The specificity of the representation of the language game. Linguistic features of the language game in the speech of a strong linguistic personality
The term "language game" belongs to the Austrian philosopher and logician, Ludwig Wittgenstein. Before considering the concept language game", Ludwig Wittgenstein thinks about the very concept of a game. He writes: "Consider, for example, the processes that we call "games". I mean card games, ball games, wrestling, etc. What do they all have in common?<. >. looking at them, you do not see something in common, inherent in all of them, but you notice similarities, kinship, and, moreover, a number of such common features.<. >. we could go through many, many kinds of games, watching the similarities between them come and go.<. >. we see a complex network of similarities overlapping and intertwining with each other ". The philosopher calls such similarities "family" - "And I will say that" games "form a family." Wittgenstein talks about the blurring of the concept of "game", about the impossibility of defining general characteristics and properties of the game as a whole, what is inherent in one game does not fit the description of another at all: victory and defeat do not take place in the ordinary tossing of the ball, and skill and luck are not inherent in the game of chess. described all the games in general exactly "You don't really know what you mean by the word game," says Wittgenstein.
According to Wittgenstein, "language game" does not mean only recreational activities. So, L. Wittgenstein noticed that people communicate not only with declarative sentences, they ask, thank, give orders, ask, curse, make jokes, and so on. Thus, he comes to the conclusion that there are an infinite number of types of sentences, and all this is included in the human language: "infinitely diverse are the uses of all that we call "signs", "words", "sentences". And this multiplicity does not represent something stable, given once and for all, on the contrary, new types of language arise, or, one might say, new language games, while others become obsolete and forgotten.<. >The term "language game" is intended to emphasize that speaking a language is a component of an activity or a form of life.
Thus, according to L. Wittgenstein, all human life is a set of language games: "Language game" I will also call a single whole: language and actions with which it is intertwined. "According to this conclusion, the term" language game "takes on a broader , philosophical meaning (as opposed to a narrow linguistic one). Wittgenstein believed that philosophy finds its roots in the complex labyrinths of language and is "listening", "peering" into his work, that the abyss of human problems lies in linguistic realities. L. Wittgenstein compares human language with the city: "Our language can be viewed as an ancient city: a labyrinth of small streets and squares, old and new houses, houses with outbuildings from different eras; and all this is surrounded by many new areas with straight streets of a regular layout and standard houses ". And further:" To imagine some kind of language means to imagine some form of life ". Thus, reality itself, perceived through the prism of language, is a set of language games Thus, many of the initial actions of a person can be called a game, for example, traditional ceremonies and magic rituals are of a playful nature.A game is also a communication between people, which can occur in three ways:
1. Playing within the framework of non-verbal (non-verbal) communication, for example, sports games;
2. Game within the framework of verbal (verbal) communication, for example, language games like crosswords and puzzles;
3. A game that combines verbal and non-verbal communication, such as a dramatic performance.
Operating principle word game can be described in the words of I. Huizinga: "Playing, the speech-creating spirit now and then jumps from the realm of matter to the realm of thought. Every abstract expression is a speech image, every speech image is nothing but a play on words." And further: “We would not like to delve here into the lengthy question of the extent to which the means that our speech has at its core are in the nature of the rules of the game. Is it always in logic in general and in syllogisms in particular that the effectiveness of terms and concepts is recognized here in the same way as it is the case for chess pieces and fields chessboard?" . According to Huizinga's understanding, any abstract word, or a combination of such words, can be called a word game, since the game exists at the level of speech creation. That is, it was laid down in the process of creating a language form.
According to V.Z. Sannikov, the language game is some (comic) deviation from the norm, something unusual. The author also draws attention to the fact that this deviation from the norm should be clearly understood and deliberately allowed by the speaker (writer); the listener (reader), in turn, must understand that "it is said so on purpose" in order not to evaluate the corresponding expression as a mistake, thereby he accepts this game and tries to reveal the deep intention of the author. In other words, language play is the deliberate use of the tropeic and figurative possibilities of language.
But it is also necessary to draw a clear line between the notions of a "language game" and a "language joke", which is a "verbal form of the comic". Undoubtedly, the language game is mainly aimed at achieving a comic effect, but the statement acquires a comic coloring only if it does not cause other, stronger emotions that prevent the creation of a comic effect. In our opinion, one can quite definitely speak of a language joke precisely as a kind of language game aimed solely at creating a comic effect. While the language game is a kind of manipulation of language, and the achievement of comedy is far from the only goal of such manipulation. From the same book by V.Z. Sannikov, we will give an example when the language game is used not for the purpose of ridicule, but with the aim of convincing judges of the innocence of a person, thereby saving him:
"One St. Petersburg lawyer (F.N. Plevako?) spoke in the case of the murder of a boy. The killer (a 25-year-old hunchback) admitted that he had killed the boy who teased him. And the lawyer achieved an acquittal for the killer! He structured his speech like this. " Lord! Lord! Lord! Gentlemen!." - and so on for several minutes. And the reaction of the audience changed - at first slight bewilderment, then laughter, then indignation, shouts: "This is a mockery! Get out!" And then the lawyer finished his speech: "So, gentlemen. You were furious because I repeated the polite address to you. And for 25 years my client listened to how they shouted “The Hunchback” to him, endlessly reminding him of his misfortune.
Here, in our opinion, we are talking about the language game, but not about the language joke. Thus, one can come to the conclusion that different expression (form) of thoughts leads to different results. Any speaking in a language, in which more or less attention is paid to the form of speech, will be a language game, only the goals of this game can be very different, and depending on the specific task of speaking, you can determine the type of language game. It should be noted that for an adequate understanding of the language game by the addressee, the author must take into account the presence of certain knowledge of the recipient, as well as the cultural space in which communication takes place.
It should also be noted that one of the main characteristics of the language game is the pluralism of the meanings of the word. Indeed, the main, most common type of language game - a pun - is built on the play on lexical polysemy or homonymy. For the language game, resources of all language levels are used (albeit not equally):
Phonetics, graphics, spelling. The parodist Yevgeny Vensky, parodying Andrei Bely, uses phonetic means - the repetition of one sound:
Skinny, how strong are you.
Skinny, kashchei those in cabbage soup! Like a mother-in-law, draw strength.
You are the futility of beauty.
A comical impression is made by A. Chekhov's jokingly hysterical address in a letter to his brother Alexander: "Brother!" Playful signatures are also curious, for example, the signature of one of the Poltoratskys, combining letters and numbers: 1/2tsky, or the signature of the translator Fedor Fedorovich Fidler - F.F. F. or: F3 (ef cubed).
Morphology. Sometimes language jokes play with (and thereby emphasize) the "inviolability" of the word (word forms). Only as a joke it can be cut into pieces:
Write me something about Karamzin, oh, oh (A. Pushkin).
[From the jokes about the absent-minded professor Kablukov]: Leaving the audience, the professor says: "The next lecture will be held on Tuesday", and then shouts at the door: "nick!"
The dissection of the word anxiety into parts is wittily played up by N.S. Leskov in the story Midnighters: Nikolai Ivanovich was easier to the people, but what an entrepreneurial passion: he is constantly in three unrest, and everything is in a hurry to solve the issue everywhere.
Boris Pilnyak successfully uses this technique in the novel The Naked Year. In Moscow, during the years of the Civil War, a person reading a shop sign in warehouses: "Commutators, batteries", understands it in the spirit of revolutionary intransigence ("To whom - tators, and to whom - lyators") and is indignant at inequality: "Look, and here they are deceiving simple people!"
Sometimes the absence of one or another member of the paradigm is played up. On the difficulty of forming the form will give birth. case pl. number of the word poker (poker? poker? poker?) M. Zoshchenko built, as you know, a whole story (recall that the authoritative reference books of A.A. Zaliznyak, N.A. Yeskova and others unequivocally recommend the form poker here, indicating however, its difficulty).
Often, an ignorant understanding of foreign proper names on - a, - i as denoting female persons is often played up:
Just think, Spinoza has been found!
Senechka. Maria Sergeevna, I loved you without impudence, politely, like Dante his Petrarch (V. Shkvarkin).
The comic effect is produced by the formation of a comparative or superlative degree from words that do not have it: Let you be the devil. Yes, our devils / All the devils / A hundred times the devils (A. Tvardovsky. Vasily Terkin).
[Children talking]:
My dad told me.
My mother told me herself.
But dad is better than mom. Dad is much more (K. Chukovsky. From two to five).
Playing with the category of the person of the verb is the use of one person instead of another. A. Chekhov liked to use this technique. Here are examples from his letters to his wife, O.L. Knipper-Chekhova, where he jokingly refers to himself in the third person: kiss you hard. Don't forget your husband. He's angry, fighting; Do not forget your husband, remember him at least once a day. I hug you, my drunkard. Your husband is wearing frayed trousers, but he doesn't drink.
Another example is a play on the category of the perfect form of verbs indicating the short duration of the action:
Why are you blowing the trumpet, young man?
Would you rather lie in a coffin, young man (O. Mandelstam).
In "normal" word usage, if, for example, you can lie down in a bed and lie down in it, then you can only lie down in a coffin.
Word formation. The language game may consist, in particular, in violation of the restrictions on the formation of possessive adjectives. Compare: His [Kerensky's] eyes are Bonaparte and the color of a protective jacket (V. Mayakovsky).
Another widespread phenomenon is the non-standard use of augmentative and diminutive suffixes. M.E. loved this technique very much. Saltykov-Shchedrin to discredit their heroes. Wed: But now he becomes an official. Is he not worthy, is he not a contemptible vessel? I'm sorry, jerk! with what trepidation he takes a piece of paper in his hand, sharpens a feather with a knife, how his miniature imagination works, how his tiny thought labors, inventing<. >every expression of an intricate relation. Here are a few more examples from the works of Saltykov-Shchedrin: Projectists; poets and poetics; naughty; naughty; talker.
The use of Russian derivational prefixes and suffixes in foreign proper names has a similar effect, geographical names. Here's a joke - a dark political prophecy for the year 2000: New York Times headline: Texas, Michigan and Mississippi collective farmers over-fulfilled their spring sowing plan.
Syntax. Some syntactic constructions are ambiguous, and this allows them to be used in a language game:
"What are you doing there, Manichka, are you reading so loudly!?" - "History, mother." - "So read about yourself." - "Yes, in History, Mom, nothing is written about me" (magazine "Satyricon").
Some gentleman, a member of the funeral procession, turned to a neighbor: "Will you tell me who the dead man is?" - “I don’t know for sure. I think it’s just the one that rides in the front carriage” (Jules Renard).
The adverbial turnover may indicate a simple simultaneity of unrelated events, but may also contain a rationale for what is described in the first part of the sentence, cf .:
[Family Scene]: "I was a fool to marry you!" - "Yes, but I was then so infatuated with you that I did not notice it."
In some cases, the joke is based on a deliberate violation of the principles of word compatibility:
He left by train, returned as a donkey.
Today, by evening horse, I return to my dear Odessa (film Elusive Avengers).
The boy asks: Where is the mother of this girl? (similar to: Where is the head from this doll?).
Introductory words and phrases like you see, you understand, etc., it would seem, are appropriate for any appeal to you. There are, however, such specific conditions when their use leads to a comic effect, for example at a funeral:
Sleep well, dear friend! The memory of you, you see, will remain in our hearts for a long time. Got it, no?
Some syntactic constructions assume the plural of the noun included in them, which can only be jokingly replaced by the singular:
Under Alexander I, in official court announcements, people of such and such ranks, as well as noble persons of both sexes, were invited to receptions. Zhukovsky did not have a certain rank in the service at court. He joked that on solemn holidays and days of court exits he was a noble person of both sexes (Russian literary anecdote).
Verbs denoting the physical actions of specific creatures (run, walk, walk) are reluctant to combine with the designations of geographical units, and the larger the unit, the more unusual it feels:
But daddy and mommy fell asleep in the evening,
And Tanechka and Vanechka run to Africa [.]
Walking along Africa
Figs-dates are plucked (K. Chukovsky. Barmaley).
Stylistics. The comic impression is made by the use of special terminology - sports, military, scientific and technical, etc. when describing ordinary everyday situations:
At the wedding of an athlete, a woman addresses a young man:
Excuse me, are you the groom?
No, I was eliminated in the quarterfinals.
Hey, Slavs, from the Kuban, / From the Don, from the Volga, from the Irtysh, / Occupy heights in the bathhouse, / Settle in slowly! (A. Tvardovsky. Vasily Terkin)
[Declaration of love of a mathematics student]: Natasha, dear, desired! / The triangle of passions wounded me / Multifaceted love stuck (M. Isakovsky. Formula of love).
Comic effect can be created by parodying style features:
With rich booty, the hunter Chertteznaev returned to his native camp. What was the surprise of the 60-year-old hunter when it turned out that the fur of the two foxes he had killed was artificial! This is not the first time foxes with artificial fur have been shot in Yakutia (Literaturnaya Gazeta, page 13).
A large comic charge is contained in the so-called macaronic speech, where words and forms from different languages are mixed, cf .:
Ardalyon Pankratyevich (beet nose, dull eyes) entered the ward and (in a sour voice):
Mother, give me a cup.
Ardalion's maidens were alarmed, nodded their bodies, performed politeness with conversion:
Purkua, Vater, are you whipping vodka early in the morning? (A. Fleet, a parody of Peter I A. Tolstoy).
The comic effect is created here by a mixture of three languages - Russian (colloquial-archaic), German and French.
Many authors like to play not with individual words or combinations of words, but with whole texts. A simple combination of two texts (quite neutral or even poetically sublime!) can lead to ambiguity and produce a comic effect, as happens in N. Teffi's story, where lines from two Pushkin's poems are combined:
Pushkin. was inspired by the nanny for his best works. Remember how Pushkin spoke of her: "My decrepit dove. My decrepit dove. My treasures are hidden at the bottom of yours." - Pardon, - the young man intervened. - it's like an inkwell.
Pragmatics. There are general patterns of communication that should guide all speakers, no matter what language they speak. One of these postulates is the postulate of informativity ("Report something new"). Pushkin, violating it, achieves a comic effect in the following (completely uninformative) appeal to Pavel Vyazemsky: My soul, Pavel, / Stick to my rules: / Love this, that, / Do not do that. / Say it's clear. / Farewell, my beautiful.
Another postulate is the postulate of truth or sincerity ("Tell the truth"). Its violation is also unusual, and can sometimes lead to misunderstanding. Recall the scene when Pinocchio with the cat Basilio and the fox Alice come to the tavern:
The owner of the tavern jumped out to meet the guests<. >
It would not hurt us to have a bite to eat at least a dry crust, - said the fox.
At least they would treat you with a crust of bread, ”the cat repeated.<. >
Hey, master, - Pinocchio said importantly, - give us three crusts of bread.
Cheerful, witty Pinocchio is joking with you, master, - the fox giggled.
Meanwhile, Pinocchio was not joking, he strictly followed the postulate of truth (sincerity). He did not take into account that the Cat and the Fox (like all of us) tend to exaggerate (or underestimate), cf .: I told you a million times .; Can I have you for a second? We are accustomed to such inaccuracies, exaggerations, but Pinocchio is not yet.
Another example of a violation of the postulate of truth to create a comic effect: Gypsies run around, dirty ones - it's scary to look at. Take such a gypsy, wash him with soap, and he immediately dies, cannot stand cleanliness (A. Tolstoy. The Adventures of Nevzorov, or Ibicus).
Often, in a language game, features of different types of speech acts (such as statements, requests, questions, etc.) are used. Sometimes one type of speech act "disguises" itself as another: a request in the form of a question (Could you pass me some salt?), etc. Here is an anecdote that plays on this phenomenon:
Tour guide: "If the ladies had been silent for a minute, we would have heard the terrifying roar of Niagara Falls." Request to be silent (with elements of reproach) - stated as an assumption.
The so-called communicative failures (the result of a different understanding of the purpose of the statement) can also be played up:
Doctor - patient: "Undress!" - "And you, doctor?"
The language game has many of the features that are characteristic of the game in general. Like the category of the game, the verbal game creates a special, conditional model of reality. Thus, humanity again and again creates its expression of being, a second, fictional world next to the world of nature. In any textual space, the conditional model manifests itself in a double language code, which both the author and the recipient use due to the verbal game, moving from an explicit way of expressing the perception of meaning to an implicit one and vice versa, which defines both as Homo ludens. In addition, the language game also has a special beauty, it has a kind of rhythm and harmony. The verbal game lives according to certain rules, which are accepted by two playing parties: the author of the game and its recipient, who, in the process of guessing the meanings, becomes a co-author of this communicative process. But, as for the rules for constructing a language game, they can be both freely established and violated. Moreover, there is no less sense in the act of destroying a certain author's construction than in the act of creation, and the creative effect in this case is even more significant. The language game, along with the concept of a game, often contains a certain secret, a mystery. This postulate is reflected in the camouflage function performed by the language game. After all, according to 3. Freud, the language game, as it were, hides the indecent, forbidden, cynical, absurd. And, finally, the language game gives satisfaction. The addressee receives aesthetic pleasure from unraveling the elements of the verbal game, which is determined by R. Barth as pleasure from the "complexity of meaning". This increases the recipient's own self-esteem. At the same time, the player talks about the pleasure of the game, but in fact it is the pleasure of oneself with the help of the game. And since a person is a tireless seeker of pleasure, this property most attracts the recipient's attention to the phenomenon of a language game. Like the phenomenon of play itself, language play has no specific practical goals other than pleasure and avoidance of boredom. Moreover, it is this property that is called by the philosopher J. - F. Lyotard as one of the main ones. Confirmation of this is folk speech or literature, where the continuous inventing of turns, words and meanings brings great joy, while developing the language. Moreover, the pleasure of the game is received not only by the recipient, but also by the author himself, who, using the means of the language game, achieves the effect of extreme sharpening and clarification of the meaning. The absence of a goal gives rise to the absence of a previously known result planned by the goal, which gives the game dynamism, turning it into an endless process and concluding its meaning not in the end, but in the movement itself.
The language game, in addition to following certain goals, also implements specific functions. Among them:
aesthetic function, which consists in a conscious desire to experience and evoke in recipients a sense of beauty by the very form of speech;
a gnostic function aimed at generating a new model of the world by recreating the already existing linguistic material;
hedonistic function, its essence - in entertaining the recipient with an unusual form of speech;
a pragmatic function aimed at drawing attention to the original form of speech;
the expressive function serves as a more figurative, and, accordingly, more subtle transmission of thought;
the pictorial function helps to visually recreate the situation of speaking, as well as in some way characterize the person whose words are being transmitted;
occasionally, researchers highlight the poetic function of the language game.
This is how the authors of a monograph devoted to the problems of Russian colloquial speech justify this position: “When playing, the speaker pays great attention to the form of speech, and the focus on the message as such is the most characteristic feature of the poetic function of the language. Thus, the game function of the language is one of the private types of poetic function";
a camouflage function that puts a "mask" of decency, prudence and logic on any obscene, cynical or even absurd text.
Many linguists consider the language game as "a special kind of speech-creative semiotic activity". Like any game, it is played according to the rules, which include:
1) the presence of participants in the game - the producer and recipient of speech;
2) the presence of game material - linguistic means used by the author and perceived by the speech recipient;
3) availability of game conditions;
4) familiarization of participants with these conditions;
5) the behavior of the participants in accordance with the conditions and rules.
"The condition of a language game, concerning the behavior of its participants, is understood as the mandatory use in the process of a language game of such a type of mental activity, in which the speech producer appeals to the recipient's presumptive knowledge and "pushes" him to establish an inference, the premises of which are a verbalized text and non-verbalized presuppositions - a fund of general knowledge of the producer and recipient of speech". At the same time, the immutability of the rules or conditions of the language game should be noted, even the slightest deviation from them means an attempt to exit the game.
MINISTRY OF EDUCATION AND SCIENCE
RUSSIAN FEDERATION
Federal State Budgetary Educational Institution of Higher Professional Education
"KUBAN STATE UNIVERSITY"
(FGBOU VPO "KubGU")
Department of General and Slavic-Russian Linguistics
BACHELOR'S FINAL QUALIFICATION WORK
Linguistic features of the language game in the speech of a strong linguistic personality
Work completed
4th year student K.N. Zabunova
Faculty of Philology
Specialty 031000.62 philology
scientific adviser
d.f. n., Professor E.N. Ryadchikov
Comptroller
Candidate of Philological Sciences, Associate Professor V.V. Roan
Krasnodar 2014
Introduction
Linguistic features of the language game in the speech of a strong linguistic personality
1 Understanding linguistic personality in modern linguistics
2 Types and types of linguistic personality (weak, average, strong)
Linguistic studies of the language game
2 Language game definition
4 Criteria and properties, types and methods of the language game
5 Functions of the language game
6 Means and techniques of a language game used in the speech of a strong linguistic personality
7 Basic means and techniques of a language game in the speech of a strong linguistic personality
Conclusion
List of sources used
Introduction
The relevance of the research topic is largely due to the fact that the language game needs a comprehensive study. Currently, many works have been written on the study of the language game in the speech of linguistic personalities. However, there are no specific criteria for assessing a linguistic personality and a unified classification of a language game.
Exists great amount language personalities, whose language game can become the most interesting material for study. For example, the language of M.M. Zhvanetsky and F.G. Ranevskaya. There are practically no linguistic studies devoted to the linguistic analysis of their work. Meanwhile, the language game in the work of these bright linguistic personalities is diverse and unique. The turns of their speech became popular expressions and quotations. We encounter them on the pages of newspapers, in social networks, in the media, we hear from friends. Their popularity is growing day by day. Collections of their works and statements have been published. The turns of speech of these outstanding people are characterized by a deep meaning, which is not always immediately clear, so their linguistic analysis can contribute to the comprehension of hidden meanings expressed in game form, and individuals themselves.
The object of the study is the speech parameters and features of the speech use of linguistic personalities that can be classified as strong.
The subject of the study was the statements of the Soviet theater and film actress Faina Georgievna Ranevskaya and the modern satirist Mikhail Mikhailovich Zhvanetsky.
The purpose of the study is to identify the features of the language game in the speech of a strong linguistic personality.
The tasks are defined by the goal and boil down to the following:
identify the main means and techniques of the language game used in the speech of a strong linguistic personality;
characterize a weak, average and strong linguistic personality;
determine the main criteria and properties, types and methods of the language game; language game speech Ranevskaya
to study the main functions of the language game;
The methodological basis of the research is the works in the field of studying the language game and linguistic personality of M.M. Bakhtin, V.V. Vinogradov, L. Wittgenstein, V.I. Karasika, E.N. Ryadchikova, V.Z. Sannikov, J. Huizinga and other scientists.
The illustrative material was taken from the book by I.V. Zakharov (Zakharov, 2002), the official site of M. Zhvanetsky and Internet resources. The card index is more than 250 units.
Scientific methods used in the study: component analysis method, descriptive method, semantic analysis method, classification.
The theoretical significance is determined by referring to the concepts of "language game", "language personality", "syntactic-semantic morphology", their development and structuring, as well as the possibility of applying the results achieved in scientific works devoted to the language game in the speech of a linguistic personality.
The scientific novelty of the study lies in the fact that in linguistics there has not yet been developed a direction that would study the language game in the speech of a linguistic personality from the point of view of syntactic-semantic morphology. This work is one of the first systematic studies in this direction.
The practical value of the study lies in the fact that its materials can be used in teaching university courses and special courses on the theory and practice of speech communication, rhetoric, imageology, speech game, text analysis, syntactic semantics, and also become the basis for further study of the language game in speech. other linguistic personalities.
Approbation of the work was carried out at the annual student scientific conference "Science and creativity of young researchers of KubSU: results and prospects" (April 2012, April 2013).
1. Linguistic features of the language game in the speech of a strong linguistic personality
1 Understanding linguistic identity
A person's speech is his inner portrait. D. Carnegie argued that a person is always judged by his speech, which can tell insightful listeners about the society in which he rotates, about the level of intelligence, education and culture (Carnegie, 1989).
The term "linguistic personality" was first used by V.V. Vinogradov in 1930. He wrote: “... If we rise from the external grammatical forms of the language to more internal (“Ideological”) and to more complex constructive forms of words and their combinations; if we recognize that not only the elements of speech, but also the compositional techniques of their combinations, associated with the peculiarities of verbal thinking, are essential features of linguistic associations, then the structure of the literary language appears in a much more complex form than Saussure's planar system of linguistic correlations. And the personality included in different of these "subjective" spheres and including them in itself, combines them into a special structure. In objective terms, everything that has been said can be transferred to speech as a sphere of creative disclosure of a linguistic personality ”(Vinogradov 1930, pp. 91-92).
In modern linguistics, the problem of studying a linguistic personality is one of the most relevant, since “one cannot know the language itself without going beyond it, without turning to its creator, carrier, user - to a person, to a specific linguistic personality” (Karaulov, 1987 ). As V.I. Karasik, the science of linguistic personality, or linguopersonology, is “one of the new areas of linguistic knowledge. Yu.N. Karaulov, whose book focused the interests of linguists on the development of the problem of linguistic consciousness and communicative behavior (Karaulov, 1987). The term "linguopersonology" was introduced and substantiated by V.P. Unknown (1996). Linguopersonology as an integrative field of humanitarian knowledge is based on the achievements of linguistics, literary criticism, psychology, sociology, cultural studies (Karasik, 2007).
To date, a global, interdisciplinary approach has been formed to interpret the essence of language as a specific human phenomenon, through which one can understand the nature of the individual, his place in society and ethnicity, his intellectual and creative potential, i.e. to comprehend for oneself more deeply what a Man is (Susov, 1989). As E.A. Dryangin, “ideas concerning the features of this concept were presented in the works of V.V. Vinogradova (“On Fiction”), SlavchoPetkova (“Ezik and Personality”), R.A. Budagova (Man and his language). But in none of these works there is no way out to a real holistic linguistic personality as a linguistic object" (Dryangina, 2006).
For modern science, interest is no longer just a person in general, but a person, i.e. a concrete person, a bearer of consciousness, language, having a complex inner world and a certain attitude towards fate, the world of things and his own kind. He occupies a special position in the Universe and on Earth, he constantly enters into a dialogue with the world, himself and his own kind. Man is a social being by nature, human in man is generated by his life in the conditions of society, in the conditions of the culture created by mankind (Leontiev, 1996). The image of the world is formed in any person in the course of his contacts with the world and is the main concept of the theory of linguistic personality (Samosenkova, 2006).
“The word personality, which has a bright coloring of the Russian national-linguistic system of thought, contains elements of an international and, above all, European understanding of the corresponding range of ideas and ideas about man and society, about social individuality in its relation to the collective and the state” (Vinogradov, 1994).
E. Sapir also spoke about the mutual influence of the personality and its speech (Sapir, 1993).
One of the first references to the linguistic personality is associated with the name of the German scientist J.L. Weisgerber. The concept of a linguistic personality began to be developed in detail by G.I. Bogin, who created a model of a linguistic personality, where a person is considered from the point of view of his "willingness to perform speech actions, create and accept works of speech" (Bogin, 1986). The active, active aspect is also emphasized as the most important for a linguistic personality by other scientists: “A linguistic personality is characterized not so much by what she knows in the language, but by what she can do with the language” (Biryukova, 2008). G.I. Bogin understands a linguistic personality as a person as a carrier of speech, who has the ability to use the language system as a whole in his activity (Bogin, 1986). Yu.N. Karaulov: “A linguistic personality is a personality expressed in language (texts) and through language, there is a personality reconstructed in its main features on the basis of linguistic means” (Karaulov, 1987).
The study of linguistic personality is currently multifaceted, large-scale, and draws on data from many related sciences (Krasilnikova, 1989). “The concept? language personality? formed by a projection into the field of linguistics of the corresponding interdisciplinary term, in the meaning of which philosophical, sociological and psychological views are refracted on a socially significant set of physical and spiritual properties of a person that make up his qualitative certainty” (Vorkachev, 2001).
A linguistic personality is a social phenomenon, but it also has an individual aspect. The individual in a linguistic personality is formed through an internal attitude to the language, through the formation of personal linguistic meanings, while the linguistic personality influences the formation of linguistic traditions. Each linguistic personality is formed on the basis of the appropriation by a specific person of all the linguistic wealth created by his predecessors. The language of a particular person consists to a greater extent of the general language and, to a lesser extent, of individual linguistic features (Mignenko, 2007).
Yu.N. Karaulov identifies three levels of linguistic personality: verbal-semantic, linguo-cognitive (thesaurus), and pragmatic (or motivational) (Karaulov, 1987). He speaks “of three ways, three ways of representing a linguistic personality, which is oriented towards linguodidactic descriptions of a language. One of them proceeds from the above-described three-level organization (consisting of the verbal-semantic or structural-systemic, linguistic-cognitive or thesaurus, and motivational levels) of a linguistic personality; the other is based on the totality of skills, or readiness, of a linguistic personality to carry out various types of speech and thought activities and perform various kinds of communicative roles; finally, the third is an attempt to recreate a linguistic personality in three-dimensional space a) data on the level structure of the language (phonetics, grammar, vocabulary), b) types of speech activity (speaking, listening, writing, reading), c) degrees of language acquisition "(Karaulov , 1987).
So, already from the definitions of a linguistic personality presented by Yu.N. Karaulov, followed by the fact of heterogeneity, the difference in the "qualitative attitude" of linguistic personalities. The scientist wrote: “A linguistic personality is understood as a set of abilities to create and perceive speech works (texts), differing in the degree of structural and linguistic complexity, accuracy and depth of reflection of reality, a certain purposefulness” (Karaulov, 1987). It is quite obvious that not only speech products differ in complexity, but also the indicated abilities of people are different. Accordingly, a linguistic personality should not be considered as something homogeneous, but a certain gradation should be made, a hierarchy of types of linguistic personality should be created. “The very choice of means of designation can be interpreted as a speech act, characterizing, as such, the one who performs this act, according to its personal (intersubjective), interpersonal and social aspects” (Telia, 1986). It follows that the speech acts of the individual are able to differentiate the speaking / writing person. Personality in communication, in communicative discourse can manifest itself “as contact and non-contact, conformist and non-conformist, cooperative and non-cooperative, hard and soft, straightforward and maneuvering. It is the person who is the subject of the discourse that gives the speech act one or another illocutionary force or direction. Personality is integral part discourse, but at the same time she creates it, embodying in it her temperament, abilities, feelings, motives of activity, individual characteristics of the course of mental processes” (Zakutskaya, 2001).
A.V. Puzyrev also defends the idea of a multi-level linguistic personality, pointing to such incarnations as mental (the archetypes of consciousness dominating in society), linguistic (the degree of "development and features of the language used"), speech (the nature of the texts that filled time and space), communicative (the ratio of communicative and quasi-communicative, actualizing and manipulative types of communication) (Puzyrev, 1997). This idea is supported and developed by S.A. Sukhikh and V.V. Zelenskaya, who understand the linguistic personality as a complex multi-level functional system, including levels of language proficiency (language competence), proficiency in ways to carry out speech interaction (communicative competence) and knowledge of the world (thesaurus) (Sukhikh, Zelenskaya, 1998). Researchers believe that a linguistic personality necessarily has a feature of verbal behavior (linguistic trait), which is repeated at the exponential (formal), substantial and intentional levels of discourse. At the exponential (formal) level, the linguistic personality manifests itself as active or conscious, persuasive, hasitive or unfounded; at the substantial level, it has the qualities of concreteness or abstractness; At the intentional level, the linguistic personality is characterized by such features as humorousness or literalness, conflict or cooperativeness, directiveness or decentering (Sukhikh, Zelenskaya 1998). Each of the levels of the linguistic personality is reflected in the structure of the discourse, which has, respectively, formal or exponential, substantial and intentional aspects.
In linguistics, a linguistic personality finds itself at the crossroads of study from two positions: from the position of its ideolecticity, that is, individual characteristics in speech activity, and from the standpoint of the reproduction of a cultural prototype (see: Kulishova, 2001).
2 Types and types of linguistic personality
Linguistic personality is a heterogeneous concept, not only multilevel, but also multifaceted, diverse.
V.B. Goldin and O.B. Sirotinin distinguishes seven types of speech cultures: elite speech culture, "medium literary", literary colloquial, familiar colloquial, colloquial, folk speech, professionally limited. The first four types are the speech cultures of native speakers of the literary language (Goldin, Sirotinina, 1993).
The level division of speech ability (G.I. Bogin, Yu.N. Karaulov) provides for the lower, semantic-combatant, and the higher, motivational-pragmatic, levels, the last of which is characterized by efficiency associated with intellectual activity, as well as with various affects and feelings, developed general and speech culture of a person (Biryukova, 2008). Yu.V. Betz characterizes three levels of language proficiency as “pre-systemic”, systemic and “super-systemic”. “A mistake tends to the first level of language acquisition, intentional deviation from the norm to the third level, and correct speech (and hidden speech individuality) to the second” (Bets, 2009). All linguistic facts can be distributed, the researcher believes, into three categories: 1) errors and shortcomings; 2) the right options; and 3) innovations that testify to the creative use of the language system. “A noticeable predominance of one of the categories indicates the level of development of a linguistic personality, the degree of language acquisition” (Bets, 2009).
N.D. Golev proposes to qualify the types of linguistic personality according to the strength and weakness of the manifestation of signs, depending on its ability to produce and analyze a speech work, as “creative” and “hoarding”, “meaningful” and “formal”, “onomasiological” and “semasiological”, “mnemonic”. ” and “inferential”, “associative” and “logical-analytical” types (Golev, 2004). The possibility of expanding the concept of linguistic personality occurred due to the inclusion of the provisions of social psychology about its formation in communication and understood as a "model of interpersonal relations" (Obozov, 1981; Reinvald, 1972).
As V.I. Karasik, linguistic classifications of personalities are built on the relationship of personality to language. There are people with a high, medium and low level of communicative competence, carriers of a high or mass speech culture who speak the same language, and bilinguals who use a foreign language in natural or educational communication, capable and less capable of linguistic creativity, using standard and non-standard means of communication. (Karasik, 2007). At the same time, the degree of competence is presented as a concept that is designed to regulate both successes and failures in the process of communication, since competence is felt both ontologically and phylogenetically (Tkhorik, Fanyan, 1999).
V.P. Neroznak distinguishes two main types of individual human language personality: 1) standard, reflecting the average literary processed norm of the language, and 2) non-standard, which combines the "tops" and "bottoms" of the culture of the language. The researcher refers writers, masters of artistic speech to the top of culture. The lower levels of culture unite the bearers, producers and users of a marginal language culture (anticulture) (Neroznak, 1996).
According to G.G. Infantova, within the limits of the literary language, based on the level of its development, three types of speech cultures are clearly distinguished: the culture is elite (super high), the culture is “average literary” (generally quite high), and the culture is literary-reduced. However, these terms, the researcher notes, are very conditional. Each of the types of speech cultures has subtypes, and between them there are syncretic, intermediate varieties. Based on the profession, occupation, linguistic personalities of different types can be distinguished, for example: personalities for whom learning a language, speech activity is an element of the profession (philologists, teachers, actors, announcers, writers, etc.), and linguistic personalities who they implement the language system in speech not as a component of their own professional activity. At the same time, people of the same specialty can speak the language / speech at different levels. Thus, teachers can be carriers of both elite and “average literary” speech culture (Infantova, 2000).
O.A. Kadilina proposes a classification of linguistic personalities, which includes three components: 1) a weak linguistic personality; 2) average language personality; 3) a strong (elitist) linguistic personality (Kadilina, 2011). This classification seems to us the most accurate.
Consider the main parameters of each of these types.
Average language personality
The concept of the average native speaker in the linguistic literature has not yet been defined, the scope of his regional knowledge for any language has not been exhaustively described. (On the "middle level theory" in modern linguistics, see, for example: Frumkina, 1996; Fedyaeva, 2003). There is also no single answer to the question of how much the average native speaker knows about this or that fact. Whether his knowledge is limited to the volume of an explanatory dictionary, to what extent encyclopedic information is presented, where the boundary between individual and social associations is difficult to determine (Ivanishcheva, 2002).
Perhaps the study of the “average” native speaker does not arouse much interest among Russian linguists, not only because of the blurring of the boundaries and criteria for such a person, but also because “in the Russian language, the mediocrity of a person, his averageness, the lack of clear individual traits are negatively assessed; in the cultural-linguistic society of native speakers of the Russian language, the qualitative uncertainty of the personality is negatively assessed - the half-heartedness, the instability of its value-motivational structure" (Zelenskaya, Tkhorik, Golubtsov, 2000).
HE. Ivanishcheva notes that “for? an average native speaker? our contemporary is accepted, having a secondary education (who graduated from school at least ten years ago), without taking into account age, gender, occupation, field of activity (E.M. Vereshchagin), the author of the study (V.Ts. Vuchkova), an average linguistic personality, those. one abstract native speaker instead of a set of individuals in a mass linguistic study (you, me, they, an old man, Napoleon, Mohammed ... in one) (Yu.N. Karaulov). “I think,” writes O.N. Ivanishchev, that the concept of an average native speaker includes two aspects - the content (level) of knowledge and their volume. To determine what the average native speaker should know may mean, on the one hand, the definition of a "minimum of cultural literacy"; what everyone who was born, grew up and graduated from high school in a given country is supposed to know, and on the other hand, what a native speaker really knows” (Ivanishcheva, 2002).
In the article “Correct sounding is a necessary attribute of Russian speech” Z.U. Blagoz addresses all speakers, without exception, rightly speaks of the peculiar speech duty of any native speaker: “So, is it necessary to monitor the correctness of your speech behavior? It is necessary, although it is not easy. Why is it necessary? Because competent speech is needed not only on the stage of the theater, it is needed by everyone who is preparing to communicate with the public. Competent intelligible speech with clear diction is an indicator of a respectful attitude towards both the interlocutor and oneself. True from the point of view of the norm, speech raises our image, authority. Stress is an integral part of our speech culture, compliance with the norms of verbal stress is the duty of every Russian speaker, an indispensable condition for the culture of speech ”(Blyagoz, 2008).
O.A. Kadilina says that in interpersonal speech communication, an average linguistic personality, as a rule, does not think about oratorical skills, what impression her words make, about the comfort of communication, about techniques and means that help to win and retain the attention of the interlocutor (Kadilina, 2011).
G.I. Bogin, developing criteria for determining the levels of language proficiency, included the following parameters in the model of language proficiency levels: correctness (knowledge of a sufficiently large vocabulary and basic structural patterns of the language, which makes it possible to build an utterance and produce texts in accordance with the rules of a given language); internalization (the ability to implement and perceive the statement in accordance with the internal plan of the speech act); saturation (diversity and richness
expressive means at all language levels); adequate
choice (in terms of the correspondence of language means
communicative situation and roles of communicants); adequate synthesis (correspondence of the gesture generated by the personality to everything
complex of communicative and meaningful tasks) (see: Bogin 1975; Bogin 1984; Bogin 1986). The reflection of a number of parameters of a strong linguistic personality is presented, for example, in articles (Abdulfanova, 2000; Infantova, 2000; Kuznetsova, 2000; Lipatov, 2000; Lipatov, 2002).
Weak language personality
E.N. writes about the reasons for the emergence of a large number of weak linguistic personalities and the consequences of this. Ryadchikov: “With many undeniable merits, the policy of the Soviet state, however, was aimed at eradicating the intelligentsia as a class and humiliating it in every possible way. For decades, a stereotype of a dismissive, ironic attitude to culture has been developed. The concepts of "etiquette", "politeness", "rhetoric" and still are considered by many people, if not as bourgeois as at the dawn of Soviet power, then at least abstruse, incomprehensible and unnecessary. However, such denial and ridicule lasts only as long as a person is silently watching someone. As soon as it comes to the need to speak for oneself, especially for a large audience or in front of a TV camera, a conscious or unconscious “self-exposure” begins, the person himself begins to experience inconvenience, and even suffering, even neurotic reactions from the inability to communicate” (Ryadchikova, 2001 (a) ). It is no secret that in our country there are cases when even quite adult, fully formed specialists with higher education they do not know the forms of speech etiquette (even simple clichéd forms such as greetings, expressions of sympathy, congratulations, compliments, etc. cause difficulty), they do not know how to communicate with elders in age and position (including by phone), they do not consider it necessary just listen to another person, they do not know how to read kinetic information. They are afraid or do not know how to resist the impoliteness and rudeness of their opponents. This leads to stiffness, stiffness, fear and avoidance of communication, the inability not only to carry on a conversation in the right direction, to calmly, with dignity defend one’s point of view, but even simply to state it in a form accessible to other people is fraught with conflicts with management and with clients ( ibid.).
In relation to a weak linguistic personality, there is “a mismatch (at the semantic level) between the sign formation, postulated as a text, and its projections (Rubakin, 1929), formed in the process of perception, understanding and evaluation of the text by the recipients” (Sorokin, 1985). Consequently, like a strong linguistic personality, a weak linguistic personality acts both as an author and as a recipient of speech.
The main sign of a weak language personality is poor speech. “Bad (in semantic, communicative, linguistic terms) speech is evidence of unformed cognitive models, the absence of information fragments, the connection between mental and verbal structures. Similarly, can be evaluated and "good" and? average? speech” (Butakova, 2004).
Yu.V. Betz convincingly prove that at the beginning of its formation, a linguistic personality first of all assimilates the language system, and only then - the norm and usage. At the first stage of language acquisition, the structure of the language, its norms and usage have not yet been mastered, which is manifested in the presence of a large number of errors, poverty of speech - in a word, in the rawness of the speech of a particular person. Conventionally, this level can be called "pre-systemic". The specificity of this period is illustrated by children's speech and the speech of people who are learning a second language. Deviation from the norm and custom may be in the nature of an error. At the same time, errors in the generation of an utterance can be due to the complexity of the process of speech generation itself or its failures, then they do not depend on the level of mastery of the language system, its norm or usage (Bets, 2009). S.N. Zeitlin recognizes the “pressure of the language system” as the main cause of speech errors (Tseitlin, 1982).
Since speech communication is the basis (a kind of means of production and an instrument of labor) for a number of humanitarian types of social activity, such as, for example, jurisprudence, teaching, politics, it is so obvious that the specifics of their speech should be comprehensively studied in order to be able to create samples of how norms and “anti-norms” of such communication, to warn people against mistakes that they themselves probably do not notice, but having done, they often discredit themselves as a speaking person, as a specialist (Ryadchikova, Kushu, 2007).
Like a strong linguistic personality, a weak linguistic personality can manifest itself at almost all speech-communicative levels: phonetic (orthoepic), lexical, semantic, phraseological, grammatical, stylistic, logical, pragmatic. However, in this respect, as V.I. Karasik, “it is not so much the hierarchy of levels that is important, but the idea of an inseparable connection between different signals that characterize either prestigious or non-prestigious speech” (Karasik, 2001).
Speech needs constant improvement. D. Carnegie suggests that any speaker can carefully follow the rules and patterns of constructing a public speech, but still make a lot of mistakes. He can speak in front of an audience exactly as he would in a private conversation, and still speak in an unpleasant voice, make grammatical errors, be awkward, act offensively, and do many inappropriate things. Carnegie suggests that every person's natural everyday way of speaking needs many corrections, and it is necessary to first improve the natural way of speaking and only then transfer this method to the podium (Carnegie, 1989).
It is possible to determine the speaker's belonging to a low social stratum of society (which in the vast majority of countries of the world correlates with the concept of a weak linguistic personality) already at the level of pronunciation, intonation. IN AND. Karasik speaks of a low educational level and a provincial origin and lists a number of signs of a "despised pronunciation" (Karasik, 2001). “The pronunciation should not be illiterate, on the one hand, and pretentious, on the other hand” (Karasik, 2001).
Logical disturbances are also a sign of a weak linguistic personality. “Observations show that people tend to lose sight of some essential (most often not categorical, but characteristic) feature of an object for a short time: thereby, the object is to some extent identified in the mind of the subject, as a result of which the subject behaves towards the object A as if it were not-A” (Savitsky, 2000).
Strong language personality
In rhetoric as the art of logical argumentation and verbal communication, the concept of a “strong linguistic personality” usually includes: 1) possession of fundamental knowledge; 2) the presence of a rich information stock and the desire to replenish it; 3) possession of the basics of constructing speech in accordance with a certain communicative plan; 4) speech culture (the idea of the forms of speech corresponding to the communicative plan) (Bezmenova, 1991).
G.G. Infantova notes that the composition of the characteristic features of a strong linguistic personality should include extralinguistic and linguistic indicators. The researcher notes that “in the number of extralinguistic signs of a strong linguistic personality, it is advisable, first of all, to include the social characteristics of the personality (the social activity of the personality should be considered a constant feature here, and the variables are social status, level of education and general development, age, profession and occupation, ideological orientation personality - democratic, anti-democratic, etc.); extralinguistic awareness (permanent features here include the fundamental ability to take into account the speech situation, and variables - the level of ability to take into account all the components and parameters of this situation, including the participants in the communicative act) ”(Infantova, 2000).
Among the linguistic signs, it is necessary to single out the signs of language and speech. They can be fixed or variable.
According to G.G. Infantova, to include knowledge of the means of all language levels, oral and written forms of speech, dialogic and monologue types of speech; means of all styles of speech (meaning their abstract, vocabulary-grammatical aspect; in the terminology of Yu.N. Karaulov - verbal-semantic, zero level of development of a linguistic personality, or associative-verbal network, - units: words and grammatical models, text parameters ) in their normative variety. The composition of permanent speech features includes the implementation of the statement in accordance with its internal program, possession of all the communicative qualities of speech (accuracy, expressiveness, etc.), the correspondence of the statement as a whole to all parameters of the communicative act, the ability to perceive statements in accordance with such parameters and adequately respond to them. All this applies to both one statement and the entire text (Kadilina, 2011).
Variable speech features include, for example, quantitative and qualitative indicators such as the degree of knowledge of the norms of speech communication, the degree of diversity of the means used, the degree of saturation of the text with expressive means of all language levels, the percentage of deviation from language norms and the percentage of communicative failures, as well as the standard / non-standard speech; simple reproduction of the language system or its creative use, enrichment (Infantova, 2000). In addition, writes G.G. Infantova, when forming a multidimensional model of a linguistic personality, it is advisable to single out constant and variable not only linguistic and speech features, but also features that characterize a linguistic personality from other points of view (for example, from the point of view of activity-communicative needs) (Infantova, 2000).
“Certainly, a strong linguistic personality must know and skillfully apply the whole range of linguistic means that enrich and decorate speech - comparisons, contrasts, metaphors, synonyms, antonyms, proverbs, aphorisms, etc.” (Kadilina, 2011).
The use of symbolic words, from the point of view of E.A. Dryangina, reveals the richness of the linguistic personality. “At the same time, it is obvious that the words-symbols help convey the peculiarities of the attitude and worldview of both the author and the addressee, thereby helping to establish a dialogue both between them and with culture as a whole” (Dryangina, 2006).
A.A. Vorozhbitova, as an example of a strong linguistic personality, names a future teacher of a democratic type, who has ethical responsibility, general educational and professional training and high linguo-rhetorical competence, which ensures effective speech activity in Russian (foreign) language (Vorozhbitova, 2000).
The concept of a linguistic personality includes not only linguistic competence and certain knowledge, but also “the intellectual ability to create new knowledge based on the knowledge accumulated in order to motivate their actions and the actions of other linguistic personalities” (Tameryan, 2006). It follows from this that a strong linguistic personality is incompatible with underdeveloped intellectual activity, that an indispensable condition for a strong linguistic personality is a highly developed intellect. Moreover, Yu.N. Karaulov believes that “a linguistic personality begins on the other side of ordinary language, when intellectual forces come into play, and the first level (after zero) of its study is to identify, establish a hierarchy of meanings and values in its picture of the world, in its thesaurus” (Karaulov, 1987). Therefore, a necessary characteristic of a strong linguistic personality is creativity, as pointed out by Yu.N. Karaulov (1987). Language creativity is understood as the ability to use not only knowledge of the idiomatic component, but also to use language means in an individual or figurative sense (Kulishova, 2001).
A number of linguists interpret communication as a co-creation of meanings (Dijk and Kinch, 1988; Wodak, 1997; Leontovich, 2005). So, for example, A. Schutz writes about the “social world of everyday intersubjectivity” of a communicant, which is built in mutual reciprocal acts of presentation and interpretation of meanings (Cited by: Makarov, 1998). Similarly, the “hermeneutics of the game” by the German culturologist W. Iser, creatively developed by the American scientist P. Armstrong, suggests “alternate-oncoming movement of meanings, open friend friend for questioning” (see: Venediktova, 1997).
Researchers note that the linguistic personality appears in four of its hypostases: personality 1) mental, 2) linguistic, 3) speech, 4) communicative (Puzyrev, 1997). On this basis, it seems completely fair to conclude that “if we expand the area of competence of a linguistic personality, then it, as a person with a decent status, must follow certain principles of not only word use, but also speech use, and further - thought use” (Tkhorik, Fanyan, 1999).
The development of good, competent speech, the ability to explain, convince, defend certain positions is a requirement of modern life.
In the types of speech culture, i.e. the degree of approximation of the linguistic consciousness of the individual to the ideal completeness of linguistic wealth in one form or another of the language, O.B. Sirotinina distinguishes and contrasts such linguistic personalities as the carrier of an elite speech culture in relation to the literary norm, the carrier of a dialectal speech culture, the carrier of urban vernacular, etc. (Sirotinina, 1998). In the 90s of the twentieth century. dissertations and articles appeared with speech portraits of individual native speakers who own an elite speech culture (see: Kuprina 1998; Kochetkova 1999; Infantova 1999; Infantova, 2000; Infantova, 2000; Isaeva, Sichinava, 2007). To understand such objects, the principle of intellectualism is especially significant (see: Kotova 2008).
IN AND. Karasik believes that we will get a more complete picture of non-standard linguistic personalities if we turn to the study of the speech of not only writers, but also scientists, journalists, and teachers (Karasik, 2002). According to the opinion prevailing in society, “it is the language teacher who should act as the bearer of the elite type of speech culture, master all the norms of the literary language, and fulfill ethical and communication requirements? (O.B. Sirotinina), because by the nature of his professional activity he was prepared not only for the use of the language, but also for the comprehension of linguistic facts and the very process of speech activity” (Grigorieva, 2006).
The problem of a linguistic personality as a personality, considered from the point of view of its readiness and ability to produce and interpret texts, has been actively developed in modern linguistic literature since the works of G.I. Bogin and Yu.N. Karaulova. One of the most interesting objects of theoretical understanding here, of course, is the concept of a strong linguistic personality - one for which a significant part of the production of modern artistic discourse is designed, and one that is able to apply adequate orientation strategies in this area of cultural communication. The problem of a strong linguistic personality was mostly covered in relation to the creators of texts - writers, writers, poets (see, for example: Kuznetsova, 2000).
“In general terms, the secrets of speech image can be summarized in the following list. This is knowledge of the basic norms of the language and the rules of rhetoric, the principles of mutual understanding in communication, the rules of etiquette - behavioral, including official, and speech; understanding the essence of persuasion techniques, the ability to qualify (admissible and unacceptable) and correctly apply tricks in a dispute and measures against them, knowledge of methods of counteracting difficult interlocutors; skillful and timely isolation of positive and negative in the psychology of communication, what leads to the emergence of psychological barriers in communication; avoidance of logical and speech errors; the art of drafting normative documents, preparing written and oral speech, knowing the reasons for unsuccessful argumentation, etc.” (Ryadchikova, 2001 (a)).
A speech delivered on the same occasion on the same topic will differ in the mouths of a weak, medium and weak linguistic personality. “Only great word artists are able to subdue - partially and, of course, temporarily - the associative-verbal network of their native language. This is due to the emergence of a double semantic perspective, characteristic of irony, metaphor, symbol" (Zinchenko, Zuzman, Kirnoze, 2003).
2. Linguistic studies of the language game
1 The role of the language game in world culture and the language of works of art
A great contribution to the development of the theory of the language game belongs to the Dutch philosopher I. Huizinga. The game, in his opinion, is older than the cultural forms of society. Civilization comes from the game, not vice versa. Based on the analysis of the meanings of the word "game" in different languages and civilizations, I. Huizinga came to the conclusion that in most of them the "game" has a relationship with the struggle, competition, competition, and also with the love game (forbidden), which explains the trend playing with forbidden topics (taboos) in modern jokes. At the heart of the game is fighting or animosity tempered by friendships. The roots of play in philosophy begin in the sacred game of riddles; the roots of play in poetry are mocking songs teasing the object of ridicule. Myths and poetry were recognized as linguistic games, Huizinga believes that the language game is identical to magic. Despite Huizinga's assertions that the notion of play is not reducible to other terms and is not applicable to the biological approach, it still seems possible to question some of his assertions. For example, his assumption that competition and competition are the basis that prompts the subject to ridicule the object does not apply to all statements.
The language game as operating with linguistic means in order to achieve a psychological and aesthetic effect in the mind of a thinking person is considered by many foreign and domestic scientists (Brainina, 1996; Vezhbitskaya, 1996; Sannikov, 1994; Huizinga, 1997; Bogin, 1998; Nikolina, 1998; Beregovskaya, 1999; Ilyasova, 2000a; Lisochenko, 2000).
In the works of a philosophical warehouse, for example, by J. Huizinga, the language game acts as a private realization of the game as an element of culture. It reveals features that are common with games of sports, music, painting, etc. plan.
Understanding that language is a special sphere of human life, literary critics and linguists devote special studies to the language game. There are works in which the consideration of the game is subordinated to the methods of its implementation. As a rule, the main such device is a pun (Vinogradov, 1953; Shcherbina, 1958; Khodakov, 1968; Kolesnikov, 1971; Furstenberg, 1987; Tereshchenkova, 1988; Luxembourg, Rakhimkulova, 1992; 1996; Sannikov, 1997; Lyubich, 1998 ).
Researchers note that the language game is implemented within the framework of various functional types of language. This can be colloquial speech (Zemskaya, Kitaigorodskaya, Rozanova, 1983; Bondarenko, 2000), journalistic texts (Namitokova, 1986; Neflyasheva, 1988; Ilyasova, 1998, 1986; 2000), artistic speech (Vinokur, 1943; Krysin, 1966; Grigoriev, 1967; Bakina, 1977; Kulikova, 1986; Luxemburg and Rakhimkulova, 1996; Brainina, 1996; Nikolina, 1998; Novikova, 2000; Rakhimkulova, 2000).
It seems that it is fiction that turns out to be the very space in which the language game can be fully realized. Moreover, there are authors who largely gravitate towards the playful manner of conveying thoughts. Artistic speech of the 18th - 19th centuries. realized the possibilities of playing with language means, primarily by creating a comic effect. Linguists note that among the masters of laughter in the Russian classics, A.S. Pushkin and N.V. Gogol. Pushkin has long been considered a recognized master of the pun created by both the clash of meanings and the play of the form of expression (Khodakova, 1964; Lukyanov, 2000). It is interesting that puns and - more broadly - in general, the playful manner of constructing a text are also embodied in Gogol not only at the lexical-semantic, but also at the syntactic level. In the second case, it is created by "uncilually interrupted, syntactically helpless speech of characters, coinciding (similar) ends of two or more sentences or phrases, in a funny way emphasizing the object of conversation or characteristics, and unexpected transitions from one key to another" (Bulakhovsky, 1954). Obviously, the language game embodied in Russian literary and artistic texts has its roots in the buffoon culture, the traditions of the Russian folk farce theater, and folklore in general. Without any doubt, game genres include ditties, anecdotes, jokes, tongue twisters, riddles. In the circle of authorized works, as scientists point out, the language of vaudeville is located to it (Bulakhovsky, 1954). The authors of comedies of the 18th century gravitate towards the language game (Khodakova, 1968).
It must be emphasized that the language game involves two fundamentally different forms of existence.
Firstly, one can find literary genres specially designed for its implementation, aimed at drawing the perceiver (reader, viewer) into the creative process, at generating multiple allusions in the recipient, capturing the hidden meanings lurking in the text. This is not only the already mentioned comedy, vaudeville, but also an epigram, a parody, a palindrome, an acrostic.
Secondly, a language game can appear on the pages of works that do not have it in the list of obligatory elements, the unconditional features of the genre. It is this form of manifestation of the language game that depends on the intentions of the author, on the warehouse of his consciousness. It seems to be the most significant in characterizing the writer's idiostyle, the specifics of his linguistic personality. The variety of methods of the language game, the commitment to certain ways of its implementation makes the writer's work individual, unique, and therefore recognizable. game at the lexico-semantic and syntactic level. The paradoxical compatibility of linguistic units is extremely significant for A. Platonov (Bobylev, 1991; Skobelev, 1981). Therefore, he embodies the game in a syntagmatic way.
E. Bern believes that the game has two main characteristics: ulterior motives and the presence of a win (Bern, 1996).
It should be noted that the language game does not mean a mandatory setting for the funny. Apparently, the creation of such texts, where everything is deliberately unclear, should also be considered a kind of language game with the reader. One of the techniques for generating game text with general unclear semantics is called nonsense by researchers. V.P. Rakov notes that nonsense (the absurdity of the meaning created in the text) can exist in different forms, generated either only at the semantic level, or at the formal level, but at the same time has the same goal - the impact on the reader, the work impressions of its paradox. The semantic "darkness" of works containing nonsense prompts the reader, who is forced to seek clarity in the foggy, to activate the thought process. Especially this manner of creating works is characteristic of the literature of the “non-classical paradigm. It consists in "the destruction of the lexical cohesion of the aesthetic statement, its continuity, the deformation of the syntax and the strict optical geometry of the text" (Rakov, 2001).
This fact in modern literature is primarily characteristic of the postmodern direction. It is not for nothing that its representatives operate with the concepts of "world as chaos", "world as text", "double coding", "contradiction", etc. (Bakhtin, 1986). There is an attitude to work with methods of constructing a text, expressive and visual means, and not with meanings. Therefore, the game with language, focused on the use of the potential of language units, becomes an integral part of the texts of postmodernism. This leads to the appearance of works that are characterized by an overly complex and sometimes confusing structure, which in turn affects the perception of their content (cf.: the works of Borges, Cortazar, Hesse, Joyce, etc.). Such dominance of form over content is determined by the essence of the game as such, its self-sufficiency, which implies “playing for the sake of the game itself”, the absence of any goals that matter outside the playing space.
A. Vezhbitskaya believes that “there is a special goal or task in the game”, but “this goal does not make any sense outside the game” (Vezhbitskaya, 1996). Thus, we can talk about a game with a form that is achieved by linguistic means (Zalesova, 2002).
The language game is one of the leading communicative categories. It is provoked by emotional categorical situations, which force the communicants into a language game. Any language game is a manipulation of the speaker with the language, which most often pursues a hedonistic goal (getting psychological and aesthetic pleasure). This is also observed in cases where the language game is ritual, i.e. passes according to known rules, and in those when it is unexpected. In both cases, it must be implemented within the limits of understanding by all communicants, which requires them to have emotional intelligence and emotional / emotive competence. If this is not the case, then an anecdote, for example, or a joke becomes incomprehensible, and between the system values of linguistic signs and their values for the sender and recipient of the joke/anecdote, etc. semantic (emotional) dissonance arises (Shakhovsky, 2003).
2 Language game definition
Yazykova ?I'm game ?(German: Sprachspiel) is a term introduced by Ludwig Wittgenstein in Philosophical Investigations in 1953 to describe language as a system of conventional rules in which the speaker participates. The concept of a language game implies a pluralism of meanings. The concept of a language game comes to replace the concept of a metalanguage.
In "Philosophical Investigations" L. Wittgenstein tried to present the whole process of using words in a language as one of those games with the help of which children master their native language.
L. Wittgenstein called the language game “also a single whole: language and the actions with which it is intertwined” (Wittgenstein, 1997). Thus, it is not so much the cognitive (connection with thinking) as the instrumental (connection with action and influence) function of language that comes to the fore. L. Wittgenstein introduces the concept of a language game as “a single whole: language and the action with which it is intertwined”, and “the term language game is intended to emphasize that speaking a language is a component of activity or a form of life” (Wittgenstein, 1997).
The object of L. Wittgenstein's analysis is ordinary language, which requires a specific form of understanding and comprehension. He believed that the language game, grammar, rule and other "pseudo-concepts" have no definitions, not only de facto, but they are in principle impossible with a non-semantic approach to language. As a consequence, they also do not have clear boundaries. For example, the language game covers everything, extends to any human activity, a person is unthinkable without it. Following the rule, grammar, the form of life, and other “pseudo-concepts” of Wittgenstein only in different perspectives describe the givenness of this language game to us, imperceptibly passing into each other, resisting an attempt to clearly distinguish and outline them.
L. Wittgenstein offers a metaphor for the game: “We call a game very different types of activities, in them we see a complex network of similarities that overlap and intertwine with each other, similarities in large and small, for example, such areas of similarity as entertainment, the presence the winner, the type of skill, etc. Therefore, there is no essence behind the word “game”, the connection between the word and the meaning is carried out as a relationship of “family resemblance”, similarity according to a certain number of signs, and the scope of its concept is not enclosed in any boundaries” (L. Wittgenstein, 1997).
Pointing out that the game is a specific factor of the entire surrounding world, J. Huizinga wrote about the elements of the game in justice and in political life, in war and in art, in philosophy and poetry, in language. Through language, he believed, things rise to the realm of the spirit. While playing, the speech-creating spirit now and then jumps from the realm of the material to the realm of thought. Any abstract expression is a speech image, and according to J. Huizinga, any speech image is nothing but a play on words (Hizinga, 1997). He defines play as a free activity, which is realized "not really" and outside of everyday life. However, she can completely take over the player, does not pursue any material interest, does not seek benefit; free activity, which takes place within a deliberately limited space and time, proceeds in an orderly manner, according to certain rules, and brings to life social groups that prefer to surround themselves with mystery, or emphasize their difference from the rest of the world with all sorts of disguises (Hizinga, 1997).
How the game was considered by the process of “creating” speech (the process of preparation, the actual moment of internal action, theoretical work) M.M. Bakhtin. Inside the game - the work of creating a text - the researcher singled out several stages: an invention, which, in fact, is an internal intellectual game; arrangement, preliminary judgment of the results of this game, and expression, so to speak, the business sentence of this court, formed in words as a deliberative result of its game - preparation. Provided that this internal speech work is skillfully carried out, a person gets the opportunity in a real situation of speech communication, freely playing with the form of this speech communication, to achieve the maximum deliberative effect of the content of this communication. An act (and speech activity is also an act) is considered by M.M. Bakhtin as creative game, in which the rules are overcome to some extent (Bakhtin, 1986).
M. M. Bakhtin is called the creator of the play concept of laughter culture and, moreover, they believe that “it was Bakhtin’s heritage that became the source of most domestic studies of the problem of play” (Isupov, 1971). The scientist refers to the game as "a dream, imagination, a surrogate for life", excluding aesthetic value from it (Bakhtin, 1992).
V.P. Rudnev notes that if we proceed from the understanding of language as a language game as a coupling of “language and the action with which it is intertwined”, then, firstly, the analysis can be carried out only on extremely specific material (actions are always specific), and , secondly, being limited only to specific examples of the use of words, we, in principle, cannot judge the structure of the language, grammar “in general”, we can state that the grammar of such and such words is approximately the same, and such and such “does with us trick, deceives. Thus, such an approach to the analysis of language, having its own merits, which is evidenced by the rapid development of language pragmatics and other related areas of research based on it, implies a radical uncertainty in understanding the functioning of language games (Rudnev, 1993). “The notion of a language game is based on an analogy between the behavior of people in games as such and in various systems of real action in which language is woven. Their similarity is seen, in particular, in the fact that both here and there it is supposed to be a pre-elaborated set of rules that make up, let's say, the "charter" of the game. These rules define possible combinations of "moves" or actions for a particular game (behavior system or life form). After all, a game without rules is not a game: a sharp change in the rules can paralyze the game. At the same time, the rules define the "logic" of the game in a non-rigid way, variations and creativity are provided for. A system of actions subject to strict rules is no longer a game” (Rudnev, 1993).
S.Zh. Nukhov offers the following definition of a language game: “A language game is such a form of human speech behavior in which a linguistic personality, realizing his linguo-creative abilities, demonstrates his individual style. In a language game, it is important to separate the point of view of the author, the addresser, and the point of view of the recipient, the addressee. Both the one and the other get aesthetic pleasure from the game - the sender of the message from his wit and skill, the recipient from the ability to evaluate the game, the ability to guess an unsolvable, at first glance, linguistic riddle" (Nukhov, 1997). The author believes that “the speaker does not think about the dogmas of the norm and most often does not set himself specific goals of influencing the addressee of the statement, but is guided only by the desire to express by linguistic means the thoughts and feelings that occupy him at the moment of speech, i.e. it can be said, in the end, that at the same time he clothes his inner world in linguistic forms” (Nukhov, 1997).
So humanity again and again creates its expression of being - the second, fictional, world next to the world of nature, which is a kind of playing field and, on this basis, has much in common with the game.
A language game is a deliberate violation of the norm of a language for a specific purpose. A norm can never be absolutely imperative, "otherwise it would become a law and lose the meaning of a norm" (Mukarzhovsky, 1975). Thus, deviation from the norm can be considered as a tendency inherent in speech activity. This thesis is confirmed by the words of A.G. Lykov, who points out that "speech is capable of any disturbance" (Lykov, 1977). The main thing is that these violations themselves do not violate the fundamental condition of any communication - mutual understanding between the sender and the addressee. At the same time, as V.G. Kostomarov and A.A. Leontiev, it is necessary to strictly distinguish between the actual non-compliance with the norms of different tiers, leading to various kinds of errors, and the “game” of non-compliance with them, which does not lead to the perception of speech as non-normative, but, on the contrary, can be considered the “highest stage of speech culture” (Kostomarov, Leontiev , 1996). The purpose of such a game is to create an impression of unusualness. It is based on the desire to beat the norm, to build an effect on a collision with it, which leads to a violation of the automaticity of perception.
Exploring the phenomenon of the language game in certain types of texts, L.G. Ponomareva relies on such factors as the creativity of speech and thought activity, the pragmatic orientation of speech activity, and the close relationship between language and culture. Based on the above factors, the language game is determined by L.G. Ponomareva as follows: a language game is a phenomenon of speech and thought activity based on the creative movement of thought, focused on a pragmatic impact on the addressee, implemented through persuasive linguistic techniques that involve non-canonical ways of combining form and meaning in language structures, often using culturally specific concepts (Ponomarev , 2009).
I.V. Tsikusheva offers the following definition: a language game is a conscious and purposeful manipulation of the expressive resources of speech, due to the setting for the implementation of a comic effect (Tsikusheva, 2009).
The game as a concept is recognized as a “wandering”, universal category that belongs to all spheres of human activity and therefore cannot have an unambiguous interpretation (Isupov, 1971). The dictionary refers to the game as a polysemantic word. Among its many meanings, we single out: 2) an occupation, due to a set of certain rules, techniques and serving to fill leisure, for entertainment, which is a sport; 7) a deliberate series of actions pursuing a specific goal: intrigues, secret plans (MAS, 1984).
A language game is one of the representations of the general philosophical concept of a game, a kind of linguistic creativity, a type of speech behavior of speakers based on the deliberate destruction of the speech norm in order to deautomate the stereotypes of speech activity and create non-canonical language forms and structures using means and techniques of various language levels (graphic-phonetic, morphological , lexical, syntactic) for the implementation of a stylistic task aimed at optimizing the mechanism of advertising communication, acquiring expressive meaning and the ability to cause a stylistic effect in the addressee of information as a result of this destruction, and its result is an occasional expansion of the semantics of linguistic signs.
3 Understanding the language game in the various humanities
Linguo-sociological concepts emphasize that the social significance of a language game is that it regulates the behavior of others, relieves boredom and routine, brings joy to its creator, helps a person to cognize reality, including linguistic. The game is involved in the struggle of ideologies, in which such properties of communication as theatricality and dramaturgy are observed, used by the individual to exploit the possibilities inherent in the language for the presentation of human needs.
In linguosemiotics, the interpretation of the game principle of a language is associated with the concepts of non-canonicity, anomaly, creativity, non-normative use of a linguistic sign. From this point of view, the language game is a language experiment, the material of which is linguistic anomalies, and the result is a witty (not necessarily comical) statement (Ponomareva, 2009). Linguistic creativity should be understood based on the recognition of the non-rigidity of the very nature of the language system, the natural ability of the language to change. This property is a manifestation of the basic law of the sign - asymmetric dualism. The concept of asymmetric dualism was introduced by the outstanding Russian linguist and semiotician S.O. Kartsevsky (Kartsevsky, 1965). According to S.O. Kartsevsky, each sign tends to go beyond the limits of the form prepared for it, and the content seeks to find a new form, that is, each sign of the language is potentially a homonym for itself.
Linguistic and stylistic understanding of the phenomenon of the language game is considered "narrow". In this regard, the language game is realized as a free, creative attitude to the form of speech, accompanied by an aesthetic task. In the “narrow understanding”, a language game is a speech phenomenon with a setting for a comic effect, which embodies the cheerful, comical facet of human speech activity. From this point of view, within the framework of traditional stylistics, abnormal phenomena, deviations from the norm - errors in speech practice, reservations, foreign inclusions that are incomprehensible to native speakers, speech defects, various occasional formations, etc. are studied. If such deviations from the norm are intentional or are considered by the addressee as such, then in the traditional style they are defined as a language game, built on the principle of deliberate use of deviant and perceived phenomena against the background of the system and the norm, which serve to create an unexpected, as well as a comic effect ( Ponomareva, 2009).
The inclusion of the game in culture and the game foundations of culture (according to Huizinga) make us pay attention to the role of culturally specific information in the language game. The linguoculturological aspect of the conceptualization of a language game is extremely important for studying the problem of translating language game techniques, in particular, a pun, especially in connection with the problem of incorporating precedent phenomena into a pun - culturally specific nominations that mark objects, events, facts of the history of culture that are significant for some linguocultural community. etc.
2.4 Criteria and properties, types and methods of the language game
The types and methods of the language game are described quite fully on the basis of the Russian language. There are attempts to analyze the linguistic essence of the language game. However, the mechanism of the language game is still unknown to science, and the cognitive approach of V.A. Pishchalnikova may be fruitful for the explication of the internal mechanisms of the language game. So far, linguists are working only with their external manifestation (Shakhovsky, 2003).
“Everything and everyone can be tamed, except the language. It is not subject to taming, and the language game with its diversity and endless fantasy is evidence of this” (Shakhovsky, 2003).
An interesting theory of the language game was proposed by V.V. Vinogradov. According to his scheme, a language game consists of two components: a lexical base (basic component) that allows you to start the game, and a “changeling” (resulting component). V.V. Vinogradov identifies the following common features of the language game:
The informative structure of the language game is multicomponent and consists of a set of constant and variable elements. The first includes subject-logical, expressive-stylistic, associative-figurative and functional information. Variable components can be represented by varieties of socio-local and background information.
According to its contextual characteristics, the language game is divided into dominant and language game of limited action. The first contributes to the formation of the leading theme of the work and is usually located in the most significant parts of the text. The second one is involved in the creation of microthemes of the work and contributes to the formation of a limited space of the text. Depending on the connection with the previous or subsequent context, the language game can be divided into inproductive and summarizing types.
Mandatory components of the structure of any play on words are the core (two elements combined or similar in phonetic or graphic form, but different in content), and the basic context that creates the minimum conditions for the implementation of the elements of the core of the language game (Vinogradov, 1978).
5 Functions of the language game
The function of comicality is characteristic of most of all language games. Violation of the rules, conciseness (brevity) of style, surprise and the ability to closely connect different contents with each other in a language game contribute to satisfying<#"justify">Abdulfanova A.A. Strong metalinguistic personality // Language of Education and Language Education: Mat-ly Intern. scientific conf. - Veliky Novgorod, 2000. S.5-7.
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Tags: Linguistic features of the language game in the speech of a strong linguistic personality Diploma English
Introduction
2. Analysis of the use of various types of language games in speech activity
Conclusion
List of used literature
INTRODUCTION
The study of the language game has a long tradition going back to antiquity. The mention of a play on words, "funny turns of phrase" as a means of joking or "deceiving" listeners is contained in Aristotle's "Rhetoric" (1; pp. 145-147).
In our era, the problem of the language game acquired particular relevance in the 80s, the period of the most effective study of colloquial speech. The first systematic description of the phenomenon of the language game in Russian studies can be attributed to the publication of a collective monograph edited by EL. Zemskoy (14; s172 -214).
The works of E. A. Ageeva, T.V. Bulygina, I.N. Gorelova, T.A. Gridina, N.A. Nikolina, V.Z. Sannikova, K.S. Sedova, A.D. Shmelev (4; 7; 8; 13; 16).
The language game is a multifaceted phenomenon, having at the same time a stylistic, psycholinguistic, pragmatic and aesthetic nature. The versatility of this phenomenon makes it difficult to provide a consistent and exhaustive definition of the language game, not all aspects of which have been sufficiently well studied.
The purpose of the work is the analysis and description and classification of independently selected factual material - various types of language games extracted from the speech flow.
The language game in speech arises in different ways. In one case, the addresser uses what he already knows, has memorized and skillfully reproduces at the right moment. As a rule, these are well-known formulas that have already become a stamp. We were interested in those situations when a language game (as an interaction between the systemic and asystemic) was created directly at the moment of communication, and attention was paid to an insufficiently studied aspect of the problem - the game at the text level. The foregoing determines the novelty and relevance of the topic.
Research methods: study of the degree of development of various aspects of the problem in the specialized literature; observation; analysis of the use of various types of language games in speech practice (genres of colloquial speech); classification.
The results obtained: the most productive and some little-studied methods of language game in speech communication are selected and described, the existing classification of types of language game is supplemented.
The effectiveness of the research is determined by the novelty of the presented material; The data obtained can be used to demonstrate the aesthetic resources of the language, embedded at all levels of its organization and implemented in speech, which helps to more fully and comprehensively master the expressive possibilities of the Russian language.
The work on this problem was structured in the following way.
First, theoretical sources on the research question were analyzed, factual material was collected for several months (examples of a language game in colloquial speech) 1 , then a description of practical material was made, which in some cases was supplemented with examples from works of art, where the language game serves as a marker of colloquiality.
The work consists of an introduction, the main part, consisting of two chapters (theoretical and practical), a conclusion and a list of references.
1. Theoretical background of the study
Normativity and expediency are elements of speech culture, which together form speech skills. The ability to correctly and linguistically correctly use normative speech structures, knowledge of language norms is necessary when creating any statement. Human speech activity is based on the use of mainly ready-made communicative units. When creating both prepared and unprepared statements, schemes and clichés are used. Stereotypes of communication, in which language units are linked to typical situations, are manifested at the level of genre forms.
Genre frames are characteristic of various speech forms (dialogical and monologue, prepared and unprepared, official and informal), implemented in various communicative situations:
In real communicative situations (mainly in colloquial speech), there is often a conscious violation of the language stereotype, caused by the desire to draw the interlocutor's attention to the non-standard of one's own speech, as well as the ability to master the associative potential of language units. In this case, it is permissible to talk about the aesthetic elements of everyday everyday communication. The originality of live conversational communication lies precisely in the fact that, due to informality, spontaneity, ease, stencils and standards are combined in it with a clearly expressed setting for creativity.
In communication, creativity manifests itself primarily at the level of the language game. The personal experience of the creative nature of the language is greatly enhanced when the word becomes identical to the game. The game function of the language is very important. It frees the subconscious, makes the process of understanding the world free, direct and attractive. “Human culture has arisen and is unfolding in the game, like a game ...” - claims I. Huizinga (19; p. 9),
From a system-linguistic point of view, a language game is considered as an anomaly - “a phenomenon that violates any formulated rules or intuitively felt patterns”, (4; p. 437), “a deviation from the stereotype of perception, formation and use of language units programmed by a language game "(9; p. 9).
As a phenomenon in the sphere of discourse, a language game, according to N.A. Nikolina E.AAgeeva, “suggests the systemic nature of the language (and the systemic nature of its use) as a prerequisite for the implementation of various kinds of derivations, deviations from the “correct” (habitual, communicatively conditioned) construction of language and functioning of speech units" (13; p. 552).
The main communicative task of the speaker using the language game is the deliberate removal from the word, verbal reflection both in the mind of the addresser and in the mind of the addressee of the speech.
As the philosopher Th. Lipps, the language game in speech gives us "contrast of ideas", "meaning in nonsense", "confusion due to misunderstanding and sudden clarification". "Contrast arises, for example, due to the fact that we recognize a certain meaning behind words, which we, however, cannot then recognize again for them" (quoted from: 18; p. 7).
To appreciate the funny, you need the ability to analyze, reason, compare.
The game presupposes a mandatory orientation to the communicative situation, which has signs of ease, informality. The language game serves as a marker of colloquialism, since the listed signs “refer to the components of a communicative act that form colloquial speech. In other words, colloquial speech creates optimal prerequisites for the emergence of a language game, however, the language game itself becomes ... a sign of a certain communicative situation - a situation of easy communication” (13; p. 353).
Psychologists consider the game one of the main properties of human culture. The authors study guide"Fundamentals of Psycholinguistics" I.N. Gorelov and K.F. Sedov consider the game as an activity that does not pursue any pronounced specific practical goals: "The purpose of the game is to give pleasure to the people who take part in it." Researchers offer the following definition of the phenomenon under consideration: “Language game is a phenomenon of speech communication, the content of which is an orientation to the form of speech, the desire to achieve effects similar to the effects of artistic literature in the utterance” (7, p. 180). Such effects are comic in nature.
The language game has a setting for comic effect. In this context, the ideas present in the works of M.M. Bakhtin about the informal nature of laughter, which creates a “familiar festive collective”, opposing any official “seriousness”, are very indicative. “Real laughter,” the researcher noted, “does not negate seriousness, but purifies and replenishes it. It cleanses from dogmatism, one-sidedness, ossification, from fanaticism and categoricalness, from elements of fear or intimidation, from didacticism, from naivety and illusions, from bad one-dimensionality and from unambiguity ... ”(3; p. 17).
The mechanism of the comic can manifest itself in the implementation of illocutionary components: jokes, witticisms, jokes, puns, ridicule, irony. The comic effect reduces the distance in interpersonal communication, contributes to the decoding of hidden irony, the perception of a joke.
The basis of the comic is certainly some kind of contradiction, the unification into one whole of several representations that are alien to each other in their inner content. On this occasion, the philosopher Th. Visher and the poet Jean Paul figuratively remarked: “Wit is a disguised priest who crowns every couple ... He most readily crowns the couple whose union the relatives are intolerant of” (according to 18; p. 7). The language game contains no logical necessity, but it liberates and unravels the thought process.
The discoveries made by the participants in the communicative situation push the limits of the imagination, encourage creative search, cultivate the ability to listen and hear, and develop the speed of reaction to the word. The effect of suddenness and surprise in the linguistic discoveries made enhances their impact on the addressee, and the humorous coloring, the desire for a joke make them understandable and accessible.
The language game develops a linguistic instinct, the ability to think logically, listen and hear, emancipation in handling concepts, ease and joy from communication.
Identify the main means and techniques of the language game used in the speech of a strong linguistic personality; characterize a weak, average and strong linguistic personality; determine the main criteria and properties, types and methods of the language game; learn the basic functions of the language game...
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The game, that phenomenon, interest in which has arisen since antiquity. Even Plato, in his project of an ideal state, expressed theoretical propositions about the game.
In general, the creation of the theory of the origin of the game and the functioning of the language belongs to Ludwig Wittgenstein. The Austrian philosopher, logician, linguist, was the founder of the term "language game", introduced by him in "Philosophical Investigations" in 1953, according to which any type of activity related to language is a game.
Ludwig Wittgenstein asks: "What is common to all games?" and makes sure that any of the potential features is not applicable to some types of games. The language game, in his understanding, is not what people do when they want to have fun. L. Wittgenstein was the first to notice that people communicate not only with narrative sentences, but also give orders, describe objects, put forward and test hypotheses, etc. Those. there are countless types of sentences, and all this is included in the human language: “... the types of use of everything that we call “signs”, “words”, “sentences” are infinitely diverse. And this multiplicity does not represent something stable, given once and for all, on the contrary, new types of language, or new language games, arise, while others become obsolete and forgotten ... ". Thus, according to L. Wittgenstein, all human life is a set of language games.
In modern linguistics, there are many interpretations of the concept of the term "language game". The most fundamental research on the language game is the book by V.Z. Sannikov "Russian language in the mirror of the language game". In it, the author considers the language game as a kind of linguistic experiment. He notes that "the language game, like the comic in general, is an aberration, something out of the ordinary." V.Z. Sannikov also draws attention to the fact that this deviation from the norm should be clearly understood and deliberately allowed by the speaker (writer), and the listener (reader), in turn, should understand that this is “on purpose”. In order not to evaluate this expression as a mistake, he thereby accepts this game and tries to reveal the deep intention of the author.
Any speaking in which more or less attention is paid to the form of speech will be a language game. But the goals of this game can be very different, depending on the specific task. For an adequate understanding of the language game by the addressee, the author must take into account the presence of certain knowledge of the recipient, as well as the cultural space in which communication takes place. The language game does not pursue specific practical goals, except for pleasure and avoiding boredom. Moreover, it is this property that is considered as one of the main ones. The pleasure from the game is received not only by the recipient, but also by the author himself, who, using the means of the language game, achieves the effect of extreme sharpening and clarification of the meaning. The absence of a goal gives rise to the absence of a previously known result planned by the goal, which gives the game dynamism, concluding its meaning not in the end, but in the movement itself.
Functions of the language game.
In addition to following certain goals, the language game also pursues certain functions.
Kurganova E.B. in his monograph "The Game Aspect in Modern Advertising Text", identifies 8 functions of the language game:
- an aesthetic function, which consists in a conscious desire to experience for oneself and evoke in the recipients a sense of beauty by the very form of speech;
- a gnostic function aimed at generating a new model of the world by recreating the already existing linguistic material;
- a hedonistic function, its essence is to entertain the recipient with an unusual form of speech;
- a pragmatic function aimed at drawing attention to the original form of speech;
- the expressive function serves as a more figurative, and, accordingly, more subtle transmission of thought;
- the pictorial function helps to visually recreate the situation of speaking, as well as in some way characterize the person whose words are being transmitted;
- occasionally, researchers single out the poetic function of the language game, because “when playing, the speaker pays great attention to the form of speech, and the focus on the message as such is a characteristic feature of the poetic function of language”
- a camouflage function that puts on a "mask" of decency, prudence and logic on any obscene, cynical or even absurd text. Among other functions of the language game, they usually indicate the desire to entertain themselves and the interlocutor.
As most researchers note, the most important function of the language game is comic. The multifunctionality of the language game and its focus on achieving a certain effect determines the widespread use of the language game in various types of discourse. (LANGUAGE GAME: THE CURRENT STATUS OF THE ISSUE Dedushkina Tatyana Oleksandrovna, Senior Lecturer National Academy of the Security Service of UkraineStudia Linguistica. Issue 6/2012)
Types of language game.
The language of advertising may be allowed to violate the language norm, if necessary to enhance the impact. Violations of the norm, leading to the creation of expression in the advertising text, are a characteristic feature of modern advertising texts. In building game style advertising involves multi-level linguistic means - phonetic, graphic, lexical, morphological, derivational, syntactic. Almost all modern advertising texts are characterized by the use of various playing tricks in all their diversity, which in itself is directly related to the fact that initially the essence of advertising lies precisely in attracting the attention of recipients. To create an effective advertising text, you need to know and be able to put into practice the rules for constructing a text. Properly constructed argumentation, skillful use of language manipulation, appropriately used advertising slogan will allow the advertising message to influence the consumer and achieve its goal. Consequently, the language game can manifest itself at different structural levels of the language.
· Graphic techniques.
Graphic distortions create the possibility of a “double” reading of one phrase. One of the graphic techniques is font selection. Font selection is often accompanied by a violation of the rules for writing phrases and sentences. Graphic techniques in the language game help to increase the capacity of the advertising text.
phonetics.
At the phonetic level, the creators of advertising texts most often use various sound repetitions: alliteration, anaphora. A phonetic language game can also be carried out in the form of imitation of a certain manner of pronunciation in people's speech, imitation of the sounds made by animals. Phonetic techniques of the language game in advertising are not common, but their use allows you to beat certain shades of the advertised product, add expressiveness to the text.
· Vocabulary.
In advertising text, expressiveness is the most important component. Expressiveness can be achieved through various lexical devices - epithets, homogeneous members, synonyms. Another important component of the advertising text is ambiguity, which allows you to convey the maximum amount of information in a minimum period of time. The use of ambiguity serves as fertile material for creating puns and for transferring the meaning of a word. Such artistic techniques as personification, metaphor, oxymoron, opposition are built on polysemy. All of them are very successful in advertising.
· Morphology.
At the morphological level, the language game is based on a deliberate violation of the morphological perception of lexical units. Sometimes language jokes are played with the fact that they allow the word to be cut into parts, there is also a play on the category of the person of the verb (the use of one person instead of another), etc.
