blocks “maintenance of the topic”, “final imperative” and “forecasting” [Krizhanovskaya 1997, p. 132]. In an advertising text, the communicative-pragmatic structure is formed as a projection of the argumentative structure onto the compositional-pragmatic structure (in the form of a set of such blocks: who sells, what sells, to whom (implicitly, in the form of an orientation to the target audience), where).

pragmatic attitude, implemented in the communicative-pragmatic structure of the text, correlates with the types of information and functional-semantic types of speech. According to N.S. Valgina, the functional-semantic type of speech is a kind of communication model. And when determining the mechanisms of text formation, the communication model itself is chosen first of all, i.e., the constructive features of the speech act are taken into account, the totality of which forms the model. Design features include:

1) communicative goal setting;

2) subject (content) of communication;

3) signs of the situation within which communication is carried out;

4) social characteristics of communication participants.

The combination of these features creates a system of speech situations, and the type of speech situation determines the specific model of communication and the form of its implementation: “Within each type of speech situation, fairly standard forms of their implementation in the text are formed. A stereotypical speech behavior is born, which is reflected in the norms (strict or less rigid) of the speech organization of the text. The text accordingly acquires the form that helps it to perform this communicative task. At the same time, the more standard the text, the brighter its features are revealed, the more predictable is its form. Therefore, the goal, intention (author's intention) determine the type of text - the functional-semantic type of speech, i.e. the speech form" [Valgina 2003, p. 77].

The speech form also depends on author's modality text, which is manifested in the author's choice of the producer of the text: the producer of the speech itself, the subject of the narration, the image of the author. At the level text modality there is a connection of the content of the text with ideas about the author and the addressee. The interaction of the modal plans of the speaker and the addressee makes it possible to single out the static and dynamic types of texts. “The static version of textual modality presupposes coinciding modal plans of the author and the addressee throughout the entire space of the text. At the same time, it is important to note that the text does not switch from one modal register to another and that the addressee understands the modal meanings of the text in the same way as the author... Dynamic modality implies the absence of a single modality for the narrator, reader and hero. Each of the carriers of textual modality has its own "party", and the interaction, the interweaving of these parties gives rise to movement, the dynamics of the modalities of the entire text" [Soboleva 1997, p. 165].

The situation of text generation. The situation of generation is understood as a conscious and purposeful choice by the speaker of a certain speech genre, depending on the conditions accompanying the implementation of the act of communication; adjustment of the speech genre, based on the requirements of the listener; the choice of a generation mechanism adequate to the given situation. When determining the situation of text generation, two aspects can be distinguished: firstly, the conditions for the implementation of a communicative act, and secondly, the choice of the speech genre by the speaker and the correction of the speech genre, based on the situation.

The conditions of a communicative act are understood as the totality of the following signs of a situation: the circumstances of a communicative act (according to Gorodetsky: “the circumstances of a communicative act are the general activity context of a communicative act, including both a direct act of joint activity and incidental, background circumstances” [Gorodetsky 1990, p. 14 ]), persuasive program, communicative and practical goals (“practical goal is associated with the type social activities and represents the image of the result. A communicative goal is an intention, an attitude implemented by the speaker when generating a text” [Fundamentals of General Rhetoric 2000, p. 29]).

The above components meaningfully characterize the situation of generation. The structure-forming components of the situation of generation are time and space: "The text is created in a certain single situation of connection - a subjective situation, and is perceived depending on time and place, in an infinite number of objective situations" [Pyatigorsky 1996, p. eighteen)].

1. differentiated description (clear delineation and definition of space and time):

a) the chronotopic description goes back to the ideas of M.M. Bakhtin about the "fusion" in the artistic text of space and time;

b) description of the “point of view” in the text (the ideas of B.A. Uspensky, V.N. Voloshinov, G.A. Gukovsky, etc.), which can be considered in different aspects: ideological and value, spatio-temporal, aspect of position observer, definition of the subject of speech, etc.

2. Continuum (undivided) description, in which time and space are not divided: time and space “lose” their grammatical and content characteristics. So, for example, argumentative texts (press releases, advertisements, etc.) are characterized by universal time, connecting the characteristics of the past, present and future. The present component is due to the fact that the argumentation is happening at the present moment, now. The component of the past is due to the presence of a certain experience and amount of information for the subjects of argumentation before the start of the argumentation. The component of the future is the possibility of modeling the argumentative process and predicting the results. The space in argumentative texts includes, in addition to the actual physical space, also informational, intellectual, cultural and other types of spaces.

The aspect of the speaker's choice of a speech genre is connected with the definition of a speech genre "not as a relatively stable thematic, compositional and stylistic type of utterance, but as a text" [Fedosyuk 1997, p. 26]. The speech genre, according to Bakhtin, is characterized by semantic completeness and a change in the subjects of speech. But such an approach does not qualify such texts as dispute, discussion, conversation as genres. Each of this kind of texts has specific features, but is a collection of statements belonging to different speakers. The definition of a speech genre as a type of text makes it possible to consider such types of texts as prefaces, dedications, epilogues, etc., as genres, since the boundaries of these texts are not the change of subjects of speech. Each of these types of texts has its own thematic, compositional and stylistic features, in many ways similar to the features of those types of texts that are commonly considered genres. With this approach, elementary and complex speech genres are distinguished. “Elementary speech genres are understood as such thematic, compositional and stylistic types of texts, which do not contain components, which, in turn, can be qualified as texts of certain genres. Elementary speech genres include, for example, a message, praise, greeting or order. As for complex speech genres, these types of texts consist of components, which, in turn, are texts of certain genres. Complex speech genres can be monologue, i.e., including components that belong to one speaker or writer (for example, consolation, persuasion, persuasion), and dialogic, consisting of replicas of different communicants (for example, conversation, discussion, argument or quarrel) » [Fedosyuk 1997, p. 26].

In addition to the conditions for the implementation of a communicative act and the choice of a speech genre by the speaker, in the description of the situation of text generation, purely linguistic methods of enhancing meaning in the situation of generation are also distinguished. Such methods include:

1) extraordinary (occasional) compatibility of text elements (both semantic and formal-structural);

2) the so-called "emphatic tension" - the level of emotional saturation of the text, correlated with the categories of text tonality and subjective modality;

3) “deep (batismatic) tension”, resulting from the imposition of various textual meanings on the lexical semantics, the influence of the content of the compositional structure of the work, as well as various extralinguistic (for example, cultural) factors [Mukhin, 1997, p. 164].

Understanding as a way of including text in extra-textual reality. Essence and mechanism of interpretation. Currently, linguistics has developed different approaches to the understanding and interpretation of the text. The first one proceeds from the fact that “interpretation is the receipt on the basis of one source object (called the interpreted object) of another, offered by the interpreter as equivalent to the original against a specific background of the situation, a set of presumptions, knowledge (V.Z. Demyankov); the second approach (A.V. Bondarko) is focused on the study of the interpretive component in the content of linguistic units, differentiation and interaction of the mental basis and its linguistic interpretation (representation method), which is realized in various types of meaning structuring. One can also talk about the interpretation of one's/other's behavior" [Tripolskaya 2001, p. 3]. Thus, the text, being included in extra-textual activity, acts both as a result of interpretation, and as a means of interpretation, and as external conditions for interpretation.

The text as a result of interpretation is the result of mastering and adaptation by the listener of the content of the original text transmitted by the speaker. This is the acceptance of the information received and its inclusion in the listener’s picture of the world: “To understand the text, to master its content means for me to turn all my experience to the text and at the same time accept its content so that it becomes part of my subjectivity, then share its content as a reflection someone else's experience in accordance with my experience, then choose from this division (implicit analysis) what I need for my activity" [Bogin 1982, p. 3].

The text as a means of interpretation is considered in the case when it comes to the functioning of the interpretive mechanism. Presupposition is included as a significant component in the interpretative mechanism: “presupposition is a component of the meaning of the text that is not expressed verbally, it is preliminary knowledge that makes it possible to adequately perceive the text. Such prior knowledge can be called background knowledge. The presupposition may arise when reading the preceding text, or it may appear completely outside the text as a result of the knowledge and experience of the compiler of the text. Background knowledge is the knowledge of realities and culture that the speaker and the listener possess” [Valgina, 2003, p. 13]. It is on the presupposition that the “launch” of the interpretive mechanism depends: background knowledge determines which component of the text content needs additional interpretation or which component of the meaning contains an implicit meaning. The mechanism of interpretation is subjective. The qualitative composition of the presupposition determines the dominant of the interpretation: be it the category of the author's image, the category of the semantics of the text structure, lexical methods of interpretation or argumentation as a method of interpretation.

According to Yu.N. Karaulov, argumentation is a fairly typical and frequent mechanism of interpretation, since it is initially individual and subjective. “Argumentation is always addressed—addressed to a specific person or group of people. In this regard, it can be contrasted with evidence, which is unaddressed, universally applicable to any circle of opponents and universally used by any circle of opponents” [Karaulov 2002, p. 245]. From the point of view of argumentation, the mechanism of interpretation is the functioning of the model of the search behavior of the speaker and the listener.

Argumentative activity has a mutually directed vector of influence: the speaker forms a model of argumentative search behavior for the listener, the listener, in turn, “works” according to the argumentation program that is given by the speaker. The mutual orientation of the formation of argumentative activity is built into the rhetorical model of speech communication: the speaker verbalizes the argumentative model, the listener understands the speaker's argumentative intentions. The adequacy of the methods of verbalization and understanding is ensured by “ideological monism, unity of points of view, modal attitude” [Kupina 1995, p. 53]. Search behavior is considered as a sequence of actions of the speaker and the listener, associated with the purposeful division of the following components of the argumentation field: a controversial position, theses, arguments, and the construction of the argumentative structure of the text from these components. Moreover, in the mode of search behavior, the argumentative structure of the text is fundamentally one thesis, since the presence of a thesis that refutes the controversial position is redundant, since it removes the purposefulness of the “search”, makes it possible to interpret (compare N.A. Kupina’s idea of “structural certainty of the supertext of ideologemes… structured in the same way" [Kupina 1995, p. 53]. The essence of the search behavior model is an argumentative program that has psychological and rhetorical levels of formation.

The psychological level involves the organization by the speaker of the stages of the listener's activity, consistently implementing which, the listener comes to a conclusion. The starting point is the speaker's analysis of the listener's needs. The hierarchy of needs is determined, quasi-needs and pseudo-needs are singled out (cf.: “the formation of specific human subject-functional needs leads non-vital needs to the circle of needs, the need for which is in no way “controlled” by the objective conditions of human existence ... especially in the sphere of social and socio-psychological relations” [ Tarasov 1974, pp. 45], the meaning-forming motive of activity, which gives a personal character, and the motive-stimulus, which plays the role of an additional motivating factor, are determined.

The second stage is the stage of operating with needs: either the sense-forming motive of the leading type of activity becomes the main motive of activity, or the motive of the Audience's activity is rehierarchized. Thus, handling needs occurs either by restructuring the hierarchy of needs, or by updating needs. The result of the actualization of the need is the appearance of a quasi-need (super-need), the result of rehierarchization is a pseudo-need (false need). Ways to operate with needs are ways to create additional psychological values, ways to create an image, etc. The result is the creation of search behavior. This stage is allocated conditionally, since handling needs already lays down a model of search behavior, however, the allocation of this stage is important from the point of view of effectiveness. The search behavior model assumes that the speaker organizes the listener's activity code. The model includes the stages of the listener's activity, by consistently implementing which, the result predicted by the speaker is achieved. These stages are briefly formulated in the well-known aida formula: a (attention) - means attention, i (interest) - interest, d (desire) - formation of motivation, a (action) - response, action of the listener.

The rhetorical level is associated with the construction of an argumentative model of search behavior. This model assumes the adequacy of the choice of arguments depending on the problem situation formed in the course of argumentation: “Due to the fact that alternatives for choosing methods of disclosure conflict situations not given a priori, they are constructed by the decision maker, and the rules for constructing alternatives turn out to be the most important moment in decision making. When constructing alternatives, the arguments in favor of including certain alternatives in the list of significant ones are of great importance” [Sergeev 1998, p. 4–5].

The rhetorical method of constructing alternatives (or an adequate selection of arguments depending on the sphere of communication) is associated with the construction of a “normative model of analytical and argumentative understanding, which should act as a basis for substantiating ... an explanatory concept of text understanding” [Zalevskaya 2001, p. 38]. Rhetorical understanding includes proper linguistic, communicative, semiotic characteristics.

A proper linguistic characteristic is the ability of an argumentative composition to be realized in terms of the horizon of expectation and deceived expectation. Argumentative composition assumes the presence of the following components: started (includes an introduction, main idea, division), middle (includes presentation, justification, refutation) and conclusion (generalization (conclusion) and appeal). Started is associated with the formulation of a controversial position and the proposal of ways to solve the problem (advancement of theses), which is associated with the implementation of the function of presenting the speaker and winning the listener. This function is embodied at the stage of handling needs (attention, interest). The compositional middle is associated with the argumentative development of a controversial position, therefore, the function of presenting the argumentative structure is realized. Composite completion performs the function of developing an activity program for the listener, which corresponds to the desire stage.

The presented composition is implemented depending on the field of argumentation: the composition can be direct and inverse (for example, the reverse composition begins with the presentation of arguments and ends with the formulation of a controversial position; there may be a omission of a system of arguments or an implicit formulation of the thesis). In the case of presenting an invariant composition, the listener "works" in the mode of predicting the appearance of the next component (waiting horizon). The realized model of the composition assumes a violation of the forecast, which gives the effect of surprise, attracts attention, there is a "syntagmatic tension (V. G. Admoni's term) that appears in the syntagmatic series in the process of deploying this series as a ratio between the previous and subsequent components of the composition" [Mukhin 1997, With. 354]. This tension has the effect of deceived expectation.

Cognitive characteristics lie in the ability to form an argumentative model of text understanding, which corresponds to the idea of "language as an effective means of introducing conceptual structures into the recipient's cognitive system, often in addition to the recipient's consciousness. Language thus acts as a social force, as a means of imposing views” [Sergeev 1998, p. 7]. In the process of generating an argumentative text (as in the process of understanding), information is transformed. At the first stage of transformation, the speaker creates some image of the text. This is the stage of appearance of argumentative intention. At the second stage, the argumentative intention is corrected: the image of the text acquires argumentative characteristics, which are set by the argumentation field. This stage is defined as an intertext, since its ontological property is the fundamental possibility of a qualitative transformation of information. As a result of the transformation, a quasi-text appears (the third stage of information transformation): an argumentative intention is transformed into an argumentative certainty. At the fourth stage, after the selection of arguments and language tools that implement these arguments, the text itself appears.

Stages of transformation text image - intertext - quasitext - text describe a formal model for the generation and understanding of an argumentative text and represent an external cognitive-activity mechanism of argumentative activity. The internal mechanism is determined by the multidimensional nature of the argument. Each of the aspects of argumentation (logical, psycho-intellectual, compositional-structural, tactical-strategic) forms a special field of argumentation depending on the nature of the function it performs. The function fields, having formed autonomously, form the dynamic structure of the argumentative function hyperfield. The core component of the hyperfield is the dominant argumentative function. Peripheral components - conditions and ways of implementing the dominant functions. The main characteristics of the hyperfield of an argumentative function are the multiplicity of function fields, the dynamics of the structure, the intersection of peripheral components (for more details on the structure of the hyperfield, see [Kachesova 1999, p. 80]). Thus, the mechanism for generating and understanding an argumentative text has two levels: an external cognitive-activity mechanism for transforming an argumentative intention into an argumentative certainty and an internal mechanism associated with the dynamics of the argumentative function hyperfield.

Semiotic characteristics are due to those described by Yu.M. Lotman features of text generation. According to Yu.M. Lotman, the inadequacy of communication agents turns the very fact of the discrepancy between the semiotic systems of the speaker and the listener from a passive transfer of information into a conflict game. In the course of the game, each side seeks to rebuild the semiotic world in the opposite way in its image and at the same time is interested in preserving the originality of its counterparty [Lotman 1996, p. 13]. In the aspect of argumentation, the "conflict game" has the form of a problematic situation, realized by highlighting the components of the argumentation field; "the desire to remake the world" represents the essence of search behavior in argumentative activity.

Thus, when forming the argumentative structure of the text, psychological and rhetorical ways of representing the argumentative program are distinguished, which is associated with the model of search behavior. This model describes the purposefulness of the generation of the text by the speaker and the adequacy of the understanding of the text by the listeners. The psychological method is connected with the operation of needs, the creation of a psychological code of the listener's activity. The rhetorical method is associated with the construction of an argumentative model of search behavior, which, in turn, is based on the proper linguistic, communicative, semiotic characteristics of understanding.

Features of the formation of the argumentative structure are multifaceted and are associated with the diversity of the compositional implementation of the argumentative structure of the text. The cognitive, communicative, semiotic-pragmatic way of implementation are distinguished. The proposed analysis is based on the idea of constructing argumentative alternatives, which is reflected in the generation of the argumentative-syntactic structure of the text. Construction is understood as the ability of the argumentative structure of the text to collapse and expand. The cognitive aspect involves considering the composition of the text as a predicate-actant structure, in the communicative aspect, a description of the dependence of the components of the argumentative structure of the text on the type of text is put forward, the semiotic-pragmatic aspect reveals the relationship between the semantic zones of the text and the components of the argumentative structure.

The consideration of the text as external conditions of interpretation is due to the current trend of describing the text as a formal unit of culture, and culture is the highest level of the language system. “This view of the text involves the study of its semiotic nature in direct connection with the variability of its semantic structure, the mobility and diversity of the possibilities of its pragmatic essence” [Vasilyeva 1997, p. 152]. Based on the proposed V.V. Vasilyeva interpretation, the mechanism of converting any text into a text-interpretation serves as the basis for creating a linguo-culturological model of the text.

Intertext as a way of including text in extratextual reality.

The essence of intertext. Intertext is a model of the interaction between the mechanisms of generation and interpretation as ways of including text in extratextual reality. A text in extra-textual reality can manifest itself in two ways: as a component included in the situation, and as a component participating in various kinds of evocative and transformational processes. In the first case, the intertext represents the model of obtaining situational characteristics by the text (in the form of a text adapted to the situation), in the second case, the model of the relationship between different texts in the situation. The essence of intertext is phantom (simulated), although the ways of its implementation are functional and situational.

Intertext is an intermediate communicative and activity stage of intertext transformation. It integrates both the features of the texts involved in the processes of evocation and transformation, and the characteristics of the situation itself. This is a kind of model of the relationship and mutual inclusion of texts involved in a communicative act. Intertext is an adaptive unit that adjusts the text to the situation (situational model, according to T.A. van Dyck). The adaptive mechanism of intertext functioning allows any texts in a communicative act to receive (or restore) the characteristics of the situation necessary for the successful flow of a communicative act: “Situational models are based not on abstract knowledge about stereotypical events and situations, but on the personal knowledge of native speakers, accumulating their previous individual experience, attitudes and intentions, feelings and emotions… We understand the text only when we understand the situation in question. The use of models explains why listeners perfectly understand implicit and obscure fragments of texts - in this case, they activate the corresponding fragments of the situational model" [van Dijk 1989, p. 59].

Mechanism of intertext functioning. To describe the process of interaction between the mechanisms of generation and interpretation, “large” units are needed, whether we are talking about models of generation and schemes for their deployment, about nominative blocks that exceed in their length a simple word, or, finally, about such complex structures of consciousness as frames, scenes or scenarios that largely predetermine emerging speech utterances and the choice of means for their implementation” [Human factor in language 1991, p. 7]. Intertext is a kind of invariant internal form of the transformation mechanism, containing knowledge about all stages of transformation in the form of a certain set of schemes and chains of transformations. Intertext is an abstract concept that is on a par with such concepts as a text package of information (V.I. Gerasimov, V.V. Petrov), the internal form of a text (I.D. Golev), a situational speech block (A.A. Chuvakin) etc. To refer to such phenomena (a kind of "black boxes" - known what is at the entrance and exit, but not known what is inside) in the linguistic literature, a variety of terms are used, depending on the aspect of study: "in the literature a number of terms are used to denote extralinguistic reality reflected in human consciousness: frames, scenarios, schemes, plans, etc. They are “packages” of information (stored in memory), providing adequate cognitive processing of knowledge about reality” [Sokolov 1993 , With. 3].

The status of intertext is determined by its intermediate position. Being a synthesizing abstract mental formation, the intertext functions as an invariant structure of the interaction process: the intertext “pulls together” the initial and final stages of transformations, uniting texts of different types and situations. In the process of generation, the stage of intertext is the stage of preparing thought for objectification, the stage of the beginning speech-thinking activity, which is associated with the search for a scheme of the transformation process. This refers to the so-called “pre-speech stages of speech activity, which actually fall on the phases of the transformation of the stream of consciousness into a verbalized or verbalized formation, when carriers of personal meanings, having up to this moment a variety of forms and substrates, finally acquire a quasi-verbalized one - in the form of internal words - or actually verbalized - in the form of real linguistic signs - but also an internalized form" [Human factor in language 1991, p. fifteen]. This definition of intertext allows us to consider its status as an internal form of transformation processes. According to N.D. Golev, the internal form of the text is the original element from which the speech work naturally “grows” in the unity of its formal and content aspects; in terms of synchronous genesis, it is an embryo, an anticipation of a form, an emerging content. This is the source of the diversity of external forms and its simultaneous overcoming, that is, the source of integrity. All of the above allows us to draw a conclusion about the intermediate status of the intertext in the process of communication and define it as an abstract structure in which textual and situational characteristics are “dissolved”.

Introduction to the structure of the communicative act of intertext explains the functioning of the transformation process: passing through the stage of an intermediate link (a kind of "black box" - an intermediate stage of transformations, where the input contains an untransformed text, the output is situationally adapted, and between them is a cognitive structure - intertext), the generation mechanism adapts to the interpretation mechanism. The intertext not only matches the formal and semantic characteristics of the transformed and untransformed texts, but it is in the intertext that the selection of the characteristics of the situation necessary for the successful implementation of communication takes place.

The complication of the communicative act occurs under the influence of the author's intention (“completeness/incompleteness of the description of the object can be considered exhaustive in terms of the goals and objectives that the communicants set for themselves” [Murzin, Stern 1991, p. 43]). The intertext appears against the background of the difference in the intentions of the author. So, for example, in V. Shukshin, when converting texts of stories into texts of screenplays, the difference of intentions manifests itself in the following way: in the first case, the intention of creating an epic work dominates, in the other case, the creation of a screenplay. The intertext brings together the different properties of the two kinds of literature. In the intertext, the division of the epic text into frames also takes place; The result of the functioning of the intertext is the compositional-syntactic arrangement of the screenplay text. In the process of transformation, secondary texts acquire compositional-syntactic structures that are qualitatively different from the epic text. The proposed model of transformational transformations of the syntactic composition of an epic text into the syntactic composition of a screenplay text (primary text - intertext - secondary text) can be considered an invariant model for this kind of transformation of V. Shukshin's texts, and the filling of this model occurs variably, depending on the compositional features of the primary texts.

Intertext as a model of interaction between different types of texts. Modeling the interaction of texts of different types is a rather big problem. This is due primarily to difference(typological, genre, generic, etc.) text ontology. Until now, there is no universal model that describes cases of multi-text interaction, since it is impossible to unify all the ways of text life of this kind. Intertext is one of the options representing the interpenetration of texts. For example, intertext as a model that organizes the interaction of different types of texts works when converting story texts into screenplay texts.

In particular, textual interaction of this kind is present in V. Shukshin's film prose, which is characterized by the transformation of epic (primary) texts into texts of film scripts (secondary). In the course of transforming an epic text into a screenplay, V. Shukshin undergoes the greatest transformations in the syntactic composition of both types of texts. All changes in the syntactic composition that occur during transformations make up three groups of transformations:

1. Transformations, the content of which is the introduction of new components into the syntactic composition of the secondary text. Such components are part of a paragraph, a whole paragraph, part of a dialogic unity, part of a complex syntactic whole.

2. Transformations associated with intra-component structural changes (both input and omission of any part of a fragment of a syntactic composition). Such transformations are caused by the insertion or omission of a part of a paragraph, a complex syntactic whole, or a dialogic unity.

3. Transformations that have an intercomponent character. In such transformations, new paragraphs and dialogic units are introduced. The structure of one paragraph is converted into multiple paragraphs, and so on.

In the first type of transformations, the screenplay (secondary) text is not divided into frames, since the mise-en-frame is not formed in the process of transformations. Transformations actualize a fragment of the syntactic composition of the primary text to organize a single plot narrative. For example, the introduction of replicas into the text of the film script “Your Son and Brother”: “Guys write”, “How are the guys?”, “Yes, they rarely write. Nothing like. Ignat boasts. And Maxim is at the construction site” – specifies the number of characters, organizes the texts of stories with isolated storylines into the text of a film script with one plot.

The second group of transformations includes intra-component transformations of the syntactic composition and is associated with the need to strengthen, highlight any gesture, posture, intonation of the hero. This type is associated with the introduction of directorial editing, with the need to arrange the characters in the misanthrope. For example, the introduction to the text of the film script "Your Son and Brother" emphatic "And I - at least henna!" actualizes the emotional mood of the scene, enhances this excitement.

The third group of transformations are intercomponent transformations, they are associated with the requirement of frame-by-frame transmission of information. Transformations occur as a result of the need for future on-screen implementation of the text. Keeping in mind the future sound-visual, on-screen embodiment of the text, the author divides the text not into text fragments, but into frames that he organizes into misanframes - with the arrangement of characters, the accuracy of their gestures, poses. There is a need to "depict a picture." Changes in the compositional-syntactic organization are, first of all, those changes with the help of which either the unnecessary, superfluous, “non-cinematic” (i.e., not working for image and sound) component of the text structure is curtailed, or the text is expanded due to the introduction of cinematic components. The function of this group of transformations is to be a kind of "guide to action" for the director. For example, V. Shukshin introduces a direct directive from the director into the text of the film script “Strange People”: “The Chudik came home at five o'clock. He walked and clearly imagined how he would now cheerfully tell how he almost became a film actor. How everyone will laugh heartily (silent image: Chudik tells his brother, his wife, children, shows how they rehearsed with the director; everyone rolls with laughter, even a small one in a painted stroller).

The above processes are modeled in intertext - an abstract formation that performs a connecting function between epic and screenplay texts in the process of text formation. The intertext conjugates the compositional-syntactic structures of the primary and secondary texts; in the intertext, the epic text is divided into frames of the film script. In the intertext, there is a change in the communicative status of the components of the syntactic composition of the primary text. Intertext is an invariant internal form of the mechanism for transforming an epic text into a script text, containing knowledge about all stages of transformation in the form of a certain set of schemes and chains of transformation.

The model of formation of a syntactic composition (primary text - intertext - secondary text) is an invariant model of strengthening the cinematic potential and is considered as an invariant model of intergeneric transformation. Variant implementations of the model in the study are determined depending on the communicative features of the Speaker. The form of communicative activity carried out by the Speaker (epic or screenplay) determines the methods of structural-semantic re-decomposition of the syntactic composition.

Intertext as a model for including text in a situation. One of the characteristics of intertext is its adaptive potency. Intertext as an internal form of transformation is directly related to the mechanism of situational adaptation of the text. So intertext, for example, sets the way to include text in argumentative activity, adapts textual mechanisms to situational characteristics, creates the basis for the appearance of argumentative characteristics of the text.

Argumentative characteristics of the text are little studied; they are unique. Until now, questions remain open in modern literature: can any text be considered an argumentative text; how to determine the essential characteristics of the text in terms of argumentation; can the text be considered a component of the argumentative process and what are its functions? (See works by X. Perelman, T.G. Khazagerov, M.I. Panov, and others).

The appearance of an argumentative text is, firstly, the result of the functioning of the cognitive model of argumentative activity (hereinafter referred to as the K-model of argumentation), and secondly, it is due to the existence of the argumentation field. Consequently, the conditions for acquiring argumentative characteristics by the text are the existence of the K-model and the operation of the K-model in the field of argumentation.

The concept of an emotive pragmatic attitude (EPU)

The term emotive pragmatic attitude (EPA) refers to the explicit or hidden purpose of the utterance. The concept of EPU "corresponds to the concept of "illocutionary force", or "illocutionary goal", widely used in linguistic research under the influence of the theory of speech acts following J. Austin and J. Searle." [Filimonova 2007: 97]

EPU may differ in the type of carrier of the emotional state, it may be the author or a third party:

1) communicate your feelings,

3) analyze your feelings,

4) pour out your feelings,

5) find out about the feelings of the addressee,

6) analyze the feelings of the addressee,

7) inform about the feelings of the third person/persons,

8) learn about the feelings of the third person/persons,

9) call the addressee to action to get rid of feelings,

10) call the addressee to action to get a feeling.

This list is not final and can be continued. Each EPC has a number of distinctive characteristics, but the distinction is not rigid. Thus, the distinction between some EPUs is quite subjective.

Conclusions to Chapter 1

· Currently, there is a growing interest in the study of emotions in various scientific disciplines. Emotions are mental processes and states that reflect the significance of phenomena and situations affecting the individual in the form of direct experience (satisfaction, joy, fear, etc.) Life without emotions is impossible.

At the same time, there are a large number of different classifications of emotions due to the fact that the emotions themselves are numerous and varied. It is impossible to create a universal classification that satisfies all requirements.

Emotions are divided into basic (characteristic of all people and cultures) and variable (contractual or individual).

· The metalanguage introduced by A. Vezhbitskaya allowed to build clear interpretations of the names of emotions, thanks to the definition of emotional concepts using words that are intuitive and are not the names of emotions and emotional states themselves.

· According to the classification of V.I. Shakhovsky, the emotional state can be expressed in the language by various means: direct nomination (joy, hatred, happiness), direct expression (interjections, etc.) and description (posture, features of speech and voice, gaze, movements).

· The problem of emotive meaning cannot be solved without studying emotivity at the level of the text. An emotive text is, first of all, a text for the perception and understanding of its emotional content.

A language category is a group of linguistic elements distinguished on the basis of some common property, or a feature that underlies the division of a set of homogeneous language units into a limited number of non-overlapping classes, the members of which are characterized by the same value of this feature.

· The category of emotivity is connected with the conceptual category of the state. The meaning of the conceptual category of state in English includes units expressing the physical state (alive), mental emotional state (afraid), and position in space (afloat).

· The concept of emotivity is correlated with the concept of a functional-semantic category - a complex category that includes a set of meaningful meanings expressed by elements of different language levels that are not reduced to their syntactic functions, in contrast to the syntactic categories of time, modality, person, etc.

· Emotivity has a categorical status at various levels of the language system: phonological, lexical, sentence and text levels. Emotiveness as a category of a text is the fundamental category of the emotionality of a text.

· The theory of speech acts studies the statement from the point of view of its illocutionary function.

· When performing a speech act, the speaker performs two actions: the actual pronunciation of the statement - a locutionary act, and an illocutionary act, for example, the expression of a statement, promise, request, that is, the realization of the speaker's communicative intention.

· The utterance may be intended to carry out one or another impact on the listener (for example, to offend, scare), i.e. have a perlocutionary aspect.

· The concept of a pragmatic attitude, that is, the explicit or implicit goal of an utterance, is correlated with the concept of "illocutionary force", or "illocutionary goal", widely used in linguistic research under the influence of the theory of speech acts.

See: Ter-Minasova S.G. Language and intercultural communication. M., 2000. P.79.

See: Luria A.R. Language and consciousness. M., 1998.

“And Jesus entered into the temple of God, and drove out all those who sold and bought in the temple, and overturned the tables of the money-changers and the benches of those who sold doves. And he said to them: It is written: My house shall be called a house of prayer; but you have made it a den of thieves” (Gospel of Matthew).

See: Kozhina M.N. Stylistics of the text in the aspect of the communicative theory of language// Stylistics of the text in the communicative aspect. Perm, 1987.

See: Galperin H.P. Text as an object of linguistic research. M., 1981.

See: Shabes V.Ya. Event and text. M., 1989.

Peshkovsky A.M. Objective and normative point of view on the language / / Chosen. works. M. 1959. S. 58.

See: Shabes V.Ya. Decree. op. pp. 7–11.

Lotman Yu.M. Roman A.S. Pushkin "Eugene Onegin". Comment. L., 1980. S. 282.

See: Kamchatnov A.M. Subtext: term and concept//Philological sciences. 1988. No. 3.

Functional and pragmatic aspects in the study of the text

Recognizing the objective need for a multidimensional study of the text, one can nevertheless single out the main aspects related to the characterization of the text as an integral literary work, as a dynamic communicative unit of the highest level. Understanding the text as a “text in action” leads to highlighting its functional aspect, and the orientation of the text to the communicative process, moreover, focuses on the pragmatics of the text.

Functional analysis involves taking into account the preliminary conditionality of the author's choice of certain means of expressing the semantic structure of the text by its specific and genre goal setting. At the same time, the very choice of the type and genre of the text is dictated by the conditions of real communication (communicants, subject of communication, means of communication, etc.). Thus, functional analysis takes into account extra- and intratextual features.

Functional analysis also lies in the fact that the individual components of the text are considered from the point of view of their role in organizing the whole text. Consequently, functional analysis helps to reveal the actual content qualities of the text. The fact is that the linguistic signs in the text concretize their meaning, being correlated with other linguistic signs, they enter into special relations with them, inherent in this text; one of the possible meanings of a word is updated, for example, or the word changes its meaning altogether under the influence of the context (contextual synonyms appear that are not marked in the dictionary order).

Functional analysis also takes into account the author's attitude to what is reported, the author's intention (intention), etc.

What does functional analysis give?

1. Functional analysis allows you to go beyond the actual linguistic characteristics of the text and move on to the analysis of conceptual categories, such as "space" and "time" (cf.: artistic space, artistic time). Functional analysis reveals the significance of these categories in the text.

2. Functional analysis helps to reveal the relationship between the meaning of language units and their meaning in the text. The difference between the concepts of "meaning" and "meaning" in the analysis of the text is very significant, as it leads to its content characteristics. This is revealed even at the level of a single word. Meaning objectively reflects the system of connections and relationships in the word, it is a stable system, the same for all people. By meaning, we mean an individual understanding of the meaning of a word, isolated from the objective system of connections, but related only to a given moment and to a given situation. Therefore, “meaning” is the introduction of the subjective aspects of meaning, the manifestation of the affective state of the subject. A.R. Luria in the book "Language and Consciousness" gives such an example of distinguishing between meaning and meaning in a word: the objective meaning of the word "coal" is a black object of woody origin, the result of burning trees, which has a certain chemical composition, which is based on the element C (carbon) . But the meaning of this word may turn out to be different for different people in different situations: for the hostess, coal is what kindles the stove; for a scientist - a subject of study; for the artist - a tool with which you can draw a sketch; for the girl who soiled her dress, it is the dirt that gave her displeasure.

It is clear that such meanings usually appear in the text, subjective - corresponding to the given moment and the given situation.

3. Functional analysis makes it possible to reconstruct texts, to establish their authorship. For example, to reconstruct ancient texts. (True, there is an opinion that an adequate reconstruction is impossible, since ignorance of the cultural and historical assessments of the era makes it difficult to interpret the text.)

4. Functional analysis can link texts from different eras, multilingual texts.

The latter is especially important in the analysis of translated texts, when the question arises of the equivalence of words and their combinations in different languages. In this case, it is necessary to take into account the sociocultural aspect of the analysis of speech units of the text, since the language reflects the culture of the speaking community. And the same realities and concepts expressed in a word can be perceived differently by carriers of different cultures. For example, communication (in this case, the perception of a text) can be complicated by a “conflict between cultural representations”: in particular, Russian green eyes is perceived as something romantic, mermaid, and the English green eyes is a metaphor for envy.

5. Finally, functional analysis is able to reveal the essence of text overlay (text in text), the significance of this phenomenon, explain the meaning of the associations of these texts, their combinations that create additional meanings (cf.: literary reminiscences, allusions, direct quotation; different types of text interpretation - for example, the biblical story about Christ by M. Bulgakov and Ch. Aitmatov). Functional analysis explains how this complicates and at the same time clarifies the main meaning of the work.

The pragmatic analysis of the text follows from the functional, logically continues and develops it. Greek, pragmatos (deed, action) is a field of science (semiotics, linguistics), which studies the functioning of linguistic signs in speech. Linguistic pragmatics includes questions related to the subject (the author of the text), the addressee (reader) and, most importantly, their interaction in the act of communication.

1) the goals and objectives of the message (for example, informing, expressing will, instructing, etc.);

2) type of speech behavior;

3) attitude to the reported, its assessment (or lack thereof);

4) accents in the construction of the message text.

Addressee of the speech (reader of the text):

1) interprets the text, including indirect and hidden meanings,

2) is affected - intellectual, emotional, aesthetic.

Pragmatic analysis reveals these interactions between the author and the reader, establishes the measure of useful information in the text, focusing on the typology of the reader's address.

Pragmatic analysis underlies the theory of discourse. Discourse (from the French discours - speech) is currently considered to be a coherent text in conjunction with extralinguistic factors - psychological, sociocultural, etc. Discourse is a text taken in the event aspect as a socially oriented "action". Metaphorically, discourse is speech immersed in life. Therefore, the term "discourse" at the present time seems to be incorrect when applied to ancient texts, since the discourse is entirely addressed to the pragmatic situation.

The tendency to demarcate the terms "text" and "discourse" emerged in the 1970s and 1980s. Discourse began to be understood as different types of actualization of texts in connection with extralinguistic indicators.

The distinction between the concepts of "discourse" and "text" is based on the opposition of the process of speech activity and its result. Discourse is understood precisely as a process associated with real speech production, while the text is associated with the result of this process. In addition, the distinction can also be determined by the forms of speech: the term "discourse" is more often applied to works oral speech, and the term "text" - to the works of written speech. "Discourse" in Western terminology can mean any speech at all.

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See: Luria A.R. Language and consciousness. M., 1998. P.55.

See: Ter-Minasova S.G. Language and intercultural communication. M., 2000.

4] See: Bisimalieva M.K. On the concepts of "text" and "discourse"//Philological sciences. 1999. No. 2.

See: Kubryakova E.S., Aleksandrova O.V. Types of spaces of text and discourse//Categorization of the world: space and time. materials scientific conference. M., 1997.

The text as a complete informational and structural whole.

Text units

The text, if considered in the system of generalized functional categories, qualifies as the highest communicative unit. This is an integral unit, consisting of communicative-functional elements, organized into a system for the implementation of the communicative intention of the author of the text, according to the speech situation.

If we accept that the text reflects a certain communicative event, then, therefore, the elements of the event must be correlated with individual components (or units) of the text. Therefore, the identification of text units and their hierarchy in the general structure of the text helps to reveal the essential characteristics of the text - meaningful, functional, communicative. At the same time, it should be borne in mind that the units of the text, presented, in particular, in the form of statements, reflect only the elements of the situation-event that are significant for the given text; the rest of the elements may be omitted because of their clarity, sufficient fame. That is, we are dealing with a certain discrepancy between the statement and the situation reflected in it. This raises the question of the semantic content of text units and its sufficiency or insufficiency within the framework of the whole text.

The text has its own micro and macro semantics, micro and macro structure. The semantics of the text is due to the communicative task of transmitting information (text is an informational whole); the structure of the text is determined by the features internal organization units of text and patterns of interconnection of these units within the framework of an integral message (text) (text is a structural whole).

The units of the text at the semantic-structural level are: a statement (a realized sentence), inter-phrase unity (a number of statements combined semantically and syntactically into a single fragment). Interphrasal units, in turn, are combined into larger fragments-blocks that provide the text with integrity due to the implementation of distant and contact semantic and grammatical connections. At the compositional level, units of a qualitatively different plan are distinguished - paragraphs, paragraphs, chapters, sections, subchapters, etc.

The units of the semantic-grammatical (syntactic) and compositional levels are interconnected and interdependent, in a particular case they can even coincide in a “spatial” relation, overlapping each other, for example, inter-phrase unity and a paragraph, although they retain their own distinctive features .

Its stylistic and stylistic characteristics are closely related to the semantic, grammatical and compositional structure of the text. Each text reveals a certain more or less pronounced functional and stylistic orientation (scientific text, fiction, etc.) and has stylistic qualities dictated by this orientation and, moreover, by the individuality of the author.

The stylistic qualities of the text are subject to the thematic and general stylistic dominant, which manifests itself throughout the entire text space.

The construction of the text is determined by the topic, the information expressed, the conditions of communication, the task of a particular message and the chosen style of presentation.

The text as a speech work consists of sequentially combined verbal means (utterances, interphrase units). However, the meanings contained in the text are not always transmitted only by verbal means. There are also non-verbal means for this; within the framework of an utterance and interphrasal unity, this can be word order, juxtaposition of parts, punctuation marks; to emphasize meanings - means of highlighting (italics, spacing, etc.) For example, when combining statements The son went to school. Daughter - in Kindergarten the comparative meaning did not find a verbal expression for itself; besides, predicate went replaced with a dash. Within the framework of more complex text components, such non-verbalized meanings can be much larger. For example, the use of question and exclamation marks that replace entire lines of dialogue.

– Look how pretty he is! - Natasha brings me closer to the cage and puts her hand inside, which the baby immediately grabs and seems to shake. - Orangutans have such beautiful cubs. - a rarity. Have you noticed how he looks like his mother?

– But how! Monkeys have everything, like people (Mosk. Koms. 1986. November 29).
In this sense, the following example is interesting:
And on a shaved, crimson face lost:

– «?»

– «!»

– «!?!»

Completely crazy!(A. Bely. Petersburg)
The image of pauses, hitches in speech, a sharp intonational change is carried out with the help of punctuation marks. Timbre, intensity, paralinguistic accompaniment of speech is usually depicted descriptively ( shouted, waving his arms; looked with narrowed eyes). However, such a verbal representation of facial expressions and gestures is not necessary. For example, a question, surprise, can only be conveyed by signs: So did you see him? – ???

Various default figures, also related to non-verbalized means, also serve to convey meanings in the text.

On the other hand, verbalization of "silent" languages (sign languages, facial expressions) can be carried out in the text. This, in particular, is served by various remarks in dramatic works or by the author's descriptions of the corresponding gestures and facial expressions in prose works.

For example: He twists his mouth into a smile, tightens his throat and wheezes:

– And my sir, my son died this week.

(A. Chekhov. Longing);

After weeping, the young lady suddenly shuddered and shouted hysterically:

– Here again! - and suddenly sang in a trembling soprano:

– Glorious sea sacred Baikal...

The courier, who appeared on the stairs, shook his fist at someone and sang along with the young lady in an unvoiced, dull baritone:

– Glorious ship, omul barrel! ..

(M. Bulgakov. Master and Margarita)

The so-called silent languages are a full-fledged means of communication in real life. However, they are widely presented in verbalized form and in the text - artistic, journalistic. When perceiving a textual description of gestures, it is necessary to take into account their significance within the framework of a given linguistic community. In addition, the reader and the creator of the text can be separated in time, which can also provoke inadequacy of perception. For example, a comment is required on the description of the gesture in the text of A. Chekhov's work "Thick and Thin": The fat man, wishing to part amicably, held out his hand, a Slim shook two fingers and giggled. Another example:

About the head of the department: “... I immediately noticed that he was a Freemason: if he gives someone his hand, then sticks out only two fingers "(N. Gogol. Diary of a Madman). Misunderstandings can arise when reading a text by a foreign reader, since the "dumb" languages of different peoples can vary significantly. For example, a nod in agreement in the Arab world is perceived as a sign of bad manners if it refers to a stranger or an older person.

One can also name such a way of transferring meanings in a text as an intrusion into a uniformly organized space of elements of other texts, “texts in a text” (Yu.M. Lotman). These can be direct inclusions - epigraphs, quotes, links. There may be retellings-inserts of other plots, appeals to legends, “foreign” stories, etc.

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See: Barannik D.Kh. Text as the highest form of realization of the communicative function of speech and its main units//Semantic and communicative categories of the text (Typology and functioning): Report abstracts. All-Union Scientific Conference. Yerevan, 1990.

See: Khachaturian NA. "Silent" languages and the perception of a literary text//Semantic and communicative categories of text (Typology and functioning): Abstracts of the All-Union Scientific Conference. Yerevan, 1990.

The pragmatic attitude of the text and the pragmatic attitude of the author

To determine the mechanisms of text formation, it is necessary to understand such concepts as the pragmatic attitude of the text and the pragmatic attitude of the author. The text as an integral speech work has its own patterns of formation. Text formation is carried out under the influence of the goal setting of the text itself and the goal setting of a particular author of the text. The first is dictated by the text itself, its type, genre, and the tasks it implements. The second is entirely related to the author's modality, since any message contains not only information, but also the author's attitude to the information being communicated. The latter is especially important in establishing the pragmatics of the text, since it is connected with the interpretive side of the text. The author not only forms the actual text, but also guides the reader in his interpretation of the text.

The pragmatic setting of the text comes from the text itself - its purpose, its type, genre. For example, an author starting to write a textbook knows in advance what the volume of the text will be, what issues and problems need to be covered, basically what the structure of the future text will be, what are the genre features of educational literature that have developed in practice and methodological methods of presenting material.

At the beginning of work on the text, its general goal setting is known - informing, training, instructing, declaring, etc. Thus, each text has its own pragmatic setting. It also determines the form of the text, selection of material, general style, etc. carries out its own, author's pragmatic installation.

Both attitudes are compatible, they can overlap each other, but for some reason they can diverge and even come into conflict. Moreover, the author can choose the genre of the text, focusing solely on his personal preferences. For example, L.N. Tolstoy preferred monumental, voluminous novels, A.P. Chekhov - humorous sketches, stories, in extreme cases - a story. Having chosen a genre, the author creates in accordance with the principles of this genre, but may also violate the canons of the genre, may violate the sequence in the disclosure of the topic.

The personal principle, of course, is manifested to a greater extent in a literary text than in an educational text, and even more so in reference, instructive, etc. In general, the more standard the text, the brighter its signs are revealed, the more immutable the canons of its formation, the lower the degree of manifestation personal beginning. The more the presence of "artistic" in the text is felt, the stronger the personal principle is manifested.

Even in the construction of a paragraph, this small piece of text, one can find a difference in the goals - textual and author's. For example, a paragraph in principle tends to merge with inter-phrase unity, i.e. become a semantically and structurally complete unit. However, at the will of the author, he, a paragraph, can break the inter-phrase unity, pursuing the goals of an emotional, emphatic plan, or, conversely, combine several inter-phrase units into one large paragraph. Thus, the text dictates a strict observance of the compositional sequence in the disclosure of the topic, and the author, neglecting this rule, tries to solve the problem of increasing the expressiveness of the text by applying the “surprise” technique.

As a result of the interaction of two pragmatic attitudes, two types of segmentation are found in the text: objective segmentation, subject to the structural logic of the text deployment, and subjective segmentation, which either enhances the logical structure of the text or breaks it in a peculiar way, creating semantic and stylistic effects. In the latter case, the setting of the text and the setting of the author diverge, and the author intentionally uses this technique in order to more effectively influence the reader. In particular, this affects the features of the paragraph division of the text, which is entirely subordinate to the author's setting.

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See the section "Paragraph as a compositional and stylistic unit of text".
Text units– utterance and interphrase unity

According to V.V. Vinogradov, the doctrine of the text is the doctrine of the types of verbal design of works closed in themselves as a special kind of integral structures. Ways of studying the text are outlined by attempts to interpret the statement in the process of its generation, and not just as a finished product. In essence, text linguistics was born at the moment when researchers felt the need to move away from the study of the sentence as a formal language unit and move on to the study of the utterance as a functional unit, a unit of real speech production and speech perception, a unit correlated with the situation. Thus, the study of the text is thoroughly prepared by functional syntax. The functional approach to the study of syntactic units made it possible to go beyond the sentence-statement, to pay attention to its place in the system of other sentence-statements, to establish links between them, both contact and distant. And this is a direct way to the study of some combination of sentences-statements, i.e. components or fragments of text.

In the system of linguistic categories, the text is a functionally, meaningfully and structurally completed speech unity, sealed by the author's modality. Any text - multifunctional and multimodal - is, first of all, a set of sentences-statements, which, grouped on the basis of semantic and structural (interphrase) links, are combined into text units - interphrasal units, components or fragments of text, and finally, a whole speech work. The text as a functional-semantic-structural unity has certain construction rules, reveals the patterns of semantic and formal connection of its constituent units.

Mechanisms for the formation of a text (changing from the goal setting that manifests itself during speech activity) are usually selective. And they act in the direction of creating different types of text, which have their own forms of construction, organization, developed by social practice.

When constructing a text, maximum units language (sentence) that become minimum units speech (utterances), the latter, uniting into semantic-structural blocks, form different types and types of speech organization (in other words - types of speech, types of text, etc.) Based on these blocks lie different types of statements which, combined with each other, form these different types of text.

statement- this is a realized sentence (not a scheme, but a lexically filled unit of speech expressing a specific goal setting). Every sentence is a sentence, but not every sentence is a sentence. Or: one sentence can contain several statements-messages. In the text, we are not dealing with a sentence (in the terminological sense), but with statements, i.e. not with linguistic units, but with speech units that concretize their meaning in the text. For example, a proposal The students went on a field trip contain three statements, the meaning of which is shown by the context. Accordingly, different accents (accents) are possible:

students went on a tour (and not someone else).

students go on a tour (not on foot).

The students went to excursion (and not for agricultural work).

Sayings are single object and multi-objective(depending on how many events are reflected in its content). For example: The train is coming(message about the movement of the train) and The train is moving at high speed(message about the movement of the train and the speed of its movement). In a sentence I was informed of my father's arrival reflected two events: I was informed that my father had arrived(two subjects of action).

A statement always has two components, in contrast to a sentence, where there can be one component, two or more (main members and minor ones; one-part and two-part sentences). Components of an utterance - topic and rheme(topic - given, original; rheme - new, sought). The members of the sentence, such as subject and predicate, do not necessarily coincide with the components of the statement - topic and rheme. The order of the components of the statement is from topic to rheme (this is an objective, direct word order). For example: We heard a sound. The door creaked. In the second statement, “creaked” is the topic (known from the first sentence-statement) and “door” is the rheme (what is new that is reported about this topic). From the point of view of the grammatical structure of the sentence, "door" will be the subject, and "creaked" the predicate.

Statements are of two types, depending on their communicative qualities (the division is given in a generalized and to some extent conditional).

Informative statements in which meaningful information unfolds (these are messages of a descriptive, narrative, argumentative, analyzing type), and verification statements, which serve the purposes of assertion or refutation, counter-argumentation (polemical, persuasive, influencing statements). The function of informative statements is a message - they carry new information. The function of verifiable statements is to formulate a reaction to the opinion of the interlocutor (real or imaginary), i.e. give a correction or verification of this opinion. Such statements perform the function of emotional impact.

Compare: verification and informative statements (depending on the stress) in the poem by M.Yu. Lermontov: « I love homeland I but strange love"(I. Andronikov insists on such a reading). The emphasis falls on the word "I love", therefore, the phrase is perceived as a retort, refuting the opinion of an imaginary interlocutor. In such a reading, the statement will be verifiable, i.e. refuting another opinion, information about which has already been given. When shifting stress: "I love homeland I but..."- the statement is perceived as purely informative, not related to the reaction to the information received.

Informative statements underlie descriptive, narrative, argumentative, and analyzing texts (the last two combine texts of the reasoning type). Verifying statements do not serve as organizing components of special types of text, they wedged (with varying degrees of intensity) into texts of these types (there will be more of them, of course, in reasoning-type texts), and this wedging gives the effect of dialogization: there is a dialogue effect, but question-answer the system is not presented (there is only an answer). This type of speech organization turns into a special journalistic or, more broadly, artistic device.

The monologue, depending on the purpose of the utterance, is predominantly informing or emotionally evaluative, with a pronounced modality.

Being organized on the basis of different communicative types of utterance, different types of text develop specific speech means of their design. In an ideal, pure form, they can preserve the specifics of the means throughout the entire text component - descriptive, narrative statements, statements such as reasoning (the choice of this speech design is dictated by the nature of the information, as well as the target setting); the transition from one speech form to another is determined by a number of reasons, including tempo, rhythm; for example, speeding up the pace of the narrative reduces the extremely descriptive moments; on the contrary, slowing down the pace - stretches the description.

Informative statements usually convey factual and conceptual information (in a literary text, this is the author's vision of the world); verification statements create evaluative (often subtext) information.

When characterizing statements, the concepts dictum and mode. Basic, meaningful information is transmitted by dictum; additional, evaluative, interpretive - modus. For example, in a sentence Thank God the rain has finally stopped the main information is contained in the component the rain is over(this is a dictum); other components make up the mode: they accompany the main information, evaluate it subjectively, and comment on it. Statements can only consist of a dictum, but cannot contain only a mode (since there is no material for interpretation), although in the context of a dissected presentation of speech they can take an “independent” position, but only if there is a basic structure. For example: The rain is over. Thank God, finally. Modus components can be reduced: I was surprised that...; To my surprise...; To the surprise... Dictum and modus can be represented in one word, for example, when prompting for action: Login(I want you to come in).

On the basis of statements are built interphrasal units(or complex syntactic integers). This is the second semantic-syntactic unit of the text, which is a combination of two or more statements - a thematic and structural unity. Interphrasal unity is organized through a theme-rhematic sequence.

In the theme-rhematic sequence, a step-by-step thematization of the rheme is carried out.

The unity of the theme can be considered in the volume of the micro-theme and the theme of the entire speech work. The smallest particular theme is the theme contained in interphrase unity. The transition from one topic (micro-theme) to another is the boundary of interphrasal unities. Inter-phrase unity is always monothematic; when they are used together with each other, there is a transition from the expression of a micro-topic to a macro-topic.

For a text, communicative continuity between its components is important. Each utterance is communicatively connected with the previous one and advances the message from the known to the new, from the given, the original to the core. As a result, a theme-rhematic sequence, a chain, is formed. The text as a communicative unit presupposes such a combination of statements, in which each of the following contains some minimal information that was already in the previous statement.

Let's take an example: In a very famous and large city lived a king, a widower. The king had a daughter, a bride. The princess was far famous for both her face and mind, and therefore many are very good people wanted to marry her. Among these suitors were princes, governors, and trading guests, and clever rogues who always jostle in noble houses and look for something to serve (N. Roerich. children's story).

Each of the statements in this piece of text, which is an inter-phrase unity, gradually advances the information forward, as if starting from the previous statement, which is manifested in the repetition of already given information: the old king lived, the widower lived with the king (1st sentence - 2 -e suggestion); there was a bride-daughter - a princess (2nd preposition - 3rd preposition); they wanted to marry her - among these suitors (3rd preposition - 4th preposition).

It is easy to see that if we designate the components of the statement in terms of the actual division of the sentence /t - theme, r - rheme /, then the structure of this interphrasal unity and at the same time its communicative perspective will look like this:

As we can see, the new information is carried by the rhematic components of the utterance, it is they that move the information forward; thematic components, on the other hand, fix the starting points of statements, they fasten individual statements, linking them into a single whole and ensuring continuity - informative, communicative, structural. Repeated information is given precisely in the thematic component of the utterance, in which, according to the basic regularity of the construction of the text, the rheme of the previous utterance is repeated, in whole or in part: r1 gives t2; r2 gives t3, and so on. This is how a theme-rhematic sequence is formed within a piece of text, which is syntactically organized as a complex syntactic whole. It is the theme-rhematic sequence that shows the communicative coherence of the text, since through it information is accumulated and promoted; but at the same time, the theme-rhematic sequence also reveals a structural connection: the thematic continuity of each of the statements requires "putting on verbal clothes" and at the same time choosing certain syntactic means of communication. So content seeks form, form becomes meaningful.

Another example: In my youth I experienced passion for the exotic. Desire for the extraordinary haunted me for many years(K. Paustovsky) - the end of the first sentence and the beginning of the second meaningfully coincide, i.e. The rheme of the first sentence becomes the subject of the second sentence.

The same chain dependence fastens into a single whole the following sequence of units in the structure of a complex whole: I saw a narrow street going to the mountains. Her in full length blocked the deaf, almost black canopy of vines stretched on poles.Large ripe bunches of grapes hung low over the street. Under them walked donkey with a flashlight on the neck. Torch was electric and shone very strongly(K. Paustovsky). Thus, through the theme-rhematic sequence, a gradual, step by step, increase in the information communicated can be traced; her milestones: the outside - grape - a donkey with a flashlight.

This regularity in the construction of a text message is purely practical: the choice of “verbal clothing” to denote repeated information in each subsequent thematic component of the statement receives an objective justification and turns from an intuitive process into a consciously controlled and managed process. For example, when literary editing a text, if it is impossible to find a synonymous replacement for designating the concept mentioned in the text, it is necessary to place the repeated phrase at the beginning of the statement so as not to destroy the communicative and semantic integrity of the components of interphrase unity, although stylistically this may seem inconvenient (intuitively, the editor tends to put repeated words as as far apart as possible). Wed in our example, an unfortunate option when rearranging a repeated word: In a very famous and large city lived an old king, a widower. The daughter, the bride, was with the king. The theme-rhematic sequence with such a construction of the second utterance turned out to be destroyed.

The connection of individual statements is detected through communication signals - indicators of connectivity, in particular names, pronouns, pronominal adverbs, conjunctions, etc. They act as indicators of the connection between individual statements and components of the text. However, a structural connection can also be expressed through syntactic parallelism - chains of statements repeating the same model. In the latter case, the role of word order in the construction of the text is especially important and significant. The connection may not be expressed verbally and exist only at the level of logical relations. For example: It got stuffy. We took to the street(causal relationship).

Theme-rhematic sequences are amenable to modeling. Chain models can be different. Here are some examples:

At all times, in the outfits of men, an important place was given to the hat. Now narrow, now wide-brimmed, now sporty. She was worn with a suit, and with a cloak, and with a shirt (Mosk. Koms. 1983. May 21).

In this case, a chain link is detected (a sequence of heterogeneous composition).

The theme-rhematic sequence gets a different design in the following example:

The storm raged over Petersburg like youth returned. Light rain lashed the windows. The Neva swelled before our eyes and shimmered over the granite. People ran along the houses holding their hats. The wind flapped black overcoats. A vague light, ominous and cold, now waned, then flared up, when the wind blew a canopy of clouds over the city.(K. Paustovsky).

This is how a theme-rhematic sequence is formed with the help of a parallel connection (a sequence of homogeneous composition). In addition, in this case, the sequence is also combined by a common hypertheme: t1 - r1 ( The storm was raging over Petersburg...). All subsequent sentences, constructed in the same way, reveal the content of the first sentence, detailing the generalized theme of the storm: ( the rain lashed; The Neva swelled; people ran; the wind flapped; the light either waned or flared up; the wind blew). The following interphrase unity is also built: The sun has risen. The gardens began to glow, throwing off the dawn haze. A living light ran like wind across the woman's face, flashed in her eyes, illuminated her eyelashes and the nervous hand that clutched the railing. The bay was covered with streaks of light and fog(K. Paustovsky). The hypertheme "The sun has risen" is meaningfully revealed by subsequent sentences that have a parallel structure (word order, predicate forms).

The theme-rhematic sequence can be formed in another way, in particular, using a cross-cutting theme:

We are in the forests raspberry grows mostly along gullies and along the banks of forest rivers, where trees that have fallen to the ground rot into dust. Raspberry , even garden, for some reason loves rotting wood dust. Usually raspberries accompanied by tall grasses, most often nettles, which almost outgrow the raspberries themselves(V. Soloukhin).

Naturally, different types of connection can be combined, forming theme-rhematic sequences of a mixed type.

The mechanism of the transition of the rheme of one statement to the topic of another does not work automatically, i.e. such a transition is not always an indicator of the coherence of the text and the ideality of its structure. The Polish researcher Mayenova, in particular, gave the following example, when the topic-rhematic chain did not become a guarantee of the correct construction of the text: The cinema was located on Puławska Street. Puławska street is one of the streets in Warsaw. Streets in Warsaw have a certain shape. This form can be described using the following equations.. Such a text, structurally “correctly” constructed, is unlikely in an ordinary speech situation, since in terms of information it is devoid of a clear purpose, target setting. This means that structural connectivity should only show a semantic and communicative connection; having become an end in itself, it loses its meaningful meaning.

The rules of anaphora (the repetition of elements) have not been established by anyone in principle, but when constructing a text, quite clear patterns operate in this regard, the identification of which helps to reveal the mechanism of text formation and make this process manageable, objective.

When processing repeated information in each of the links of interphrase unity, some general patterns are revealed. In particular, the possibility or impossibility of replacing names with pronominal words, the rules for using demonstrative words, the need for repeatability of terms due to the lack of equivalent replacements, etc. are taken into account. All this determines the search for operations that enhance the structural connectivity of the text components.

The text-forming role is played not only by anaphorically used pronominal-adverbial words, various types of repeated nomination, but also by word order, especially in cases where lexico-grammatical means of communication are absent.

The laws of word order are connected precisely with the theme-rhematic structure of the utterance. In text formation, rhematic components play an important role due to the fact that the position of the rheme is marked - this is the final position of the statement. This is the basis for the movement of communicative progression - the increase in the informational significance of messages as part of the text components.

The order of words in a sentence is the arrangement of its members in it. There is an opinion that word order in Russian is free, i.e. the members of the proposal are not assigned a specific place. Indeed, the predicate can either be after the subject, or be before it; some types of circumstances and additions can occupy different places in a sentence, can break away from those words with which they are connected grammatically and in meaning; even definitions that are most closely related to the words they define can be placed both before and after them. For example: It happened a long time ago. In ancient, ancient times... a Kirghiz tribe lived on the banks of a large and cold river. Enesai was called this river(Ch. Aitmatov). In the first sentence, the subject comes after the predicate, and the circumstance was not after the predicate, but after the subject. In the second sentence, the circumstance in ancient times placed at the beginning of a sentence, and the predicate lived appeared in front of the subject. Circumstance on the river bank detached from predicate-verb lived. The order of words in the last sentence is especially unusual, where the nominal part of the predicate Enesai stands in front of the link called. There are other options for the arrangement of words in these sentences: It happened a long time ago... This river was called Enesai; It happened a long time ago... This river was called Enesai. However, these permutations are not infinite, they are determined and limited by the laws of construction of a complex whole. Consequently, if one can speak of a relatively free word order, then only in relation to some verbal complexes. Prepositions, conjunctions, particles always have a specific place in a sentence. Other words allow some freedom in placement, but the options for their placement are also not unlimited. These restrictions are associated with two reasons: the structural connection of the components of the statement within the inter-phrase unity and their semantic significance. The word order may change due to the need to change the meaning, the accent qualities of the components of interphrasal units.

Each sentence, being realized in speech in the form of a specific unit of the message, is formed in accordance with a specific communicative task, and its grammatical structure depends on the objectives of the purposeful message. The adaptation of the grammatical structure of a sentence as a result of inclusion in a particular speech situation to the tasks of communication is its actual articulation (the term of the Czech linguist V. Mathesius). The units appearing in the actual division, Mathesius called the basis and core of the statement, or theme and rheme, in a different terminology.

As a result of actual articulation, the sentence becomes a dynamic unit of speech. Actual articulation can correlate differently with its grammatical articulation. Let's take an offer Father is coming tomorrow. This declarative sentence can be changed into an interrogative Is father coming tomorrow? However, such a "neutral" interrogative sentence cannot exist in speech, as it is not clear what kind of answer is expected. The intonational emphasis of the word with which the content of the question is connected (carried out by means of logical stress) makes it possible to adapt this sentence to the needs of communication. Asking a question father will come tomorrow? , we use a speech situation in which the communicators know that the father will arrive and the time of arrival is unknown. With a detailed answer, the proposal will look like this: Father is coming tomorrow(or day after tomorrow). From the point of view of actual articulation, the subject of the message in this sentence is father is coming and rhema (new in the message) - tomorrow, since the purpose of constructing this sentence is to designate time, since everything else is known. Wed also questions with other accents ( father tomorrow will come? Tomorrow will arrivefather? ), which emphasize the search for information of a different type. However, in any case, from the point of view of grammatical division, the sentence is divided into other segments: father- subject; will arrive tomorrow- the composition of the predicate.

The subject of the message may be determined by the context. For example: There were squirrels in our garden. But they rarely appeared. The first sentence contains a message about the presence of squirrels. Therefore, in the second sentence, this well-known (since they were found, they could appear) is placed at the beginning - But they appeared and then the new one is reported - rarely. Thus, with actual division, the sentence breaks up into parts but they showed up and rarely; grammatically, the sentence is divided differently: They are(subject) and appeared rarely(composition of the predicate). In the actual division, in this case, both main members were combined into one component, and the secondary member of the sentence was singled out into a special component of the actual division.

The grammatical division of a sentence into the composition of the subject and the composition of the predicate is determined by the positional structure of the sentence itself. The actual articulation depends on the reasons external to the given sentence: on the context, the speech situation, i.e. characterizes the statement as a component of inter-phrase unity - a structural unit of the text.

Thus, when considering the question of word order, one cannot proceed from categories such as members of a sentence. "The arrangement of words in speech is mediated by the arrangement of other units in which they are included - themes and rhemes, and the composition of both units can include words of any category." Therefore, it is not entirely legitimate to define, for example, the location of the subject before the predicate as a direct word order, and the location of the predicate before the subject as the reverse order. And at direct order words, the grammatical predicate can take the first place if the purpose of the statement is to designate the actor. This means that the word order in a sentence cannot be considered in isolation from its actual division, and the concepts of “direct” and “reverse” word order do not mean the sequence of the arrangement of the grammatical members of the sentence (subject, predicate, definition, object and circumstance), but the sequence of the location of the topic and rhemes and their components. The order of words in a sentence depends on its "communicative" meaning and cannot be self-determined. Word order is not an internal quality of a certain sentence, but a quality imposed on it from the outside: by the structure and semantics of previous sentences, by a communicative task, etc.

The direct dependence of the word order on the actual division of the sentence is manifested in its obvious connection with the context. The word order of each individual sentence included in the context is not arbitrary, but subordinate to this context. The inversion of the members of a separate sentence is very often a reflection of the patterns of building interphrasal unity. Let's take an example: "Autumn day in Sokolniki" - the only landscape of Levitan, where there is a person, and then it was written by Nikolai Chekhov. After that, people never appeared on his canvases. They were replaced by fields and pastures, foggy floods and impoverished huts of Russia, mute and lonely, as a man was mute and lonely at that time (K. Paustovsky. Isaac Levitan). Word order is relatively free only in the first sentence, which opens the narrative. As for the subsequent ones, here the order of the arrangement of words is entirely subordinate to the context, reflecting the consistent development of thought. Yes, circumstance thereafter begins the second sentence, clearly influenced by the semantics of the first, subject people is also pulled closer to the first sentence due to the mention of this concept in the first sentence (cf. the word order predicate - subject after the determinant in a single sentence). In the third sentence, the object of them clearly appeared in front of the controlling form of the verb due to the need to indicate the word forms in front. Preposition of the predicate was mute and lonely too bound with text - the presence of homogeneous isolated definitions in front voiceless and lonely. Another example: These verses brought tears to Kiprensky. They had everything he loved since childhood, - old gardens, cold wind, night clouds and a tender heart. Then this love for stormy nature and restless human heart strengthened under the influence of time(K. Paustovsky). The first sentence is relatively loose. The sequence is subject - predicate, the location of dependent word forms ( these verses; brought tears to Kiprensky) - everything fixes the direct word order. The second sentence is constructed differently: the separation of the dependent word form in them, the sequence of the predicate - the subject (cf .: everything was in them...). This word order is "imposed" by the first sentence. Further, in the third sentence, which begins with the determinant after, the expected usual order (usual in relation to this particular sentence) predicate - subject is violated, so the semantics of the preceding sentence determined the topic of the subsequent one, and in this case the grammatical subject turned out to be the topic, therefore it is placed directly after the determinant. Therefore, word order plays a constructive role at the text level.

In the structure of interphrasal unity (a complex syntactic whole), the first phrase-beginning plays a large constructive role, which determines the thematic and structural perspective of the entire interphrasal unity. The opening phrase is autosemantic, i.e. self-sufficient in terms of meaning, even being torn out of the context of the whole. In the examples given earlier from K. Paustovsky, such a role is played by the phrases The storm raged over Petersburg, the sun rose, which in a semantic sense, as it were, absorb all the other statements of these unities, generalizing a detailed description of a “storm” or “sunrise”. For the structure of these inter-phrase units, it is also important that each of the subsequent statements is built on the model of the first phrase-beginning, copies its structure; This is facilitated by the word order predicate - subject (in the first example) and especially similar forms of verbs: people were running, the wind was clapping, the light now waned, now flared up; gardens began to flare up; the light ran through, illuminated, the bay was covered.

Another example:

The weather hurt. In the morning the sun shone, hovered over the smoking fields, over the muddy roads, over the loaves saturated with water, lying on the ground. In the morning, Averky, sometimes leaving his cart and wandering to the hut, promised the old woman that he would be fine. But by dinnertime, the clouds again came in, seeming even blacker from the brilliance of the sun, the clouds changed their unusual colors and shapes, a cold wind rose, and a slanting rainbow rain ran across the fields.(I. Bunin).

Zachin - The weather hurt. All the content of the subsequent statements is subordinated to this initial theme: its detailed substantiation is given. The cohesion of statements is revealed in the following: the main verbs have one tense plan ( tormented, shone, soared, promised, came in, changed, rose, fled); parallelism in the construction of explanatory parts (second and fourth statements); repetition of the adverb of time at the beginning of each utterance ( since morning; since morning; but for lunch); adversative relations at the junction of the third and fourth statements; the position of the verb-predicate before the subject (second and fourth statements).

The opening phrase can also have the following specificity: it contains a word (or words) that contains the entire content of the sequentially enumerated components of a complex syntactic whole. Such unity is built according to the sentence scheme with homogeneous members, in which there is a generalization. Here is an example: From here you could see everything around. And the highest snowy peaks, above which only the sky. They stood behind the mountains, over all the mountains and over all the earth. And the same mountains that are lower than snowy ones, - wooded mountains, overgrown below with deciduous thickets, and on top with a dark pine forest. And the Kungei mountains facing the sun; nothing grew on the slopes of the Kungei except grass. And the mountains are even smaller, on the side where the lake is, - just bare rocky ridges(Ch. Aitmatov). Thus constructed interphrasal unity is easily combined into one sentence.

Introductory phrases (the first utterances of interphrase units) play an important role both structurally and semanticly: they represent the thematic milestones of the text. Each opening phrase is a new micro-theme. By the way, if, as an experiment, we pull together the first phrases-introductions into a single text, omitting all other components of inter-phrase units, then we get a concise story without detailing, explanations and clarifications.

Let's take an excerpt from the work of M. Sholokhov:

The regiment retreated for the second day. Slowly, with fighting, but retreated. The convoys of the Russian and Romanian armies stretched along elevated dirt roads. The united Austro-German units covered the retreating by a deep flank bypass, tried to close the ring.// By evening it became known that the 12th regiment and the neighboring Romanian brigade were threatened with encirclement. At sunset, the enemy drove the Romanians out of the village of Hovineski and had already advanced to heights “480”, which bordered on the Holsh pass. The regiment, posting outposts, prepared for a meeting battle.// That night, Mishka Koshevoy and his farmer, the chumpy Alexei Beshnyak, were in secret. They hid in the yard near the abandoned collapsed well, inhaling the air rarefied by frost.

This passage easily lends itself to division into four parts (see conventional signs). The first phrases of these parts, in principle, convey in a compressed form the entire content of the picture drawn here:

The regiment retreated for the second day.

By evening, it became known that the 12th regiment and the Romanian brigade next to it were threatened with encirclement.

At night, the 12th regiment, reinforced by a battery of a horse-mountain division, received an order to take up positions in the lower reaches of the Holsh valley.

That night, Mishka Koshevoy and his farmer, the chumpy Alexei Beshnyak, were in secret.

Each of these phrases starts a new thought, outlines a consistent transition from one topic to another, which is why we got a complete retelling of the main content of the passage (of course, without detailing in the description). Thus, the role of the first phrase-introduction in inter-phrase unity, as well as the word order in the composition of statements, turned out to be constructive from the point of view of text formation.

Such is the structure of interphrasal units as semantic-syntactic components of the text, constructed according to the type of theme-rhematic sequences.

The growth of information from topic to rheme, from one statement to another as part of interphrase unity does not always occur with the sequence that was noted in the examples given. In real texts, one can quite often find breaks in theme-rhematic sequences, jumps that allow one to compress the flow of information and save text space. This happens in those cases when new information (usually contained in a rheme) falls immediately into the topic of the subsequent statement, i.e. some of the micro-themes in the sequence is not represented, forming a missed semantic and structural link. By the way, such "omissions" do not affect the perception of the text, the context fills in these gaps. Moreover, often the complete thematic representation in a sequence can look artificial, like something that unnecessarily explains the obvious. Jumps in sequence are used by authors whose style is alien to verbosity.

Example for a jump in sequence:

Shchedrin returned home. Neither Martha nor Peter was there. Only the cat wandered from room to room, coyly bending near the door jambs (K. Paustovsky. northern story). You can conditionally fill in the gaps: Shchedrin returned home.[At home he found that] Neither Martha nor Peter was there.[There was a cat]. Only the cat wandered from room to room...

Alexander Sergeevich Pushkin often uses this method of compressing information:

Once we were playing cards with Narumov, a horse guard. The long winter night passed unnoticed. Sat down to dinner at five o'clock(Queen of Spades).

Wed: Once they played cards with the horse guard Narumov.[The game has been delayed. It was already night.] The long winter night passed unnoticed.

An example from K. Paustovsky:

Out of boredom, I went to wander around the town. Shops were open on the main street. They smelled of herring and washing soap. A freckled hairdresser was standing in the doorway of the barbershop, with a sign hung on a crutch, nibbling sunflower seeds.(in this complex whole, the main street and the barbershop are not thematically represented).

A jump in the sequence makes it possible to compress the semantic structure of the text, and then most of the text space will be occupied by the rhematic components of the statement, since the topic (about what?) is usually known in advance, while the structure of the statement does not change, only the topic, as it were, cedes its position to new information.

Thus, statements (minimum text units) are united in interphrase unity on the basis of thematic unity and structural indicators of coherence. Such associations form theme-rhematic sequences of homogeneous, heterogeneous or mixed composition. In turn, interphrasal units are combined into larger thematic blocks, forming fragments of the text.

Such a sequence in combining text units with a mandatory increase in the level of text division (statement - interphrase unity - fragment) is not necessarily maintained in real texts. So, for example, a separate statement can take the position of an independent component of the text, being between different interphrase units, forming a thematic transition between them.

Here, for example, is a fragment from M. Bulgakov's novel The Master and Margarita:

Margarita jumped down from the cliff and quickly went down to the water. The water beckoned her after the air race. Throwing the brush away from her, she ran up and jumped into the water upside down. Her light body, like an arrow, pierced into the water, and a column of water was thrown out almost to the moon itself. The water turned out to be warm, like in a bath, and, emerging from the abyss, Margarita swam to her heart’s content all alone at night in this river.

There was no one near Margarita, but splashes and snorting were heard a little further behind the bushes, someone was swimming there too.

Margarita ran ashore. Her body was on fire after bathing. She did not feel any fatigue and joyfully danced on the damp grass. Suddenly she stopped dancing and became alert. The snorting began to get closer, and from behind the willow bushes a fat naked man in a black silk top hat, twisted at the back of his head, crawled out. The soles of his feet were muddy, so that he looked like a bather in black boots.

When defining the concept of "text", various approaches and methods for studying this phenomenon are revealed. Currently, the text as an object of study attracts specialists from various fields of knowledge, including, and perhaps in the first place, linguists who have focused on the functional and communicative qualities of the language, the means of expression of which constitute the text fabric. No wonder the concept of "text" is often included in the terms of the linguistic plan - text grammar, text style, text syntax, text linguistics. However, it is in linguistics that the concept of "text" has not yet received a clear definition. Apparently, it is impossible to reduce this concept only to the categories of the linguistic plan - because of its many aspects. Therefore, definitions such as "one above the sentence", "sequence of sentences" and the like always turn out to be incorrect, since they emphasize only the "combat" quality of the text, its material structure, leaving its extralinguistic indicators, including the role of communication participants, unattended. Moreover, if "not to forget" the semantic component of the text, then it is necessary to recognize as true the idea that the text does not consist of sentences, but is realized in them. In addition, the meaning of the text is determined by the motive for its creation.

Therefore, if we take into account that the phenomenon of the text lies in its multidimensionality, then we can admit various definitions of it. So it is in fact: the definition emphasizes as the main one quality of the text, then another, then the third. The text is defined as an information space, as a speech product, as a sign sequence, etc. So, in semiotics, a text is understood as a meaningful sequence of any signs, any form of communication, including a rite, dance, ritual, etc. In philology, in particular linguistics, a text is understood as a sequence of verbal (verbal) signs. Since the text carries a certain meaning, it is initially communicative, therefore the text is presented as a communicative unit.

The very word "text" (lat. textus) means a fabric, plexus, connection. Therefore, it is important to establish both what is connected, and how and why it is connected. In any case, the text is a sequence of symbolic units united in meaning, the main properties of which are coherence and integrity.

Such a sequence of signs is recognized as a communicative unit of the highest level, since it has the quality of semantic completeness as an integral literary work, i.e. complete informational and structural whole. Moreover, the whole is something other than the sum of the parts, the whole always has a functional structure, and the parts of the whole fulfill their roles in this structure.

Textual categories (meaningful, structural, structural, functional, communicative), being essentially different, do not add up to each other, but are superimposed on each other, giving rise to a kind of single formation, qualitatively different from the sum of the components. Coherence and integrity as text properties can be considered autonomously only for the convenience of analysis, somewhat abstractly, since both of these qualities exist in unity within the framework of a real text and presuppose each other: a single content, the meaning of the text is expressed precisely by linguistic means (explicitly or implicitly). And therefore, linguistic coherence is at the same time an indicator of semantic integrity. Of course, if we have in mind the natural situation when the generation of the text pursues the goal of expressing a certain meaning.

The text can be written and oral in the form of its reproduction. Both forms require their own "textuality" -

external connectedness, internal meaningfulness, focus on perception.

Important in the theory of text is the question of the identity of the text, its canonical form, which is especially studied by such a branch of philology as textual criticism. Linguistics studies the intonation, lexical and syntactic means of the text; graphic means of underlining, font selection, punctuation.

The concept of "text" can be applied not only to a whole literary work, but also to its part, which is quite independent in terms of micro-theme and language design. So, we can talk about the text of a chapter, section, paragraph; the text of the introduction, conclusion, etc.

The correct perception of the text is provided not only by linguistic and graphic units and means, but also by the general fund of knowledge, in other words, by the “communicative background”, on which text formation and its decoding are carried out, therefore perception is associated with presupposition and e (pre - lat. p r and e - in front, before; suppositio - assumption, presumption).

Presupposition is a component of the meaning of the text that is not expressed verbally, it is preliminary knowledge that makes it possible to adequately perceive the text. Such prior knowledge is commonly referred to as background knowledge. The presupposition may arise when reading the preceding text, or it may appear completely outside the text as a result of the knowledge and experience of the compiler of the text.

Background knowledge is the knowledge of realities and culture possessed by the writer (speaking) and reading (listening) 1 . For example, only preliminary knowledge of N. Nekrasov's poem "There are women in Russian villages ..." helps to fully understand a number of phrases and their meaning of N. Korzhavin's poems:

The century has passed. Nenova, As in that immemorial year, Stop a galloping horse He will enter the burning hut. She would like to live differently Wear precious clothes But the horses keep jumping and jumping, And the huts are burning and burning.

Even a single statement in the text can contain preliminary knowledge, for example, the statement in the sentence "Pushkin had an outstanding gift as a portrait painter, the ability to capture the characteristic features of the person being portrayed with one stroke" contains preliminary knowledge about the portrait drawings of the poet. And in the usual everyday content, a phrase like "He quit smoking" contains information that the subject used to smoke 2 .

Or, for example, the quatrain of A. Mezhirov will seem like a rebus at all, if you do not have certain knowledge from the field of Russian literature:

And in Russia blizzards and sleep And a task for a century, not for a day. Was there a boy? - issue not resolved Nose lost and never found.

Another example: understanding the rhetorical question of A. Genis, the author of the "American ABC", is possible only with knowledge of that part of the text of the Gospel, which tells about the corresponding act of Jesus people", which came out in the fateful year for America in 1776, is subject to the same laws as the market. ( Was it worth driving the merchants out of the temple?)"

Consequently, this text consists not only of a "sequence of sentences", but also of some kind of "knowledge", verbally unexpressed, knowledge that participates in the formation of the general meaning of the text.

In the following article from the newspaper (MK, 2001, March 6), in a similar situation, a phrase from V. Vysotsky is used: "Among the 40 paintings mentioned, one can single out ... and the global project of Mark Zakharov and Ivan Okhlobystin" Unclassified Materials ", which is also known as called "The work of an angel. " In all likelihood, this work, among others, will become the most global, since it consists not of two or three, but of as many as forty series.

Where does the money come from, Zin? The question is by no means rhetorical.

In all the above cases, as we see, for a complete understanding of the text, a "broad cultural context" is needed, and it was created

There is a common fund of knowledge for the writer and the reader. The extralinguistic components of the speech act reflected in the text, including background knowledge, are written, in particular, by M.N. Kozhina 4 , V.Ya. Sha-bes 5, etc.

The text as a product of the author's speech-thinking activity and the material of the interpreter's (reader's) speech-thinking activity is, first of all, knowledge presented in a special way: verbalized knowledge and background knowledge. The text has a linearly ordered set of sign units of different size and complexity 6 , i.e. it is a material formation, consisting of elements of articulate speech. However, this generally material formation carries something intangible, content (knowledge, event). Moreover, knowledge is not always realized entirely by verbal means.

The author usually verbalizes the "difference" obtained as a result of the "subtraction" from the intention of the supposed knowledge of the interpreter 7 . The interpreter, in turn, "sums up" this difference with its own knowledge.

Since the sender and recipient of the message also have a certain amount of joint knowledge (background), the message always turns out to be formally fragmented, but in fact complete.

"Normal" presentation in the text is usually designed for the optimal combination of verbal and non-verbal presentation of information. Deviation from this norm leads to either hyperverbalization or hypoverbalization, i.e. the degree of curtailment - unfolding of the text changes. This degree can be planned by the author depending on the target setting of the text. Moreover, the degree of curtailment - expansion can vary along the entire length of the text: some fragments are given more expanded, others - less.

So, for adequate perception of the text, it is necessary to have background knowledge, which is considered as an information fund, common for the speaker and the listener, in our case, generating the text (author) and interpreting the text (reader). Background knowledge serves as a condition for the success of a speech act. More A.M. Peshkovsky wrote that natural speech is "by nature elliptical," that we always do not finish our thoughts,

omitting from the speech everything that is given by the situation or "the previous experience of the speakers" 8 . This previous experience (knowledge) is the knowledge that is not verbalized in the text.

Background knowledge can be classified in a certain way. In particular, we find such a classification in V.Ya. Shabes 9 .

Background knowledge types:

social, i.e. those that are known to all participants in the speech act even before the start of the message;

i n d i v i d u a l n e, i.e. those that are known only to two participants in the dialogue before the start of their communication;

col l e c t i v n e, i. e. known to members of a certain team, related by profession, social relations, etc. (for example, special medical knowledge, political, etc.).

It must be said that background knowledge can move from one type to another. For example, the death of a particular woman is a fact of individual knowledge, while the death of Princess Diana was a national, even world event, and thus this private fact entered social knowledge. Or: the everyday fact of the appearance of mice in the house, in the kitchen is an individual knowledge concerning the life of a separate family (or one person). But the appearance of mice in the kitchen in the castle of Queen Elizabeth of England became a fact of social knowledge (this was told on television on February 19, 2001 - in the NTV program "Today").

Background knowledge can also be qualified from the other side, from the side of their content: worldly, pre-scientific, scientific, literary and artistic. In addition, background knowledge can be divided into trivial and non-trivial. As a rule, trivial knowledge is not verbalized in the text; it can only be realized in a special educational context, for example, when teaching a child.

Literary and artistic knowledge as background knowledge is used in journalism, in newspaper publications. As a rule, they are identified through precedent texts (from Latin praecedens, genus p. praecedentis - previous) - "foreign" texts (or individual literary images) presented in the author's text in the form of literary reminiscences.

Individual background knowledge often serves as a means of creating subtext. The concept of subtext is primarily related to fiction, it is completely prior knowledge oriented. In a number of cases, the author, using certain statements, mentioning any facts, directly counts on understanding dedicated, i.e., on individual knowledge. For example, Yu. M. Lotman, commenting on A. Pushkin's novel "Eugene Onegin", draws attention to the poet's line "Zizi, the crystal of my soul ...", which could be understood only by those who knew that "Zizi is childish and household name of Evpraksia Nikolaevna Wulf" 10 . A number of examples of this kind are also given by AM Kamchatnov 11 .

1 See: Ter-Minasova S.G. Language and intercultural communication. M., 2000. P.79. 2 See: Luria A.R. Language and consciousness. M., 1998. 3 "And Jesus entered into the temple of God and drove out all those who sold and bought in the temple, and overturned the tables of the money changers and the benches of those selling doves. And he said to them: it is written: My house will be called a house of prayer; (Gospel of Matthew). 4 See: Kozhina M.N. Stylistics of the text in the aspect of the communicative theory of language // Stylistics of the text in the communicative aspect. Perm, 1987. 5 See: Shabes V.Ya. Event and text. M., 1989. 6 See: Galperin N.R. Text as an object of linguistic research. M., 1981. 7 See: Shabes V.Ya. Event and text. M., 1989. 8 Peshkovsky A. M. Objective and normative point of view on the language // Izbr. works. M. 1959. P.58. 9 See Shabes V. Ya. Decree. op. pp. 7-11. ten Lotman Yu.M. Roman A.S. Pushkin "Eugene Onegin". Comment. L., 1980. S. 282. 11 See: Kamchatnov A.M. Subtext: term and concept// Philological sciences. 1988. No. 3.