What are the communication methods? Texts with different types of connections. Ways to connect sentences in a text

Hello, readers of the Russian Word blog!

Today we will continue the conversation about coherent speech, started in , and let's talk about ways of connecting sentences in the text, and also how to learn to use these methods in speech.

First of all, I want to clarify. We are not duplicating or creating a tutorial here. And we don’t open “America”! Our goal is to draw attention to the problem speech coherence and suggest solutions.

Blog readers rightly noted in the comments to the previous entry on our topic thatcoherent speechbegins to form in childhood. But for some reason, over time, acquired in kindergarten and schoolcoherent speech skills are lost.

Undoubtedly, every person needs to be able to coherently express their thoughts. After all, we really want to beunderstood correctly, right?!

This means that you need to learn to construct your statement, to construct text. By the way, let's remember what it is.

And let's begin!

Somewhere God sent a piece of cheese to a crow. Crow is a common name for several species of birds from the genus Crow. And the ugly crow flew up and grabbed the necklace! Crows live up to 75 years, although rumor ascribes them up to 300 years. The crow flew into the forest and the rest of the pearls landed in the grass!.. The crow climbed up the spruce... The bird is capable of complex forms of behavior and knows how to adapt well to various environmental conditions. The crow croaked at the top of its lungs.

Of course, this is not text!

Offers they were simply “pulled out” from different sources (from a fable, Wikipedia, a story) and put them on the same page. No point! No connection! Without a goal! It would seem that the passage is about a raven. But this word “crow” is the only thing that unites these sentences.

The sentences are NOT CONNECTED with each other neither in meaning, nor grammatically, nor stylistically!

There is no beginning or end here. Complete nonsense!

Sentences in the text should develop the topic, they must be connected among themselves, united the main idea of ​​the author. Any text must have a coherent structure!

Exists two main ways of connecting sentences in a text.

Chain (sequential) connection of sentences in the text

Chain linkage of sentences reflects the consistent development of thought. Neighboring sentences seem to cling to each other (like links in a chain).

Chained sentences are connected- soldered! - among themselves like this: the second sentence - with the first, the third - with the second, the fourth - with the third, etc.

A very simple example of text in which sentences are chained together:

There is a blackboard hanging on the wall in the classroom. The word text is written on it. A text is several sentences related in meaning and grammatically.

To learn how to connect sentences together like this, use repeating words, pronouns, cognates, synonyms, antonyms, conjunctions and allied words. There are other means of communication, more on that later...

Parallel connection of sentences in the text

In parallel communication, all proposals are not connected sequentially, but as if centrally: the second, third, fourth sentences are connected in meaning with the first sentence.

At the same time the offers are the same refer both to each other and to the first sentence.

Parallel communication reflects enumeration, contrast or comparison. Each new sentence does not continue the previous one, as in a sequential (chain) connection, but reveals and details one general - the first - sentence.

Proposals are not linked, but compared. As a rule, they have the same word order, the parts of the sentence are similar, etc.

An example of a text where sentences are connected in parallel:

Second, third and fourth sentences reveal the meaning of the first. Even if you swap them, the text will not be destroyed. And yet it will remain coherent. All four sentences are united by contextual synonyms: office, classroom, room, here.

Chain and parallel connection of sentences, sometimes used in one text. A classic example is Lermontov's “Sail”.

Syntax considers the text as several sentences related in meaning and grammatically. The semantic connection between sentences is determined by the main thought (idea). There is a grammatical connection chain And parallel. A combination of chain and parallel connections is often found - parallel-chain.

Chain connection of sentences in the text

Chain(sequential) is such a connection between sentences in a text when they form a semantic chain, with each next “link” (i.e. sentence) continuing the meaning of the previous one. In such cases, sentences can be connected using lexical and grammatical repetitions: repetition of any words, replacing them with synonyms, pronouns, paraphrase, some correspondence, association, identical forms of sentence members, etc.:

Moscow has become very prettier. The sad law of time does not apply to her - she becomes older in age, but younger and more beautiful in appearance. I am especially pleased with this: I spent my childhood and youth in Moscow (A. Kuprin).

Characteristic signs of a chain connection

1. Use of pronouns.
2. Use of synonyms and repetitions.
3. Using introductory words.
4. Using coordinating conjunctions at the beginning of individual sentences.

(1) Several years passed, and circumstances led me to that very road, to those very places. (2) I remembered the old caretaker’s daughter and rejoiced at the thought that I would see her again. (3) But, I thought, the old caretaker may have already been replaced; Dunya is probably already married. (4) The thought of the death of one or the other also flashed through my mind, and I approached the station *** with a sad premonition (A. Pushkin).

• the second sentence with the first - personal pronouns in the genitive and nominative cases (me - I);
• the third sentence with the second - lexical repetition (I - I; caretaker - caretaker), contextual synonym (old caretaker's daughter - Dunya), verbs of thought (remembered - thought), coordinating conjunction at the beginning of the 3rd sentence (but);
• the fourth sentence with the third - pronouns (caretaker, Dunya - one or the other); words of the same root and words of the same thematic group (thought - thought, in the mind).

Conclusion: connection between sentences - chain .

Parallel connection of sentences in the text

Parallel such a connection between sentences in a text is called when they contain a listing, comparison or opposition of interrelated actions, events, phenomena:

At midnight, when I finished all my preparations and went out into the yard to look at the weather, the wind was humming steadily over the roof. A distant constellation of five cold white stars shone brightly and purely. Transparent whitish clouds quickly rolled up, and it seemed that the entire yard was rushing somewhere into the black darkness in the hum of the wind. (According to N. Nikonov).

Characteristics of parallel communication

1. The same tense forms and type of predicate verbs in different sentences.
2. The same type of sentences in terms of the purpose of the statement, emotional coloring, composition and order of words, etc.

(1) The next day, before dawn, Lisa had already woken up. (2) The entire doge was still asleep. (3) Nastya was waiting for the shepherd outside the gate. (4) The horn began to play, and the village herd pulled past the manor’s yard (A. Pushkin).

Let's define the means of communication between sentences:

• the second sentence is contrasted with the first, words from the same thematic group are used (woke up - slept), the connection is mixed;
• the third sentence is constructed in the same way as the second, past tense verbs are used (slept - expected), the connection is parallel;
• the fourth sentence is constructed in the same way as the third, words from the same thematic group are used (shepherd - horn, herd), the connection is mixed; Conclusion: there is a parallel and mixed connection between the sentences in the text - parallel-chain.

A major role in the formation of connections between sentences in the text is played by conjunctions, various particles, introductory words etc.

Teacher's comments on the material being studied

You may encounter the following difficulties while completing the task.

Possible difficulties	Good advice
What to do if it seems that several answer options are suitable for the missing sentence?	If the first sentence is missing in the task, use the following tips. The first sentence usually sets the topic of the text. Even more precisely, the topic of the text is set in the second part of the first sentence, closer to its ending. Look at the answer options from this perspective. Find the ending of the sentence, the content of which is revealed by further text.
What to do if it is difficult to find the place where the missing sentence should be in the text?	If the task is not missing the first sentence, then use the next hint. Look for semantic inconsistencies between sentences in the text. To do this, carefully observe how the author’s thought develops in the text. Determine the topic of the text, find out whether all the arguments correspond to the thesis of the topic? Most likely, the missing sentence should stand in the place of the semantic inconsistency found.

Ways to connect sentences in a text

The sentences in the text are connected in meaning. This connection manifests itself at the lexical and grammatical levels of the language, see: section Means of connecting sentences in the text.

There are two main ways of connecting sentences in a text: serial (chain) connection and parallel connection.

Communication method		The essence of the method
Serial (chain) communication	Finally, Plyushkin appears on the pages of the poem, a man who is not only devoid of any positive qualities, but has almost lost his human appearance. He seems like a man caught in a catastrophe, running wild on some uninhabited island. The disaster turned his once prosperous estate into ruins, his house looks like a dump, his clothes are “a complete hole.”	In the first sentence, the semantic emphasis falls on the characterization of Plyushkin. In the second sentence, this information becomes the basis for a new message (Plyushkin looks like a person who was in a disaster). The basis for the message in the third sentence becomes the information in the second sentence. Let us explain the essence of a chain connection with a diagram.
Parallel communication	The deeper moral decline of man is demonstrated by the image of Sobakevich. Sobakevich is unfriendly, greedy and rude. He is a fist, that is, he knows how to squeeze his benefit out of everything, without being embarrassed by the dubiousness of the deal. He seems to be a fraudster: for profit he is even ready to resort to blackmail.	In the first sentence, the semantic emphasis falls on the characterization of Sobakevich. This information becomes the subject of characterization in the remaining sentences. Let us explain the essence of parallel communication with a circuit.

In speech practice, both main methods are often combined.

Oral and written speech. Text. Semantic integrity of the text

Language exists in two types of speech: oral and written. With the help of spoken language, people directly communicate with each other. Oral speech is live, spontaneous and unprepared communication in real time, and the composition of this communication depends entirely on the specific situation. Communication through written speech, on the contrary, is always prepared in advance and is built taking into account the possible time distance between those communicating. Therefore, the author of a written message is interested in ensuring that it is holistic both from the point of view of topic, and from the point of view of meaning, and from the point of view of composition, that is, it would be a text in the proper sense of the word.

Text (Latin textum - fabric, plexus, connection) is a sequence of sentences related in meaning and grammatically, created with the aim of characterizing (revealing) a certain topic. When we use the word text, we basically mean something written. It should not be forgotten that there are genres that, as a rule, exist in oral form, but are prepared as written texts (for example, a report or lecture).

The semantic integrity of the text is associated with several concepts:

2) topic of the text;

3) the main idea of ​​the text;

4) disclosure of the topic of the text;

The topic of the text is the subject or phenomenon that is the focus of the author’s attention. The author’s efforts are aimed at characterizing the topic and revealing the theme of the text.

The main idea of ​​the text is the general characteristic given to the topic in the text.

The main idea can sometimes be directly expressed in the text, and sometimes inferred from its content.

The topic is revealed through a series of interconnected judgments, each of which directly or indirectly characterizes the topic. These judgments can, in turn, have a variety of topics. Particular themes that arise as the main one is revealed are called micro-themes. Taking into account microtopics is necessary to derive the main idea of ​​the text.

Position (point of view) of the author. By choosing the topic of the text and revealing it with the help of certain micro-themes, the author of the text clarifies for the reader his value position regarding the topic and main idea of ​​the text. He directly or indirectly expresses his own assessment of the theses of the text and the phenomena reflected in it.

2. Purpose: introduce the types of connections between sentences in a text, teach how to determine the method of connection in a particular text.

3. Learning objectives:

The student must know:

- Ways to connect sentences in a text: chain and parallel connections

The student must be able to:

Determine the method of communication in a particular text

4. Main questions of the topic:

1. A chain method of connecting sentences in the text.

2. Parallel communication method.

In the organization of the text, an important role is played by the most commonly used two methods of communication, which are defined as chain and parallel.

Chain connection is a structural concatenation of sentences, the continuous movement of thought from one sentence to another is usually carried out through the repetition of a word (member of a sentence) highlighted in the previous sentence and its deployment in the subsequent one.

The main means of communication are lexical repetitions, lexical and text synonyms, and pronouns.

Chain connection is the most common way of connecting sentences in a text.

With a parallel connection, the structural correlation of sentences is expressed in their parallel relationship, i.e. sentences do not develop one from another, and each subsequent one is built according to the type of the previous one. The main means of expressing a parallel connection are the same word order, uniformity of grammatical forms of expression of sentence members, aspect-temporal correlation of predicates. For example:

Another night passed... ...Another tribute performed...

(Ch. Aitmatov).

In this statement we observe parallelism of syntactic constructions. This is a rare case of complete parallelism, when predicates expressed by verbs of the imperfect form of the past tense come after the subject.

To connect sentences in the text, as well as between its individual members, not only syntactic means proper (structural correlation of sentences) are used, but also lexical and morphological means, as well as conjunctions, particles, words and phrases that act as introductory words, as well as words approaching unions (such as - first of all, now, then, therefore, then, at the same time etc.), adjectives and participles (such as - previous, previous, next, indicated, given, described, given, last etc.), the latter are especially characteristic of scientific and business speech.

5. Learning and teaching methods: presentation , work with text, small group

1. Working with text. Read the text. Determine its type and style. Formulate themes and micro-themes. What words are they expressed in? Formulate the communicative objectives of the text.

Musculoskeletal system

The musculoskeletal system is the subject of study of three sections of human anatomy - osteology, syndesmology and myology. The musculoskeletal system includes a bony skeleton, strengthened by auxiliary elements (ligaments, articular discs, menisci, etc.), as well as muscles.

The skeleton is the passive part of the musculoskeletal system. The adult skeleton consists mainly of bones. In places where elasticity and flexibility are required, cartilage is preserved: cartilage is involved in the formation of cartilaginous joints of bones (synchondroses), semi-joints (symphyses) and joints. The skeleton of the larynx and tracheobronchial tree, which is completely formed by cartilage, stands apart from the respiratory system.

Skeletal bones take part in metabolism, being a repository of various micro- and macroelements. In addition, bones contain bone marrow, the central organ of hematopoiesis. According to the anatomical regions, it is customary to divide the human skeleton into the bones of the skull, spine, chest and bones of the shoulder girdle, pelvis, bones of the free upper and lower extremities.

The musculoskeletal system includes striated muscles (skeletal muscles). Muscles are the active part of the musculoskeletal system. Most muscles are attached to the bones of the skeleton at both ends using tendons.

The human muscular system includes the muscles of the trunk, neck, head, upper and lower extremities.

If proportions and physique are determined mainly by the skeletal system, then the contours of the human figure primarily depend on the muscles.

Assignments to the text. Find the terms. Explain their meanings. If you have any difficulties, consult a dictionary.

2. Working with text. Read the text. Determine the types of connections between sentences. Justify your answer. Find sentences in the text that are connected by a parallel connection.

Herpes on the lips

Today, the term “herpes” combines a number of infections caused by the herpes virus. The herpes virus spreads very easily, transmitted by airborne droplets directly through contact: through towels, dishes, handrails in transport

Most people have no idea that the virus is in their body. But rest assured, when the immune system is weakened, herpes will manifest itself one way or another.

The first signs of the disease are swelling, which soon turns into blisters. The pain becomes more pronounced, and enlargement of the lymph nodes may be observed.

The most common form of the virus is herpes labialis.

Lips with bubbles are not the most pleasant sight. What to do? Let's go to the pharmacy

At the early stage of the disease (when there are no external manifestations yet, but there is already itching), you can use antiherpetic drugs, for example, acyclovir, Zovirax, herpevir - let your doctor help you choose a drug to treat herpes.

In addition, treatment with essential oils of bergamot, eucalyptus, and lavender is very effective - you can moisten a piece of cotton wool with these oils and periodically lubricate the blisters.

Remember, never peel off the crust that has formed - a secondary infection can get into open wounds, the disease will drag on, and new blisters may appear.

You can use traditional medicine methods - dry the rashes on your lips with a paste of garlic and honey, if you are not afraid of scaring off others.

Herpes is highly contagious. Be sure to wash your hands with disinfectant solution or soap after touching your lips, and never touch your eyes if you have just scratched the bubbles.

Take care of your immunity. Introduce plenty of raw vegetables and yoghurt into your diet. If you have recurring herpes, check your thyroid gland.

Remember, only your doctor can correctly diagnose and prescribe treatment!

1. Work in small groups. Task 1. Determine the type of connection between sentences in the text and draw up a diagram.

The sea howled, throwing large, heavy waves onto the coastal sand, breaking them into spray and foam. The rain zealously whipped the water and the earth... the wind roared... Everything around was filled with howling, roaring, roaring... Behind the rain you could not see either the sea or the sky (M. Gorky).

Task 2. Compose and write down a short story on the topic “My attitude to folk traditions”, “Interesting story”, “Once upon a time in the country”, “Friendship”, etc. Use the following scheme: beginning, main content, ending. Use parallel and mixed connections to connect sentences.

Task 3. What is a complex syntactic whole? Name the means of combining independent sentences into a single syntactic whole. How do you understand the chain and parallel connection between sentences included in a complex syntactic whole?

1. The Russian people endured enough; He endured this railway too - He will endure everything that God sends! He will endure everything - and pave a wide, clear path for himself.

(N. Nekrasov)

2. The recently risen sun flooded the entire grove with a strong, albeit dim light; Dewdrops glittered everywhere, and here and there large drops suddenly lit up and glowed; everything breathed with freshness, life and that innocent solemnity of the first moments of the morning, when everything is already so light and still so silent. All that could be heard was the scattered voices of larks over the distant fields, and in the grove itself two or three birds, in a hurry, raised their short little knees and seemed to listen later to how it turned out for them. The wet earth smelled of a healthy, strong smell, the clean, light air shimmered with cool streams (I. Turgenev).

6. Literature:

Basic literature:

1. Aikenova R.A. R.A. Russian language: textbook for students of medical universities. – Aktyubinsk, 2012.

2. Zhanpeis U.A. Russian language: Textbook for students of medical universities (undergraduate) - Almaty: Evero, 2012.

Further reading:

1.Zhanalina L.K. Practical course of the Russian language: Textbook - Almaty, 2005.

2.Zueva N.Yu. A practical guide to developing scientific speaking skills: for universities in the humanities in 2 hours. Main course. Almaty, 2007 (electronic version)

3. Ippolitova, N. A. Russian language and culture of speech [Text]: textbook / N. A. Ippolitova, O. Yu. Knyazeva, M. R. Savova. - M.: Prospekt, 2008. - 440 p. : ill.

4. Dairbekova S.A. My Motherland Kazakhstan// A textbook on the Russian language for students of Kazakh groups of non-linguistic universities. - Almaty, 2003.

5. Mukhamadiev Kh.S. A manual on scientific style of speech. Russian language. – Almaty, 2009.

Retardation - a stylistic technique of slowing down the direct plot narration in a literary work by introducing descriptions of nature, references to the hero’s past, philosophical reasoning, lyrical digressions, etc. One can point to philosophical reflections on Napoleonic tactics in L. Tolstoy’s “War and Peace”, to lyrical digressions in Pushkin's Eugene Onegin, Byron's Don Juan, etc.

Cumulative composition - a composition that is built on the accumulation and stringing of plot elements, and the meaning of the work is hidden in the repeated repetition and growth of these elements.

Question 35. The stylistic role of inversion and anacoluth.

Inversion – a stylistically motivated violation of the usual word order in a sentence or phrase. You will agree, my reader, / ThatHe did a very nice thing / Our friend did with sad Tanya (A.S. Pushkin. “Eugene Onegin”);

Inversion can become an effective means of creating comic effect:

Basic function of inversion– highlighting a semantically significant segment of text, placing logical stress (logical stress falls on that member of the sentence that moves from its usual place). Other significant functions of inversion include the following: rhythm-forming, emotional-expressive, stylization function (for example, to resemble colloquial speech).

Anacoluthon (violation of grammatical homogeneity) - a figure consisting in a grammatical discrepancy between the components of a statement (inconsistency in gender, number, case; combination of different parts of speech in a series of homogeneous members of a sentence, etc.). “But there was a time when he was just a thrifty owner! was married and a family man <…>"(N.V. Gogol. “Dead Souls”); "The clerk was woman and fool "(N.V. Gogol. “Dead Souls”).

Anacoluth promotes the advancement of a piece of text, therefore, drawing attention to what is being depicted. This figure is often used to create comic effect. In addition, we point out that anacoluth is used for creating a character's speech characteristics(a foreigner, a native speaker with low levels of linguistic competence, a person in a state of excitement, etc.).

Question 36. Types of communication in the text. Chain connection. Parallel communication. Definition of concepts. Stylistic role. (Mr. Ya. Solganik. Text stylistics)

Chain link (sequential, linear) - this type of connection of sentences in the text in which lexical repetition is used. This connection reflects a consistent movement, the development of thought (the subsequent sentence develops from the previous one). One of the most common. For example:

1. Masha draws a Christmas tree. A Christmas tree grows in the yard. The common component is called the same word (tree-tree), lexical repetition is used.

2. Masha draws a Christmas tree. It grows in the yard. The common component is called a word and a personal demonstrative pronoun replacing it (tree-she).

3. Masha draws a Christmas tree. A tree grows in the yard. The common component is called a word and a synonym that replaces it (Christmas tree - tree) - the third example.

Types of chain connection according to the method of expression: 1) chain lexical 2) chain pronominal 3) chain synonymous

These are three ways of referring to a common component of thought. Language does not know any other ways or means of detecting or revealing it. Both lexical repetition, pronouns, and synonymous vocabulary are unique signals indicating that we are talking about the same thing. And these signals are important, but external, superficial.

The deep essence of the connection between sentences lies in its structural nature. One of the elements of the structure of the first sentence correlates with the structural element of the second sentence. And this structural correlation is a syntactic model, in this case “object - subject” (D - P), which is expressed in lexical repetition, pronominal, synonymous replacement. Moreover, the main thing here is precisely the structural correlation, and vocabulary and pronouns are only means of detecting and demonstrating structural correlation. These means can change and vary, but the model remains unchanged.  The nature of the connection between sentences is syntactic in nature, so the following examples are possible:

7. Masha draws a Christmas tree. I have known Masha (her girl) for a long time.

8. Masha draws a Christmas tree. All children love the Christmas tree (this tree).

9. Masha draws a Christmas tree. The drawing turned out well.

In the examples considered, the connection of sentences is carried out according to the models “subject - object” (7th example), “object - object” (8th example) and “predicate - subject” (9th example).

So, the main thing in a chain connection is the structural correlation of sentences, the types of this correlation: object - subject, subject - object, object - object, predicate - subject, etc.

Parallel communication - this type of interphrase connection in which each sentence is constructed according to the type of the previous one. They are all of the same type and have the same word order => they are parallel.

Propositions do not develop one from another, but are compared.

Let's look at our example again: Masha draws a Christmas tree. You can continue this sentence, for example like this:

Masha draws a Christmas tree.

Igor is reading a book.

Zina solves a crossword puzzle.

A slightly different type of parallelism is also possible:

Masha draws a Christmas tree.

Masha studies at school.

Masha is interested in geography.

Here the parallelism in the structure of sentences is intensified and emphasized by anaphora and unity of principle. And since in our example we are talking about one person, his qualities, actions, etc. are emphasized and compared. This structure of the text is appropriate when characterizing someone, creating a speech portrait, and generally when describing.

! Thus, the two main types of connection of independent sentences in the text - chain and parallel - are based on the structural correlation of sentences. The first is used when sequential movement and development of thought, and the second – at comparative.

Functioning and stylistic role of the chain link

Chain links are used in all styles of language. This is the most widespread, most common way of connecting sentences. Stanzas with chain connections make up the bulk (80-85%) of the verbal fabric in all styles of speech. The widespread use of chain connections is explained by the fact that they best correspond to the specifics of thinking and the peculiarities of connecting judgments. Where thought develops linearly, sequentially, where each subsequent sentence develops the previous one, as if following from it, chain connections are inevitable.

First of all, they are characteristic of scientific style. In a scientific text, we encounter a strict sequence and close connection of individual parts of the text, individual sentences, where each subsequent one follows from the previous one. While presenting the material, the author consistently moves from one stage of reasoning to another. And this method of presentation is most consistent with chain connections.

By closely and clearly connecting sentences, this method of communication refers to the most economical since it allows you not to repeat the entire previous phrase and at the same time introduce new definitions of the reference word.

In language journalism All types of chain link are presented. Their use depends largely on the nature of the text and the genre. But the most characteristic, most fully consistent with the nature and tasks of the journalistic style should be recognized synonymous chain and chain pronominal with their wide possibilities for commenting and evaluating the content of a statement.

In the language of fiction, as in journalism, you can find almost all types of chain communication. The closest internal connection between the sentences of a literary text is not only a law, but also one of the conditions of mastery.

In general, the main principle of the language of fiction in the field of connection of complete sentences is, apparently, the desire to make the syntactic connection between sentences not as obvious and open as, for example, in scientific literature. Therefore, in the language of fiction, among chain connections, connections with personal pronouns, with the demonstrative pronoun it, as well as chain connections through lexical repetition.

The chain connections between the sentences of the stanza are quite free, leaving a lot of room for creativity. However, this freedom is relative. In stanzas with chain connections, there are general, uniform methods, means of connecting sentences, although diverse, but acting with coercive force.

Chain connections predominate in business, scientific, and journalistic speech; they are very common in fiction; in general, they are present wherever there is a linear, sequential, chain development of thought.

Functioning and stylistic role of parallel communication

Reflecting the nature of thinking, naming actions, events, phenomena that are located nearby (adjacent), parallel connections by their very nature are intended to describe and narrate.

The parallelism of structure is usually expressed with greater or less completeness; cases of complete parallelism, when all the sentences of a stanza are parallel, are relatively rare. Parallelism is usually expressed in the fact that predicates precede subjects and often open an offer. The sentences of narrative stanzas do not describe actions, but narrate about them, that is, the event itself, the action itself, is conveyed. The placement of the predicate after the subject serves as a basis for parallelism quite rarely.

Parallel connections, reinforced by lexical parallelism, have an emphatically emotional, expressive character - anaphora(unity of command).

Question 37. Text structure. Sentence and stanza as units of text. The concept of prose stanza (complex syntactic whole, super-phrase unity). Composition of the stanza. The concept of a fragment. Chapter. Part. Finished work. According to G. Ya. Solganik (Text stylistics)

Any text consists of sentences. This is a building material, a kind of bricks that form the building of the text. But just as from a single house to a completed house, so from a proposal to a completed work, the distance is enormous. Breaks, stops, and returns to what was said before are necessary. The network of proposals is heterogeneous. Some play an important role, expressing something significant, marking milestones in the narrative, others have local significance. And all this is reflected in the structure of the text. This picture opens up if you go from the work to a separate sentence. We will come to a similar conclusion if we move from a sentence to a completed work. A single sentence is not complete, does not exhaust the thoughts.

So, individual sentences do not exhaust the thought; it expresses only some part or side of it. And this corresponds to the nature of human perception. We perceive information in fractions, parts, analyzing them, connecting them, summing them up, producing complex mental processes that are not fully known to science. The peculiarity of human perception is that we receive information in parts.

Sentences in the text are original quanta, pieces of information that make up a whole information picture, a whole speech work. A separate sentence is a part of a thought. For development, more or less complete disclosure of a thought, a group of sentences is required. Language, as we know, is a form of thought. Words express concepts, sentences express judgments, and a group of sentences express a complete thought.

Thus, a group of sentences, united in meaning and grammatically expressing a more or less complete thought, is a linguistic unit, like a word or a sentence, but more complex in composition and structure. In the scientific literature it is called differently: complex syntactic whole, supra-phrase unity, component, prose stanza etc. A stanza denotes a closely interconnected group of verses and represents a semantic, metrical and syntactic unity. (example: Onegin's stanza is a “poem within a poem”).

In contrast to the poetic stanza, it is logical to call the close semantic and syntactic unity of complete sentences in prose speech prose stanza. In the following, for brevity, we can use the term stanza, meaning by this a prosaic stanza.

A stanza is not a sum of sentences, but a syntactic unit, a unit of language. There are grammatical relationships between the sentences that make up the stanza. Any sufficiently lengthy text is naturally divided into stanzas. On the other hand, if we need to write any text, we cannot do without prose stanzas, which constitute the building material of speech.

Dividing the text into prose stanzas is one of the laws of speech construction. And it appears in any text.

An important characteristic of the stanza is the attitude of the author(speaker) to what is expressed by him.

The sentences of a stanza, as a rule, have a single author’s position, and any change in it affects the structure of the stanza. As a means of expressing the author’s position, personal pronouns (I, we), personal verb forms, modal words, particles, etc. are used (to design transitions, the beginning, the end of a thought, etc.).

Composition of the stanza. So, a prose stanza is a unit constructed according to the laws of language. The sentences that make up the stanza are united by grammatical relations (chain, parallel connection) and a single author’s position. This internal, grammatical plan of stanza structure.

But the stanza also has the external plan of the building - a certain composition. The sentences included in it play a different role.

The first sentence is characterized by the greatest independence and relatively large freedom of its structure - the beginning. For the beginning, special syntactic means are used that formalize the moment of the beginning of speech. Other sentences of the stanza are less independent in structural and semantic terms and often depend syntactically on the beginning. The beginning is the organizing syntactic center of the stanza. In any type of speech, there is a need to express the beginning of a thought, to formalize it using syntactic means. One can, for example, note the existence of stable formulas for the beginning of thought in dialogue speech (as examples, Nekrasov’s poem “The Railway” and the Arabian fairy tale “A Thousand and One Nights” are cited).

By introducing a new thought, the beginning largely determines its development, as it were, setting the tone for the final presentation. Having not only grammatical, but also semantic and thematic completeness, the beginning often contains a brief summary of the entire stanza. In artistic speech, the beginning not only denotes the theme of the stanza, but also serves as a kind of tuning fork that determines the stylistic unity of the stanza. It is no coincidence that writers pay so much attention to the first sentence of a work.

Only the first sentence of the stanza can be considered freely constructed. The structure of the second and last sentences is, to a large extent, determined and conditioned by the relationship to the first. But syntactic independence, independence of the beginning is relative. A stanza is a single syntactic whole, and all its elements are closely interrelated. The syntactic structure of beginnings is varied. But nevertheless, there are certain stable repeating forms, syntactic ways of expressing the beginning of a thought, the transition from one thought to another, etc.

Same types of beginnings. They all have the same word order – direct: subject, predicate, circumstance. A simple predicate is expressed by a past tense verb of the perfect or imperfect form. The action itself, the process, is emphasized. Uniform distribution of logical stress between all members of the sentence.

Dynamic beginnings. Syntactically open. Requires development and dissemination. Construction: beginning of thought (microtheme of the stanza), middle part (development of thought; 1,2 or more sentences, joined by a chain or parallel connection), ending (specially highlighted; development of thought is completed).

Widespread use of conjunction And in the last sentence of the stanza.

The last sentence of the stanza consists of three homogeneous predicates with the conjunction And before the last one. As part of the offer unionAnd before the last of the homogeneous members closes their series, signifying the exhaustion of the enumeration. At the end of a prose stanza the function of the conjunction is And in similar syntactic conditions it becomes more complicated: it signals the completeness of not only the enumeration, but also the entire stanza; the meaning of closure, exhaustion seems to be layered on the main semantic conjunctions, becoming predominant among them.

For the syntactic design of the ending of the stanza, the conjunction And It is also used in its other capacity - in the connecting meaning at the beginning of the last sentence.

Syntactic formatting methods endings diverse. Besides the union And conjunctions are used ah, but, yes. Exclamatory or interrogative sentences, introductory words, direct speech, etc. can serve as means of completing a stanza.

Thus, the stanza has the following composition : 1.Initiation containing the beginning of a thought, formulating its theme 2. Average Part– development of thoughts, themes 3. Ending- a kind of syntactic point that sums up the micro-theme of the stanza and emphasizes this not only semantically, but also syntactically (not a mandatory composition).

Fragment

Typically one theme (or aspect of it) is developed in two or more prose stanzas. These stanzas form a semantic-syntactic unit - fragment.

In a fragment, as a rule, The stanza that opens the work bears the greatest semantic, informational and compositional load or starting a new topic, expressing the key moment of its development. These are the most independent stanzas in semantic, compositional and syntactic terms, which is reflected in the structure and form of their beginnings. Such stanzas can be called key. These are the original beginnings of the fragments.

The stanzas contained within the fragment are internal, play a different role in the composition of the whole. They are designed to develop, explain, and illustrate the theme outlined in the key stanza. Therefore, they are less independent, more closely connected with each other and do not have a significant impact on the development of the main, cross-cutting idea- topics.

Connection between internal stanzas more often it is conveyed using the beginnings of adjacent stanzas or the endings of the previous and the beginning of the subsequent stanzas, connected by a chain, or parallel, or connecting connection.

The parallelism of the beginnings, reinforced by anaphora, is the main means of syntactic connection between the stanzas of this fragment. In stylistic terms, this method of organizing the text is characteristic mainly of sublime, emotionally elevated speech. However, sometimes it can be used in neutral and even humorous speech.

To connect prose stanzas within a fragment, introductory words are often used, which are often preceded by conjunctions and, but, and etc. These means express the meaning of the beginning, the transition from one thought to another.

Typically, openings with introductory words, preceded by conjunctions, open (introduce) internal stanzas, closely related to each other by the unity of a consistently developing theme. There is a repetition of words and phrases of the previous stanza (usually its ending) at the beginning of the next stanza. The writer, as it were, starts from the repeated word, developing the thought in a different aspect.

Quite widely used as a means of communication between stanzas are beginnings, expressed by interrogative or exclamatory sentences and having a dialogical character. Thanks to an unexpected change in syntactic form (after a series of affirmative sentences - an interrogative or exclamatory sentence), such openings dramatically change the aspect of the narrative, transferring it to a different level. As a rule, these are the beginnings that open the stanzas, which are of a commentary nature.

An exclamatory sentence at the beginning of the second stanza allows you to change the aspect and course of presentation, syntactically formalize the beginning and move on to a new thought.

Interrogative sentences as a means of communication between stanzas are also common in different styles. They are very typical, for example, for journalism. An interrogative sentence at the beginning of a stanza focuses the reader's attention on the main thing. In stanzas that open with an interrogative sentence, the thought expressed in the previous stanza is further developed. The answer to the question contained in the beginning is given in the following sentences.

The beginning with words performs a similar function Yes or No.

Chapter

Scheme of coherent speech from the point of view of its constituent units:

! Sentence -> prose stanza -> fragment -> chapter -> part -> finished work.

The lower limit of the text is one sentence, the upper limit is an indefinite set of sentences. The specificity of all these units of speech is in their structural and relative semantic completeness, which allows each of them, under certain conditions, to act as an independent speech work.

Not every work can present all the components of the scheme, but at least one component is inevitable in each.

The structure of longer texts is much more complex. Fragments can be combined into a larger speech whole that makes up the work, or its significant links (chapter, part). At the same time The main way of organizing large texts is the semantic-syntactic connection of beginnings. In a prose stanza, the beginning is a key sentence, a kind of subject, a theme. In the fragment, the beginning plays a similar role, but combines several stanzas. The beginnings of fragments form the semantic and syntactic framework of the text and serve as the main means of its organization. This is a kind of engine of the plot, the development of thought. The beginning contains the most important information, which is further specified, developed and deepened. Set of beginnings - abstract of the text.

Syntactic ( chain or parallel) connection between the beginnings of fragments acts as the main way of organizing texts.

Fragments, through the connection of beginnings, are combined into larger speech wholes - chapters. Therefore, in purely formal terms, the chapter can be defined as a set of fragments closely related in meaning and syntactically.

Semantic The organization of the chapter rests on two axes:

vertical. Her form actional predicates (the subject directly participates in the event). They drive the narrative and form the framework of the text. a series of “head” (through) predicates embodies the movement of artistic thought, the development of action, etc. Non-actional predicates organize the space of the work.

horizontal. Nonactional predicates organize the space of a product.

Promotional + non-promotional = chronotope.

The vast majority of chapters are characterized by a vertical-horizontal type of organization of semantics. Episodic predicates, located on the horizontal axes, are closely related to the “capital” ones and interact with them. They specify the predicates of the vertical axis and saturate them with artistic details.

The subjects in the chapter replace objects of reality in speech. Organize an event plan for a literary text. These are peculiar nodal points, centers around which events unfold. The subject is important, but only organizes the plot. The text of the chapter is semantically organized by predicates.

“Capital” predicates “head” micro-episodes (within a chapter), in which the generalized idea of ​​the “capital” predicate is revealed. If the through predicates are adverbial, then the episode uses adverbial predicates, and vice versa. In this case, the use of active or adverbial predicates as “headings” determines the narrative or descriptive nature of the chapter, respectively.

Parts

The vertical-horizontal principle underlies not only the organization of chapters, but also the basis of the organization of larger wholes - parts of the work. Thus, we can distinguish chapters that drive the novel action (like actional predicates), and chapters-digressions, chapters-retardation (descriptive, historical, philosophical), similar to adverbial (descriptions) and static predicates (states).

With a schematic representation, we get: on the vertical axis the chapters are narrative, on the horizontal axis – descriptive.

The chapter occupies the smallest semantic space. It can be defined as the smallest relatively complete part of a work of art, highlighted by graphic means. The chapter emphasizes and brings into focus the reader’s attention this or that fragment of the world, isolating it from the continuous flow of life.

Writers divide a work into chapters in different ways. Fractional division into chapters characterizes the writer’s orientation towards psychologism.