Errors in the construction of a complex syntactic whole. Logical errors in syntactic constructions. Non-union complex sentence

A complex syntactic whole is a unit of text, therefore, when constructing it, two main characteristics of the text must be taken into account: thematic And connectivity. Ignoring this provision leads to the appearance of stylistic errors and shortcomings.

1. Shift in presentation plan lies in the fact that, having begun to write on one topic, about one subject of speech, then, when constructing a complex syntactic whole (prose stanza), the author deviates from the topic and jumps to another. For example: Lyrics... How difficult it is to define them! What does the poem mean? Perhaps no other literary genre has such a vague definition. The lyrics were constantly questioned. Poets themselves often think about the meaning and purpose of lyrics and why they write poetry. The reasons turn out to be as different as poetry itself. Some write a message, for others “the purpose of the verse is the reader,” others admit that they write only for themselves, while others unshakably believe in the influence of lyrics, believing that it helps to reduce evil and increase the amount of good.(From newspapers). At the beginning of the stanza the question is posed: what is lyrics? Starting from the fourth sentence, the author explains why poets write poetry.

To correct this or a similar stanza, the author needs to determine for himself the theme (micro-theme) that he wants to develop and bring his thought to its logical conclusion. In the part of the stanza where he moves on to another topic, it is recommended to create a paragraph (red line).

2. Skipping logical connections between the sentences included in the stanza leads to the absence of a causal connection between them. For example: Along Sakmara, cutting through the muddy water with its mighty chest, an old elk swam. Having emerged onto a deserted steppe shore, he shook himself off, raised his proud head and sensitively moved his large ears. Without catching any suspicious noises (and moose, as you know, are blind), slowly walked towards the forest belt(From newspapers). There is no connection between the fact that the moose did not catch suspicious rustling noises (hearing) and the fact that moose are blind (vision). Restoration of the missing logical link is required: ...and moose, as you know, have sensitive hearing, compensating for their natural blindness.

3. Incorrect paragraph division of the text significantly complicates the perception of prose stanzas. Compositional division helps to more easily perceive the content, correctly place logical accents, and follow the development of the author’s thought. The following text can be divided into paragraphs in different ways depending on the allocation of prose stanzas. But without such division, its perception becomes much more difficult. For Vysotsky, there are no forbidden topics; he fearlessly, with a courage that aroused the envy of many, wrote and sang about everything that worried him. But this is freedom, which is ensured morally, by an exact attitude towards an object or phenomenon. ZVysotsky’s lyrical hero is morally significant and attractive also because you can rely on someone like him - he won’t let you down, you won’t be lost with him. Morality is ensured by male character - a phenomenon, you see, not the most common in our time. Z Vysotsky not only records, conveys, reflects the drama of life. He is dramatic himself, by the nature of his objectivity, individuality, and talent. Everything he did and everything he achieved was out of restlessness, from the feeling of anxiety that did not leave him. Z The dramatic, according to Pushkin, is associated with “passions and outpourings of the human soul.” In full accordance with this precise observation, Vysotsky, at a time when half-whispers, on the one hand, and pop noisiness, on the other, dominated, began to speak and sing in an “open voice,” passionately, hysterically, sometimes turning to shouting. The way people sing at home, in a free, relaxed environment not constrained by strict rules(V. Tolstykh). Special icon Z The paragraph division of the text is indicated.

L. FIGURES

Figures based on repetition

Figures based on changes in the arrangement of parts of syntactic constructions

Figures associated with changes in the volume of utterances

Rhetorical figures

Figure(translated from Latin as “outline, appearance, figure of speech”) is a syntactic construction designed to influence the listener and reader. If tropes are forms of thought (see Chapter XXXV), then figures are forms of speech. The function of figures is to highlight, emphasize, strengthen one or another part of the statement; figures “serve as an expression of emotional movement in the speaker and a means of conveying the tone and degree of his mood to the listener” (A. Gornfeld). To the greatest extent, figures are activated in artistic speech, especially poetic, but many of their varieties are quite active in various genres of journalism.

Depending on the syntactic structure and the function performed, the entire variety of figures can be combined into several groups.

Russian language (9th grade)

Russian literature lesson

Subject: Complex syntactic whole. Linguistic analysis of text (towards the formulation of the problem)

Goals: repeat and summarize the information known to students about the text and its structure, improve the ability to conduct linguistic analysis of the text, work on developing students’ communicative abilities, on improving their language skills, introduce the concept of STS (microtext) using the example of text excerpts from the works of A.S. Pushkin, M. Yu. Lermontov, N. V. Gogol; using elements of creative reading, to educate students to be attentive, thoughtful readers, capable of grasping and perceiving the features of the writer’s style; continue work on students’ speech culture.

Equipment: textbook “Russian language: Textbook for 9th grade. with Russian language of instruction” / E.P. Goloborodko and others / - K.: Osvita, 2002.; textbook of literature edited by Teplinsky (9th grade), notes on the board, tables “Language and Speech”, “Text”, “Structural means of SSC”.

Lesson type: a lesson in the formation of students’ communicative skills with elements of generalization repetition.

The language of verbal art is a unique system of verbal and artistic forms..., their meanings and functions and the categories reflected in them; V fiction this system arises on the basis of a synthesis of the communicative function of literary and colloquial language with the expressive and figurative function.

V. V. Vinogradov

Lesson progress:

I. Organizational moment.

II. Teacher's opening speech.

Today in class, on the one hand, we are summing up a long, two-year conversation about the syntax of the Russian language. On the other hand, we will try to climb to a higher level of your intellectual development. Let's get acquainted with a new generalizing concept - a complex syntactic whole, and introduce it into your everyday life.

/Write down the date, topic, epigraphs of the lesson in a notebook/

The first step towards this will be vocabulary and semantic work.

III. Vocabulary-semantic work

Text, topic, main idea of the statement, complex syntactic whole (CCU), sequential connection, parallel connection, methods of constructing text, linguistic means.

IV. Statement of the topic and objectives of the lesson.

Why do we need to expand knowledge in this area? What is the practical significance of the material presented to you in today's lesson? We will try to answer these questions at the end of the lesson. In the meantime, let’s think about how we communicate with each other. Sounds? In words? Word combinations? No. And not even proposals.

/Address to Part III of the table “Language and Speech”/

People create statements and communicate through texts (micro- and macrotexts, monologues, dialogues and polylogues). And the concept of SSC, which is new to you, is nothing more than a microtext. A statement, a microtext, is small, capacious information.

You gain information in different areas of knowledge through texts. Their volume and focus are constantly varying. You will leave school into adulthood not only with a certain amount of knowledge, but also with the ability to work with a book and text. We will continue to learn this skill.

V. Text. Repetition.

1. Let's remember what a text is.

/Students' answers./

Let's compare your ideas about the text with the scientific interpretation of this term.

2. Working with the “Text” table. /"RYAL in secondary educational institutions of Ukraine", No. 2, 1988, p. 36/

/Students’ work in groups: compiling a monologue statement by each study group; performance by 1-2 groups of students; additions to other groups/

3. Teacher's generalization.

A text is a detailed statement consisting of interconnected sentences. In modern linguistics, a text is considered as a communicative unit, the main features of which are semantic integrity and coherence. SSC also talks about this.

VI. Complex syntactic whole. Definition of the concept.

A complex syntactic whole is a combination of several sentences that are closely interrelated in meaning and syntactically. STS is nothing more than microtext. The organization of microtext is stable; it depends on the content, style, and author’s manner.

This means that in order for people to talk about you as a knowledgeable, pleasant interlocutor, for you to master correct written language, you need to learn how to express your statements, you need to learn to read texts logically correctly. And it’s easier to start doing this with SSC.

VII. Working with deformed text.

1. Listen to an example. Try to determine what you will hear: a text or a set of sentences.

/Teacher reading a deformed text (Teplinsky. “Literature. 9th grade”/

And now, in the 9th grade, we will talk (and perhaps even argue) about the fate of Pushkin’s heroes Eugene Onegin and Tatyana Larina... Pushkin enters our consciousness from early childhood, from fairy tales that we know by heart, not thinking about the fact that someone composed them: it seemed that they had always existed, that they were just part of our world, and it had no beginning and no end. I would like to believe that Pushkin will remain with you forever, because he is inexhaustible, just as life itself is inexhaustible. And then Pushkin’s wonderful lines about nature appear in our lives, and his poems about love begin to interest and excite us...

2. Try to restore the text and write it down in a notebook.

/Students’ work on text restoration. Writing text in a notebook.

Individual task. Retelling of the restored text. /1 – 2 students/

3. Did you recognize the text? Where did it come from?

The name Pushkin is well known to every person who speaks Russian. You are also familiar with it from the biography of Pushkin you read for literature class, and from the prose and poetry you read in high school. Which Pushkin works are you familiar with? Which lines of Pushkin’s poetry became your favorite? Can you recite them by heart?

/Reading by heart the poems of A. S. Pushkin,

teacher assessment of students' expressive reading/

We will continue the conversation about Pushkin and his work in literature lessons. Now let's return to the text again. We have restored the text and will analyze it.

VIII. Holistic text analysis.

1. Familiarization with the plan for a holistic text analysis.

Holistic text analysis plan

Style and type of speech.

Semantic connection of sentences in SSC.

Figurative language used by a writer to express his thoughts.

Morphological means of communication in the STS (the predominance of which parts of speech you observe and what their semantic load is).

Intonation of the statement.

2. Distribution of tasks between study groups of students.

Our time is limited, so we will try to present the text in its holistic analysis in fragments:

Fragment 1. Theme, the main idea of the microtext.

Fragment 2 . Style and type of speech. Semantic connection of sentences. /Use the hint tables in the textbook “Russian Language: Textbook for 9th grade. with Russian language of instruction” / E.P. Goloborodko and others/

Fragment 3. Figurative means of language used by the writer to express his thoughts; morphological means of communication in the SSC.

Fragment 4. Syntactic analysis of microtext.

Individual task. Syntactic analysis of the sentence indicated by the teacher from the reconstructed text.

Fragment 5. Orthographic analysis of the text (pay attention to spellings, compose a dictionary work on the text, comment on spellings).

Example vocabulary work:

WITH O knowledge, with ra nn his childhood, (not) wondering who - then h at de sn s n Ushkin lines; P Ushkin, int. e r e With ova T b, cla ss, X O body would, n aw always, (n e)we'll exhaust it And know

3. Collective work in groups - collective compilation of a holistic analysis of the text.

4. Conversation - text analysis.

/Each group reports on the work done./

IX. Independent work on text analysis.

You have already completed one part of the work in the lesson. And it seems to me that you can try to take independent steps in research work on text analysis. Use the table “Structural means of the SSC”.

"Structural means of the SSC"

_____________________________________________________________

Lexical: Morphological: Syntactic: Rhythmic-melodic

/intonation/

Repetition - correlation of species - word order and pre-

individual words; tense forms of verbs;

Synonyms, including predicates. - unions in the affiliation

number of contextual meanings;

new; - particles;

Personal and index - - use of circumstances -

nal pronouns; bodies (mainly

Pronominal but place and time);

adverbs, etc. - introductory words And

offers;

Parallelism is built

proposals;

Incompleteness of individual

proposals.

1. Working with microtext.

My mother's genealogy is even more curious. Her grandfather was a black man, the son of a sovereign prince. The Russian envoy in Constantinople somehow took him out of the seraglio, where he was kept as an amanate, and sent him to Peter the Great along with two other arabs. The Emperor baptized little Ibrahim in Vilna, in 1707, with the Polish queen, Augustus's wife, and gave him the surname Hannibal.

/Each group presents its analysis of the text/

Individual work.

● Formulate questions for the text (5 – 7 questions). Give answers to them.

/The task is performed by 2 - 3 students of primary and intermediate levels of competence./

● Compose a dialogue (6 – 10 replicas) - exchange of opinions about the text - proof that this microtext is SSC. /1 – 2 pairs./

2. Checking the completion of an individual task:

Reading composed questions based on the text /1 – 2 students read out the questions, the rest show the completion of the task in a notebook/;

Holistic analysis of the text /commentary is given by 1 – 2 study groups, other groups supplement/;

Reading, acting out dialogues /1 – 2 pairs/.

X. Generalization of what has been learned.

How did you understand what SSC is?

Are microtext and SSC the same thing?

Will today's lesson help you recognize Pushkin's works, even in individual passages, by their style and structure? Try to find out.

2. Work with excerpts from texts by A. S. Pushkin, M. Yu. Lermontov, N. V. Gogol.

● He was a nice guy, I dare to assure you; just a little strange. After all, for example, in the rain, in the cold, hunting all day; everyone will be cold and tired - but nothing to him. And another time he sits in his room, smells the wind, assures him that he has a cold; the shutter knocks, he shudders and turns pale; and with me he went to hunt wild boar one on one; It happened that you wouldn’t get a word for hours at a time, but sometimes as soon as he started talking, you’d burst your stomach with laughter... Yes, sir, he was very strange, and he must have been a rich man: how many different expensive things he had! .

● Only one person belonged to our society, not being a military man. He was about thirty-five years old, and for that we considered him an old man. Experience gave him many advantages over us; Moreover, his usual gloominess, harsh disposition and evil tongue had a strong influence on our young minds. Some kind of mystery surrounded his fate; he seemed Russian, but had a foreign name. He once served in the hussars, and even happily; no one knew the reason that prompted him to resign and settle in a poor town, where he lived both poorly and wastefully: he always walked on foot, in a worn black frock coat, and kept an open table for all the officers of our regiment.

● In the chaise sat a gentleman, not handsome, but not bad-looking either, neither too fat nor too thin; One cannot say that he is old, but not that he is too young. His entry made absolutely no noise in the city and was not accompanied by anything special; only two Russian men, standing at the door of the tavern opposite the hotel, made some comments, which, however, related more to the carriage than to those sitting in it.

Do you agree that knowledge of the SSC will help an attentive reader understand the text he is reading? Let's check this in literature lessons.

XI. Lesson summary. Assessing students' knowledge and skills.

Homework: write out complex sentence With different types connections from A. S. Pushkin’s poem “Monument” or “To Chaadaev” and perform a complete syntactic analysis of the written sentence.

§ 218. Errors in the construction of complex syntactic integers

1. Shift in presentation plan lies in the fact that, having begun to write on one topic, about one subject of speech, then, when constructing a complex syntactic whole (prose stanza), the author deviates from the topic and jumps to another. For example: Lyrics... How difficult it is to define them! What does the poem mean? Perhaps no other literary genre has such a vague definition. The lyrics were constantly questioned. Poets themselves often think about the meaning and purpose of lyrics and why they write poetry. The reasons turn out to be as different as poetry itself. Some write a message, for others “the purpose of the verse is the reader,” others admit that they write only for themselves, while others unshakably believe in the impact of poetry, believing that it helps to reduce evil and increase the amount of good(From newspapers). At the beginning of the stanza the question is posed: what is lyrics? Starting from the fourth sentence, the author explains why poets write poetry.

2. Skipping logical connections between the sentences included in the stanza leads to the absence of a causal connection between them. For example: Along Sakmara, cutting through the muddy water with its mighty chest, an old elk swam. Having emerged onto a deserted steppe shore, he shook himself off, raised his proud head and sensitively moved his large ears. Without catching any suspicious noises (and moose, as you know, are blind), slowly walked towards the forest belt(From newspapers). There is no connection between the fact that the moose did not catch suspicious rustling noises (hearing) and the fact that moose are blind (vision). Restoration of the missing logical link is required: ...and moose, as you know, have sensitive hearing, compensating for their natural blindness.

3. Incorrect paragraph division of the text significantly complicates the perception of prose stanzas. Compositional division helps to more easily perceive the content, correctly place logical accents, and follow the development of the author’s thought. The following text can be divided into paragraphs in different ways depending on the allocation of prose stanzas. But without such division, its perception becomes much more difficult. For Vysotsky, there are no forbidden topics; he fearlessly, with a courage that aroused the envy of many, wrote and sang about everything that worried him. But this is freedom, which is ensured morally, by an exact attitude towards an object or phenomenon. Z Vysotsky’s lyrical hero is morally significant and attractive also because you can rely on someone like him - he won’t let you down, you won’t be lost with him. Morality is ensured by male character - a phenomenon, you see, not the most common in our time. Z Vysotsky not only records, conveys, reflects the drama of life. He is dramatic himself, by the nature of his objectivity, individuality, and talent. Everything he did and everything he achieved was out of restlessness, from the feeling of anxiety that did not leave him. Z The dramatic, according to Pushkin, is associated with “passions and outpourings of the human soul.” In full accordance with this precise observation, Vysotsky, at a time when half-whispers, on the one hand, and pop noisiness, on the other, dominated, began to speak and sing in an “open voice,” passionately, hysterically, sometimes turning to shouting. The way people sing at home, in a free, relaxed environment not constrained by strict rules(V. Tolstykh). Special icon Z The paragraph division of the text is indicated.

Depending on the syntactic structure and the function performed, the entire variety of figures can be combined into several groups.

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Ticket 28. A complex syntactic whole as a unit of language. Compositional and semantic structure of the SSC. Paragraph and SSC.

Complex syntactic whole, or superphrasal unity, (prose stanza) is a combination of several closely interrelated sentences in meaning and syntactically, representing a more complete development of thought compared to a separate sentence. Complex syntactic wholes are a means of expressing semantic and logical unities. From the outside semantic SSC is characterized unity of theme, thought, statement, close semantic cohesion of sentences.

From the outside syntactic SSC is characterized by:

specific syntactic means of communication between sentences (chain, parallel, connecting)

unity of subjective-modal coloring

rhythmic-intonation unity (pauses between Ps within the SSC are smaller than pauses between the SSC). This is determined by the syntactic structure of the SSC, a combination of opr synth constructions

Structural means of organization independent sentences as part of complex syntactic wholes are conjunctions in the adjunctive sense, anaphorically used pronouns, adverbs, adverbial combinations, modal words, word order, correlation of aspectual forms of verbs, possible incompleteness of individual sentences. For example, in a complex syntactic whole: The following was heard near the third building: “Jacques... Jacques... Jacques....” And so on around all the buildings and then behind the barracks and behind the gates. And it seemed as if in the silence of the night the monster itself with crimson eyes was making these sounds(Ch.) - means of organizing sentences are synonymous repetition (these sounds), connecting conjunction And, adverb So, past tense form of verbs. Sentences as part of a complex syntactic whole: You throw up a single-barreled shotgun, heavy as a crowbar, and shoot straight away. A crimson flame with a deafening crack will flash towards the sky, blind for a moment and extinguish the stars, and a cheerful echo will ring out like a ring and roll across the horizon, fading far, far away in the clear air(Bun.) - are connected by the designation of the action (first sentence) and its result (second sentence), the commonality of aspectual forms of predicate verbs and the unity of intonation. Connective constructions that are sequentially connected to the main (first) sentence are very characteristic of complex syntactic wholes. For example: Twelve padded jackets rest peacefully in iron lockers until the morning. And twelve sou'westers in the upper sections. And twelve pairs of boots, tired, tired(from a magazine).

Compositional and semantic structure of the SSC:

1. Beginning - the beginning of a thought, formulates the theme of the STS. Structurally, the first sentence is constructed freely and completely independently. But all the subsequent ones turn out to be structurally connected (word order, aspectual and tense forms of verbs, intonation and partly lexical composition are subordinated to the starting sentence).

2. Middle part – development of thoughts, themes

3. Kontsoka - sums up not only semantically, but also syntactically.

Structural features complex syntactic integers Complex syntactic integers can be homogeneous And heterogeneous composition. Between homogeneous sentences as part of complex syntactic wholes, a parallel connection is found, between heterogeneous ones - a chain connection. When parallel connection, the contents of sentences are listed, compared or contrasted; structural parallelism is usually observed in them. The purpose of such complex syntactic wholes is to describe a series of changing events, actions, states, pictures. For example: The storm raged over St. Petersburg like youth returned. Rare 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 their black greatcoats. An unclear light, ominous and cold, either diminished or flared up as the wind blew up a canopy of clouds over the city.(Paust.).At chain connection (the most common) parts of the previous sentence are repeated in the subsequent one or their indicators are used - pronouns, pronominal adverbs, etc. Sentences seem to cling to one another, the subsequent one picks up the previous one, and thus the unfolding of thought, its movement, takes place. For example: Glass ships foamed the water. The wind blew in their gear. This sound imperceptibly turned into the ringing of forest bells(Paust.). Parallel and chain connections can be combined within one complex syntactic whole. For example: The falling snow stopped and hung in the air to listen to the ringing that flowed in streams from the house.ACinderella looked, smiling, at the floor.Around her bare feetthere were glass slippers.Theyshuddered, colliding with each other, in response to the chords flying from Grieg’s room(Paust.). There is a parallel connection between the first two sentences, and then sentences are joined using the chain connection method.

Narrative: a series of changing events relating to the past. Parallel connection, unity of forms of the verbal predicate.

Descriptive: unity of aspectual and tense forms, parallelism of syntactic structure, nominative forms

Paragraph Paragraph- this is the part of the text between two indents, or red lines. A paragraph differs from a STS in that it is not a unit of syntactic level. A paragraph is a means of dividing coherent text based on compositional and stylistic.

The paragraph performs an expressive and highlighting function.

The most important function of a paragraph is graphic, punctuation highlighting, design of compositional and syntactic units of text - STS, fragments.

Paragraph division does not always coincide with its compositional and syntactic division. In this case, the function of the paragraph is semantic and stylistic division, complication of the synthetic structure.

The functions of a paragraph in dialogical and monologue speech are different: in a dialogue, a paragraph serves to distinguish the remarks of different persons, i.e. performs a purely formal role; in monologue speech - to highlight compositionally significant parts of the text (both from the point of view of logical-semantic and emotional-expressive). The functions of a paragraph are closely related to the functional and stylistic affiliation of the text and its stylistic coloring; at the same time, they also reflect the individual author’s peculiarities of text design. In particular, the average length of paragraphs often depends on the writing style. Paragraph and complex syntactic whole- these are units different levels divisions, since the bases of their organization are different (a paragraph does not have a special syntactic design, unlike a complex syntactic whole), however, these are intersecting units, functionally touching, since both of them play a semantic-stylistic role. That is why a paragraph and a complex syntactic whole can, in their particular manifestations, coincide and correspond to each other. For example: We climbed the embankment and looked down at the ground from its height. Fifty fathoms from us, where potholes, holes and heaps merged completely with the darkness of the night, a dim light blinked. Behind it, another light shone, followed by a third, then, retreating about a hundred paces, two red eyes shone next to each other - probably the windows of some barracks - and a long row of such lights, becoming thicker and dimmer, stretched along the line to the very horizon, then turned left in a semicircle and disappeared into the distant darkness. The lights were motionless. In them, in the silence of the night and in the dull song of the telegraph, something in common was felt. It seemed that some important secret was buried under the embankment, and only lights, night and wires knew about it...(Ch.); The rain was light and warm throughout the summer. At first people were wary of it, stayed at home, and then normal life began in the rain, as if it had never happened. In this case, people acted like chickens, for there is an exact sign for predicting the duration of the rain: if during the rain the chickens hide in a shelter, it means the rain will soon stop. If chickens, as if nothing had happened, wander along the street, along the road, along green lawns, it means the rain has been falling for a long time, in all likelihood for several days(Sol.). Although such a coincidence is not accidental, it is by no means necessary. It is no coincidence, because the paragraph division of the text is subordinated primarily to its semantic division, and a complex syntactic whole, although it is a syntactic unit, also acquires its formal indicators of the unity of individual components on the basis of their semantic cohesion. But this coincidence is not necessary because the paragraph compositionally organizes the text; it performs not only a logical-semantic function, but also an emphasis, emphasis, and emotional-expressive function. In addition, paragraph division is more subjective than syntactic. This means that a paragraph can break a single complex syntactic whole. This is especially characteristic of literary texts, in contrast to scientific ones, where there are much more coincidences between a complex syntactic whole and a paragraph, since they are entirely focused on the logical organization of speech. The boundaries of a paragraph and a complex syntactic whole may not coincide: one sentence can be included in a paragraph (and even part of a sentence, for example in official business literature: in the texts of laws, charters, diplomatic documents, etc.), and a complex syntactic whole is at least two sentences (usually more than two); in one paragraph there can be two or more complex syntactic wholes when individual micro-topics are connected with each other. For example: 1) a complex syntactic whole is broken by a paragraph: You should stop, enter the hut, see the gloom of confused eyes - and again drive on in the noise of pine trees, in the trembling of autumn aspens, in the rustle of coarse sand pouring into the ruts. And look at the flocks of birds that fly in the heavenly darkness over Polesie to the dark south. And it’s sweet to yearn from the feeling of your complete kinship, your closeness to this dense land(Paust.); 2) in one paragraph - three complex syntactic wholes: The night was August, starry, but dark. Because before in my life I had never been in such an exceptional environment as I found myself in by chance now, this starry night seemed dull, inhospitable and darker to me than it really was. // I was on the line railway, which was still under construction. A high, half-finished embankment, heaps of sand, clay and rubble, barracks, pits, wheelbarrows scattered here and there, flat elevations above the dugouts in which the workers lived - this whole jumble, painted in the same color in the darkness, gave the land some kind of strange , a wild face reminiscent of times of chaos. There was so little order in everything that lay in front of me that among the hideously pitted, unlike anything else, it was somehow strange to see the silhouettes of people and slender telegraph poles, both of them spoiled the ensemble of the picture and seemed out of this world . // It was quiet, and we could only hear the telegraph humming its boring song above our heads, somewhere very high(Ch.). Paragraph in dialogic and monologue text Paragraph division has one common goal - to highlight significant parts of the text. However, parts of the text can be highlighted for different specific purposes. Accordingly, the functions of the paragraph differ. In dialogical speech, the paragraph acts as a purely formal means of distinguishing the remarks of different persons. For example: -Where are we going? - Irena asked tiredly and stood up. I lit the lamp, took the Highway Atlas from the back seat and opened it to page forty-six.- For example, to Orel or Bryansk.“No, let’s look for cities with gentler names,” Irena asked. - Look: Nezhin... Lebedin... Oboyan...(Sparrow) In a monologue speech, a paragraph can perform different functions - logical-semantic, accent-emphasis, expressive-emotional. Moreover, the functions of a paragraph are directly related to the nature of the text, its purpose. Official business, scientific, popular science, educational texts are guided by the logical-semantic principle of paragraph division, although in some cases the principle of accentuation is not alien to these texts (for example, in the texts of laws, regulations, etc., paragraph division can break even a separate sentence that has a number of homogeneous syntactic components). In literary texts, where the functional diversity of paragraphs is revealed, the same accent-emphasis function is subordinated to the emotional-expressive function. Paragraph, breaking a single syntactic whole, performs accent role, when it is considered important to highlight individual links of the general structure, particular details in the description, in the disclosure of a particular topic. This is the role of paragraphs in the following text, which is one complex syntactic whole (five paragraphs): There is such spiritual confidence when a person can do anything. He can almost instantly write such poems that descendants will repeat them for several centuries.He can contain all his thoughts and dreams in his mind in order to distribute them to the first people he meets and not regret it for a minute.He can see and hear magical things where no one notices them: a silver stump on a moonlit night, the sound of air, a sky that looks like an old sea map. He can come up with many amazing stories.Lermontov was experiencing approximately the same state now. He was calm and happy. But not only with the love of Shcherbatova. Reason said that love can wither in separation. He was happy with his thoughts, their strength, breadth, his plans, the all-pervading presence of poetry(Paust.). In cases where paragraph division is carried out according to the logical-semantic principle, a very important role is assigned to the first sentence of the paragraph; it is a certain milestone in revealing the topic of the description (as a starting sentence in a complex syntactic whole). If you pull together all the first sentences of paragraphs and omit all the other links, you will get a concise story, capacious in content, without detailed descriptions. Here, for example, are the first sentences of paragraphs from one of the excerpts of K. Paustovsky’s essay “Reuben Fraerman”: The Batumi winter of 1923 was no different from ordinary winters there.Lamb sizzled on hot grills.The rains came from the west.Water poured out of the drainpipes without interruption for several days.It was during this winter that I met the writer Fraerman in Batum.I then worked in Batum at the maritime newspaper “Mayak” and lived in the so-called “Bordinghouse” - a hotel for sailors.I often met on the streets of Batum a short, very fast man with laughing eyes.I didn’t know who this man was, but I liked him for his liveliness and narrowed, cheerful eyes.I soon learned that this was the Batumi correspondent of the Russian Telegraph Agency - ROSTA and his name was Ruvim Isaevich Fraerman. As we see, these sentences convey the main content of the text, and the gaps are not even felt, since the logical and semantic outline of the text is contained here. This only happens in cases matches of complex syntactic wholes and paragraphs: the first sentences of paragraphs therefore form the outline of the narrative, which are at the same time the first sentences of complex syntactic wholes, i.e. beginnings that generalize or combine the content of subsequent components of complex syntactic wholes. With a different function of the paragraph (in paragraphs with an emotional load), the role of the first sentences also changes. Such paragraphs are constructed according to a different principle: with their help, the logical-semantic outline of the narrative is not determined, but is emphasized emotional and expressive qualities of the text. This is primarily characteristic of paragraphs that divide a single complex whole. The first sentences of such paragraphs in combination with each other lack logical consistency and thematic completeness. Expressions are paragraphs in the following text, where paragraphs correspond to all components of one complex syntactic whole: As for the “Scythians,” I fully recognized them, not only admiring them, but experiencing something like genuine sacred horror when reading these prophetic ponderous iambs, which have retained power over my soul and over my imagination to this day.Everything about them was in accordance with my then idea of destinies.Russia, everything found an echo in me.... "And the gift of divine visions... and the sharp Gallic sense, and the gloomy German genius."Especially the gift of divine visions(Cat.).A paragraph can play the role of semantic emphasis: Grieg thought so and played about everything he thought. He suspected that he was being overheard. He even guessed who was doing this. These were tits in a tree, sailors from the port on a spree, washerwomen from a neighboring house, a cricket, snow falling from the overhanging sky, and Cinderella in a mended dress.Everyone listened differently(Paust.). Increased expression, the desire to convey the significance of the emotional state causes the separation of the last part in the following text, where the paragraph, contrary to the logical-semantic principle, again breaks the complex syntactic whole: Dagny went out to the sea. It lay in deep sleep, without a single splash.Dagny clenched her hands and groaned from a feeling of the beauty of this world that was still unclear to her, but which gripped her entire being...And she laughed, looking with wide open eyes at the lights of the steamers. They bobbed slowly in the clear gray water(Paust.).

Ticket 29. The phenomenon of isolation in the structure of a simple sentence. Other ways to complicate a simple sentence.

Separation- semantic and intonation highlighting of minor members in order to give them some independence in the sentence. Isolated members of a sentence contain an element of additional message, due to which they are logically emphasized and acquire greater syntactic weight and stylistic expressiveness in the sentence. Wed: a) The remaining bread on the root burned and spilled out(J.I.T.); b) Morozka woke up from the sound of a horse stomping, suddenly bursting out from behind a hillock.(Fad.). Isolating the subject and predicate is impossible (the main members serve to express the main, not the additional message), because they are the predicative center (core) of the sentence. The semantic highlighting of isolated members of a sentence is achieved in oral speech their intonation highlighting: before the isolated member (if it is not at the beginning of the sentence) there is a rise in voice, a pause is made, it is characterized by phrasal stress, characteristic of the intonation-semantic segments (syntagmas) into which the sentence is divided. In a sentence with isolated members, along with main message, which transmits predicative relations, there is also additional message, which transmits semi-predicative relations, as a result of which the isolated members, in their semantic load and intonation design, approach subordinate clauses or individual predicates. Frost,fallen at dawn , melted in the morning. Frostfell at dawn , melted in the morning.It is customary to distinguish the following semantic types of isolated phrases:

relatively independent message

attributive (

Masha, the first beauty in the village, fell ill.

circumstances

Frightened by what he saw, he fell silent.

Revolutions with value clarifications(narrow down the information conveyed by the word being defined) – clarifying circumstances of the place (There, across the river, the forest rustled.) And time (Before the war, in 1937, I was young.), clarifying definitions.

Revolutions with value specifications, explanations(identity, coincidence of concepts, not narrowing, but clarification). Unions namely, that is . They understand you incorrectly, that is, absolutely piggishly. If there is no conjunction, then put dash. The most important task was to steal an ax from the tower.

Vary general And private conditions of separation. The first concerns all or most of the secondary members, the second - only their individual types. TO general conditions distinctions include the following:

1) word order,

2) the degree of prevalence of the sentence member,

3) clarifying the nature of one member of the sentence in relation to another,

4) the semantic load of the secondary member of the sentence,

5) the morphological nature of the isolated word: syntactic incompatibility of words related in meaning (for example, personal pronouns and definitions), weak syntactic connection between the defined and defining words (poor controllability of nouns in the indirect case); proximity of other isolated groups, etc.

Word order

Prepositive definition, expressed by a participle or an adjective with explanatory words, is not isolated (if it does not have additional shades of meaning), postpositive, as a rule, is isolated. Wed: A chicken tied by the leg was walking near the table(L.T.). - At the porch stood several carts and sleighs drawn in single file.(Ax.). The importance of word order when isolating definitions is also reflected in the fact that the prepositive definition immediately preceding the word being defined is not isolated, but the definition, separated from the subsequent word being defined by other members of the sentence, is isolated. Wed: Snow-covered huts sparkled brightly in the sun(Grieg.). - For a moment, illuminated by lightning, in front of us is a birch trunk(M.G.). Prepositive application, standing before a proper name, as a rule, is not isolated, postpositive is isolated. Wed: Several years ago, an old Russian gentleman, Kirila Petrovich Troekurov, lived on one of his estates(P.). - About two months ago, a certain Belikov, a Greek language teacher, died in our city.(Ch.). Circumstance, expressed by a single gerund, is usually isolated if it precedes the predicate, and more often is not isolated in a position postpositive in relation to the predicate. Wed: About ten Cossacks were crowded near the porch, smoking.(Shol.). - Sergei dismissed Vera, nodded to her and left whistling(A.N.T.).

Member prevalence

Single post-positive definition usually not isolated, common - isolated. Wed: He looked around him with indescribable excitement(P.). - The willow, all fluffy, is spread out all around(Fet). Single application, expressed by a common noun and relating to a common noun, is usually not isolated, closely merging with it, and a common application is isolated. Wed: Some literate cook from the kitchen ran away to his tavern(Kr.). - Memory, this scourge of the unfortunate, revives even the stones of the past(M.G.). Single circumstance, expressed by a gerund, is usually not isolated in a postpositive position in relation to the predicate, but a common circumstance with the same meaning (adverbial phrase) is isolated. Wed: - Did you see it? - asked the smiling grandmother(M.G.). - A belated hawk flew briskly and straight into the heights, hurrying to its nest(T.). Members of a sentence with meaning inclusions, exclusions And substitution with prepositions except, instead of, besides and others show a tendency towards isolation depending on the degree of prevalence. Wed: ...Instead of words, a dull bubbling sound came out of his chest(Grieg.). - ...Instead of the expected familiar plain with an oak forest to the right and a low white church in the distance, I saw completely different, unknown places(T.).

Clarifying

Thick, guards cloth trousers certainly did not suit either the craftsman or the farm laborer.

There were only two of us Russians, and all the rest were Latvians

I want one thing - peace

Far away, somewhere in the thicket, a night bird moaned

All night, until the rooster dawn, Chapaev measured the map and listened to the brave snoring of the commanders

A prepositive definition, which has only an attributive meaning, is not isolated, but a definition complicated by an adverbial meaning is isolated. Wed: Brown twigs tangled with peas stuck out closely on the ridges(T.). - Tightly tied to young oak trees, our good horses suffered terrible torture from the attack of a gadfly.(Ax.). Prepositive application relating to own name, is not isolated if it has only an attributive meaning, and is isolated if it is complicated by a circumstantial meaning. Wed: ...My comrade Emelyan Pilyai took his pouch out of his pocket for the tenth time...(M.G.). - A short man, Tiomkin was almost invisible from behind the podium(Already). A circumstance expressed by a noun in the indirect case with a preposition is isolated if, in addition to its main meaning (for example, temporary O th) has an additional connotation of meaning (for example, causal, conditional, concessional). Wed: As night approached, everything around me changed strangely.(T.). - As the enemy approached Moscow, Muscovites’ view of their situation not only did not become more serious, but, on the contrary, became even more frivolous(L.T.). Connection members are connected to the rest of the sentence using various words and combinations: even, for example, in particular, especially, especially, mainly, including, and(meaning “and moreover”), and in general etc. For example: In an imperceptible way I became attached to a kind family,even to a crooked garrison lieutenant(P.); What do you tell a sculptor to do?and even bad? (T.); Everyone was very confusedespecially my mother(Hertz.); Suddenly the wind blewand with such strengththat he almost snatched Yegorushka’s bundle and matting(Ch.); The most backward of the partisans,including squad leaders, became agitated, made noise(Fad.) Other ways to complicate PP: introductory constructions, appeals, series of homogeneous members

When editing text, along with individual sentences and phrases, groups of closely related independent sentences are of particular importance. Such a qualitatively new unit - a combination of several interconnected thematically (in meaning) and syntactically sentences, serving for a more complete development of thought compared to a separate sentence, is called complex syntactic whole(or prosaic stanza). This definition of prose stanza was given by G.Ya. Solganik in his book “Syntactic Stylistics”, based on the materials of which this chapter was written. The transition from the syntax of a single sentence to the syntax of a whole text is important for the vast field of stylistics, covering literary editing, the basics of journalism and writing, translation, text analysis, and poetics.

If you do not go beyond the scope of a single sentence, then the analysis of the text will be impoverished, and it will be difficult to grasp the stylistic originality of the work. It is the concept of a complex syntactic whole (prose stanza) that makes it possible to restore the missing links in the transition from the syntax of a sentence to the syntax of the whole text. On the one hand, prose stanzas reveal purely syntactic features (means of communication between sentences); on the other hand, prose stanzas are directly related to the composition, stylistic and artistic originality of the work.