What is the difference between a paragraph and a complex syntactic whole. Supraphrasal unity is the same as a complex syntactic whole (see). Control questions and tasks

home » Long 19th century What is the difference between a paragraph and a complex syntactic whole. Supraphrasal unity is the same as a complex syntactic whole (see). Control questions and tasks

We climbed the embankment and from its height looked at the ground. Fifty sazhens from us, where potholes, pits and heaps merged seamlessly with the darkness of the night, a dim light flickered. Behind him shone another light, behind this a third, then, receding a hundred paces, two red eyes shone side by side - probably the windows of some barracks - and a long row of such lights, becoming thicker and dimmer, stretched along a line to the very horizon, then turned left in a semicircle and disappeared into the distant mist. The lights were still. In them, in the silence of the night and in the dull song of the telegraph, something was felt in common. It seemed that some important secret was buried under the embankment, and only lights, night and wires knew about it ...(Ch.);

Rain throughout the summer was medium-sized and warm. At first, people were wary of him, they stayed at home, and then a normal life began in the rain, as if he had not been. In this case, people acted like chickens, because there is an exact sign of predicting the duration of the rain: if during the rain the chickens hide in shelter, then the rain will soon stop. If the chickens, as if nothing had happened, roam the street, along the road, along the green lawns, then the rain has charged for a long time, most likely for several days(Sol.).

Such a coincidence, although not accidental, is by no means necessary. It is not accidental, because the paragraph division of the text is subordinated primarily to its semantic division, and a complex syntactic whole, although it is a syntactic unit, also acquires its formal indicators of the unity of individual components on the basis of their semantic solidarity. But this coincidence is not necessary because the paragraph compositionally organizes the text, it performs not only a logical and semantic function, but also a highlighting, accentuating, emotionally expressive one. In addition, paragraph division is more subjective than syntactic.

This means that a paragraph can break a single complex syntactic whole. This is especially characteristic of literary texts, in contrast to scientific ones, where there are much more coincidences between a complex syntactic whole and a paragraph, since they are entirely focused on the logical organization of speech.

The boundaries of a paragraph and a complex syntactic whole may not coincide: a paragraph can contain one sentence (and even part of a sentence, for example, in official business literature: in the texts of laws, charters, diplomatic documents, etc.), and a complex syntactic whole - these are at least two sentences (more often - more than two); in one paragraph there can be two or more complex syntactic integers, when separate micro-topics are linked to each other. For example:

1) a complex syntactic whole is broken by a paragraph:

And look at the flocks of birds that are pulled in the sky over Polissya to the dark south. And it is sweet to yearn for the feeling of one's complete kinship, one's closeness to this dense land(Paust.);

2) in one paragraph - three complex syntactic integers:

It was an August night, starry but dark. Because I had never before in my life been in such an exceptional situation as I happened to be in now, this starry night seemed to me deaf, unfriendly and darker than it really was. // I was on the line railway which is still under construction. A high, half-finished embankment, heaps of sand, clay and rubble, barracks, pits, wheelbarrows scattered here and there, flat elevations above the dugouts in which the workers lived - all this jumble, painted in darkness in one color, gave the earth some strange , a wild face, reminiscent of times of chaos. There was so little order in everything that lay in front of me that among the ugly pitted, unlike ground, it was somehow strange to see the silhouettes of people and slender telegraph poles, both of which spoiled the ensemble of the picture and seemed not of this world. . // It was quiet, and only heard, as above our heads, somewhere very high, the telegraph buzzed its boring song(Ch.).

Ratio of FCV and paragraph

Parameter name	Meaning
Article subject:	Ratio of FCV and paragraph
Rubric (thematic category)	Literature

1. Paragraph and STS can be the same. Such paragraphs, equal to STS, are stylistically neutral and are often used in scientific, formal and business styles, are the norm in artistic narration, usually in prose. Such a structure is focused on the emphasized logical organization of speech.

2. The paragraph is not equal to the SCS, while the following correlation options are possible:

a) STS should be broken by a paragraph - STS 1. And in this case, the paragraph emphasizes the emotional and expressive qualities of the text, which is typical of literary texts. In this case, the paragraph performs an accent-highlighting function: it focuses on individual links in the overall structure.

b) One paragraph can contain several STS.

The discrepancy between the boundaries of the FCS and the paragraph is due to the fact that the paragraph and the FCS are units of different levels of division: The paragraph does not have a special syntactic design, unlike the FCS, the paragraph division of the text is subject primarily to semantic division, and the FCS has its own formal language means organizations.

LECTURE No. 12. COMPLEX FORMS OF SPEECH ORGANIZATION.

PERIOD.

PLAN:

1. General concept about the period. Period structure.

2. Types of periods.

3. Stylistic properties of the period.

Literature:

3. Modern Russian language. Theory. Analysis of language units / Ed. E.I. Dibrova. At 2 h. Part 2 - M., 2001.

Question 1. General concept of a period. Period structure.

The term ʼʼperiodʼʼ itself goes back to the Latin periodos- ʼʼcircleʼʼ, figuratively - ʼʼroundedʼʼ, closing speech.

Period – ______________________________________________________________________

_____________________________________________________________________________________

The period is characterized by a clear rhythmic-intonational and semantic division of the entire sentence into two parts: 1) ʼʼincreaseʼʼ, 2) ʼʼdecreaseʼʼ.

The first part is pronounced with a gradual increase in tone and with an acceleration of the tempo until a pause separating it from the second part.

The second part is pronounced with a sharp drop in tone and at a slower pace. There is a long pause between parts.

The junction of the increase and decrease in the letter is usually indicated by a comma and a dash.

Valgina N.S.: the first introductory part of the period - protasis; the second, which concludes apodosis.

Whenever life is around the house

I wanted to limit

When would I be a father, a spouse

A pleasant lot commanded,

When would a family picture

I was captivated even for a single moment, -

That, right b, except for you alone,

Bride was not looking for another(Pushkin).

The main part of the period is pronounced with a rise in tone. It is often larger in volume and, in turn, is divided into smaller parts (members of the period). Period members are separated from each other by pauses (and in writing by commas or semicolons). Their structure is usually symmetrical and is characterized by a number of features:

1) ______________________________________________________________________________

2) ______________________________________________________________________________

3) ______________________________________________________________________________

4) _______________________________________________________________________________

5) ______________________________________________________________________________

The second part of the period most often does not divide, but sometimes the period has a different organization: the first part is smaller in volume, and the second is divided into parts of the same type:

The more diverse the talents and gifts of people, the more brightly life burns, the richer it is in the facts of creativity, the faster its movement towards a great goal.(M. Gorky).

Question 2. Types of periods.

The types of periods are determined by structural features.

Period	Type by structure
What is bitter to me, what was hard, And what inspired the profit of forces, What life hastened to cope with, - I brought everything here. (Twardowski).
But in the quiet hour of the autumn sunset, When the wind stops in the distance, When, with a weak radiance embraced, Blind night descends to the river, When, tired of violent movement, From uselessly hard work, In an anxious half-sleep of exhaustion, The darkened water will calm down, When the huge world of contradictions Satisfied with a fruitless game - As if a prototype of human pain From the abyss of waters Zabolotsky rises before me).
I will sink to the bottom of the sea, I will fly beyond the clouds, I will give you everything, everything earthly - Love me. (Lermontov).
Whether the spleen that suddenly came upon him gave him the opportunity to see everything in this form, or the Italian’s inner fresh feeling was the reason, one or the other, only Paris, with all its brilliance and noise, soon became a painful desert for him (Gogol ).
If the old foliage rustled under the foot, if different branches turned red, if the willows turned around, then there is movement in the birches, and there is nothing to spoil the birch (Prishvin).
To be chosen, to serve the eternal truth... to give everything to the idea - youth, strength, health, to be ready to die for the common good - what a lofty, what a happy destiny! (Chekhov).

Question 3. Stylistic properties of the period.

Period - ϶ᴛᴏ is not a special structural-semantic type of sentence, but only a compositional-stylistic variety existing types offers.

Stylistically, the period is characterized by a pronounced emotional and expressive coloring, solemnity, musicality, rhythmic harmony. From the content side, the period is distinguished by greater completeness and completeness of the expression of thought; it develops and formalizes the complex argumentation of the position. Because of these qualities, the period is especially widely used in poetic speech, in fiction and journalism (oratory).

Many poetic works are entirely constructed in the form of an extended period (M.Yu. Lermontov's poem ʼʼWhen the yellowing field is agitatedʼʼ). In this case, the period is used as an artistic and compositional device.

LECTURE No. 13. COMPLEX FORMS OF SPEECH ORGANIZATION.

DIALOGICAL UNITY (DE).

1. general characteristics dialogic unity (DE). DE structure.

2. Means and methods for linking replicas in DU.

3. Varieties of dialogic unities.

Literature:

1. Valgina N.S. Modern Russian language. Syntax. - M., 2003.

2. Modern Russian language. At 3 o'clock. Part 3. Syntax. Punctuation / V.V. Babaitseva, L.Yu. Maksimov. - M., 1987.

4. Modern Russian language / P.A. Lekant, E.I. Dibrova, L.L. Kasatkin and others; ed. P.A. Lekanta. - M., 2007.

Question. 1. General characteristics of dialogic unity. DE structure.

The subject of syntax is the form of organization of not only monologue, but also dialogic speech. The basic unit of dialogic speech is dialogic unity.

Dialogical Unity – ______________________________________________________

DE usually consists of two, less often three or four sentences-replicas; each of them is a speech act. At the same time, the content and form of the first replica determine the content and form of the replica following it, etc., in connection with this, only in a combination of replicas is the completeness necessary for understanding the meaning found.

The replicas that make up DU are divided into

Stimulus cue- ϶ᴛᴏ the first replica of DE. It is an independent speech act. This should be a question that requires an answer, a call to action, a statement that initiates a topic that needs clarification, clarification. The cue-stimulus determines the content and form of the cue-reaction:

- You arrived yesterday?

- At ten o'clock(Chekhov).

In this example, the stimulus cue is a question. It determines both the content of the next replica (answer) and its structure - an incomplete contextual sentence in which the subject and predicate are omitted, because in linkage with the first replica, their use is redundant.

The second replica DE is called replica-reaction. It may contain an answer to a question, a repeat question, express agreement / disagreement, objection, assumption, refutation, refusal, may contain clarification, explanation, comment on the first remark:

Podkolesin: Do you, madam, like to ride?

Agafya Tikhonovna: How to skate?

Podkolesin: At the dacha it is very pleasant to ride a boat (Gogol).

In this example, the stimulus cue is a question. A response-reaction is a counter question, clarification, this is a quotation question, indicating a lack of understanding of the first statement. The third replica is an answer-clarification.

Reaction responses, as a rule, are extremely laconic, they are incomplete sentences, and in each of the subsequent remarks, as a rule, everything that is known from the previous remark or from the situation is reduced:

- When did you meet him?

- Recently.

- Where?

- In the capital.

Replica-reaction - answer - an incomplete sentence in which only the circumstance is presented, all missing members of the sentence are restored from the context. The third replica is a question - an interrogative incomplete sentence (the basis in the first replica). The fourth replica - an incomplete sentence - consists of a circumstance, ĸᴏᴛᴏᴩᴏᴇ is the answer to the question contained in the third replica.

In dialogic unity, all varieties of declarative, interrogative and motivating sentences are represented, but sentences with minimal syntactic complexity predominate.

Question 2. Means and methods of communication of DU replicas.

The main constructive means of connecting replicas in DU are:

1) __________________________________________________________________________

2) ___________________________________________________________________________

- Do you remember Anatoly, he worked for us as a watchman ...

- Yes, who his does not remember!

3) ___________________________________________________________________________

Khlestakov: You don't have any money?

Bobchinsky: - Money? How money?

Khlestakov: - Borrowed a thousand rubles(Gogol).

4) ___________________________________________________________________________

We ask our dear guests for forgiveness. We have it simple today. Potato, village eater…

- Once an Italian pizza gave! Anchovies! (Roshchin).

5) ___________________________________________________________________________

- Rebellion against things is modern.

- But not typical!(Roshchin).

6) ___________________________________________________________________________

- Are you coming today?

-Certainly, I'll come.

7) __________________________________________________________________________

- Hello, Boris!

- Hello Svetlana!(formulas of speech etiquette).

8) the universal means of communication of remarks is intonation.

Methods of connection of replicas in dialogic unity.

There are two basic methods: 1) chain; 2) parallel.

With a chain connection __________________________________________________________________________

- Which fence do you have on a wasteland?

- Won given.

- You need to measure how many fathoms from the house.

- For what?

- For order.

- Well, well, you can(A. Ostrovsky).

With parallel communication ________________________________________________________________

- Hello, boy!

- Go with God!

- Painfully you are dirty,

How can I see!(Nekrasov).

Question 3. Varieties of dialogic units

The classification of DU is carried out for various reasons: based on the goals of the speakers, the ways of connecting replicas, and the meaning.

In the manual edited by E.I. Dibrova (the section was written by N.A. Nikolina) presents a classification of DUs based on the goals of the speakers:

1. informative DE: _________________________________________________________________

2. Directive DE: __________________________________________________________________________

__________________________________________________________________________________________________________________________________________________________________________

- Mom, give Nadia a towel to wash.

- Now baby(L. Petrushevskaya).

3. Opinion exchange: __________________________________________________________________

__________________________________________________________________________________________________________________________________________________________________________

- You know, now everyone wants to grab a fatter piece from the common pie!

- Not true. Not everything(L. Razumovskaya).

4. Dialogue with purpose establishing or regulating interpersonal relationships: _____

__________________________________________________________________________________________________________________________________________________________________________

5. Estimated DE ___________________________________________________________________________

_________________________________________________________________________________________________________________________________________________________________________

-He is a wonderful specialist.

- And most importantly - a good person.

6. Fatal Dialogue: _________________________________________________________________

_____________________________________________________________________________________

Phatic DUs are widely represented at the beginning of telephone conversations, congratulations, greetings, on-duty conversations about health or the weather. Replicas in phatic DU are standardized, clichéd in nature, the amount of information reported is minimal:

- Good afternoon. How are you?

- Thank you excellent.

In the textbook Babaitseva V.V., Maksimova L.Yu. ʼʼModern Russian language. Syntax. Punctuation ʼʼ presents a different classification of DU: by meaning and by structural features:

1) question-answer unities;

2) units in which the second replica continues the unfinished first:

How beautifully he speaks...

- And he's handsome(Serafimovich).

3) unities in which the replicas are connected by one subject of thought:

- Just as a bright oncoming light blinds the driver, so a person goes blind from a strong feeling.

- And, as they say in the police, there is a prerequisite for an emergency(Kozhevnikov).

4) unity of agreement / disagreement:

- Let's climb into the first stack that came across and spend the night.

- Come on, of course.(Shukshin).

Babaitseva V.V. notes that not all replicas coming from each other in dialogic speech will represent a dialogic unity. There are replicas that are complete sentences, each of which contains its own message. And only a structural-semantic commonality unites the replicas into a dialogic unity.

LECTURE No. 14

PLAN

1. The concept of someone else's speech and ways of its transmission.

2. Direct speech as a reproduction of the content and form of someone else's speech. Constructions with direct speech, varieties of their structure.

3. Indirect speech as a form of transferring the content of someone else's speech. Rules for converting direct speech into indirect speech.

4. Improperly direct speech.

5. Citation and its forms.

Literature:

3. Modern Russian language. Analysis of language units / Ed. E.I. Dibrova. At 2 h. Part 2 - M., 2001.

4. Modern Russian literary language / Ed. P.A. Lekanta. - M., 1988.

5. Russian language: Encyclopedia / Ed. Yu.N. Karaulova. - M., 1997.

Question. 1. The concept of someone else's speech and ways of its transmission.

In the process of communication, we often find it extremely important to convey someone else's speech.

Under h snake speech understand ___________________________________________________________

_________________________________________________________________________________________________________________________________________________________________________

At the same time, in some cases it is important to accurately convey not only the content, but also the form of someone else's speech, in other cases, only the content. In accordance with these tasks, special ways of transmitting someone else's speech have been developed in the language:

1) forms of direct speech transmission - direct speech ;

2) forms of indirect speech transmission - indirect speech .

Sentences with direct speech are designed for accurate, verbatim reproduction of someone else's speech, while maintaining its content and form. Sentences with indirect speech convey only the content of someone else's speech, without preserving its form.

When direct and indirect speech converge, a special form is formed - indirect speech , which literally reproduces someone else's speech, but is not formally distinguished from the author's narration.

Constructions with direct speech, varieties of their structure.

direct speech commonly referred to as ___________________________________________________________

____________________________________________________________________________________

Direct speech conveys:

1) __________________________________________________________________________________

ʼʼ What happened?ʼʼ – Ivan asked with surprise.

I say: ʼʼWhat does he need?ʼʼ

I just then thought: ʼʼWhat should I do now?ʼʼ

According to the structure of sentences with direct speech, they are an union-free (intonational and semantic) combination of two parts: 1) author's words, in which the very fact of someone else's speech is established and it is customary to name its source; 2) direct speech, reproducing someone else's speech.

1) ____________________________________________________________________________:

say, speak, ask, ask, answer, think, notice, speak, object, shout, address, exclaim, whisper and etc.; such words usually need to be disseminated, and the part containing direct speech makes up for their semantic insufficiency; in such cases, the connection between the author's words and direct speech is close.

2) ___________________________________________________________________________:

reproach, confirm, agree, assent, advise and etc.; such words usually do not need to be disseminated, in connection with this, the connection between the author's words and direct speech is less close in this case.

3) ____________________________________________________________________________:

smile, be upset, be surprised, be offended, be indignant etc., in such cases, direct speech has a pronounced emotional coloring: ʼʼWhere are you?ʼʼ - the old man was surprised.

4) ___________________________________________________________________________:

word, exclamation, question, exclamation, whisper and etc.: ʼʼThe boy lay down?ʼʼ - Pantelœey's whisper was heard a minute later.

The words of the author most often represent a DSP with a subject that names the person to whom the speech belongs, and a predicate, an expressed verb. But sometimes the words of the author are incomplete sentence: And he: ʼʼI know thatʼʼ.

1. At postposition author's words, the sentence is divided into two parts: direct speech - author's words (P - A), in this case, direct speech is explained by author's words. At the same time, in the author's speech, as a rule, the reverse order of words is observed:

ʼʼToday is Sunday!ʼʼ - Nadezha Fedorovna recalled with pleasure.

And only when he whispered: ʼʼMom, mom!ʼʼ - he seemed to feel better ...

In such cases, direct speech explains, reveals the content of the word in front of it with the meaning of speech and thought.

“This is really stupid,” I thought. - You can't think of anything stupider.

Direct speech is designed to accurately reproduce someone else's speech. Direct speech may include one or more sentences, different in structure, intonation, modality, temporal plan. In direct speech, any constructions of live colloquial speech are reproduced, incl. including interjections, appeal, introductory words, etc.

Question 3. Indirect speech as a form of transferring the content of someone else's speech.

Indirect speech - ϶ᴛᴏ ___________________________________________________________

_____________________________________________________________________________________

According to the structure, indirect speech is ____________________________________________________

_____________________________________________________________________________________

Father said he'd be back early.

In the main part of such NGN, the same information is given as in the words of the author in sentences with direct speech. The subordinate clause containing indirect speech refers to one word of the main part that needs to be spread: these are verbs or nouns with the meaning of speech, thought ( speak, say, think, order, question, thought…).

Differences between indirect speech and direct speech:

1) ___________________________________________________________________________________

2) __________________________________________________________________________________

____________________________________________________________________________________

3) __________________________________________________________________________________

4) ___________________________________________________________________________________

_____________________________________________________________________________________

Rules for converting direct speech into indirect speech.

When replacing direct speech with indirect speech, their structural and semantic changes should be taken into account:

1. Unions and allied words that introduce the subordinate clause are selected based on the purpose of the statement and the modality of the sentence:

WHAT - when replacing a declarative sentence with an affirmative or negative modality:

Ivan told me: ʼʼI'll be back tomorrowʼʼ ____________________________________________________

AS if, as if - when replacing a declarative sentence, but with a hint of uncertainty, assumptions.

Someone told him: ʼʼThe general seems to be no longer aliveʼʼ ____________________________________

_____________________________________________________________________________________

TO - when replacing an incentive sentence.

The guys shout: ʼʼHelp us tie up the grassʼʼ ___________________________________________

_____________________________________________________________________________________

LI (conjunction-particle) - when replacing a general interrogative sentence in which there are no special interrogative words - pronouns and adverbs).

I was asked: ʼʼWill you agree to come to the conference?ʼʼ _______________________________

____________________________________________________________________________________

Interrogative-relative pronouns and adverbs will be preserved when replacing a private interrogative sentence.

The messenger asked: ʼʼWhere is the headquarters?ʼʼ ______________________________________

____________________________________________________________________________________

2. There is a replacement of personal and possessive pronouns, personal forms of the verb. In indirect speech, they are used from the point of view of the author, and not from the point of view of the one to whom the speech belongs. In this case, it is necessary to take into account whether the person named in indirect speech is a participant in the dialogue or not.

Petya told me: ʼʼ I will take your bookʼʼ - Petya told me that he will take mine book.

Petya said: "Seryozha, I I'll take yours bookʼʼ - Petya told Seryozha that he would take his book.

3. Lexical changes: emotional lexical components that are present in someone else's speech are omitted: interjections, particles, appeals, introductory-modal words ... Their meanings are sometimes only conveyed by other words, more or less close in meaning. In this case, an approximate, less emotional retelling of direct speech is obtained:

He bent down to her and asked: ʼʼDog, where are you from? Did I hurt you? Oh poor, poor... Well, don't be angry, don't be angry... Guiltyʼʼ(Chekhov).

He bent down to the dog and asked where she came from, if he had hurt her, asked not to be angry, said that he was to blame.

Question 4. Improperly direct speech.

Improper direct speech - ϶ᴛᴏ _________________________________________________

_____________________________________________________________________________________

In improperly direct speech, the signs of direct and indirect speech are combined.

Similar to direct speech:

1) __________________________________________________________________________________

2) ___________________________________________________________________________________

__________________________________________________________________________________________________________________________________________________________________________

Similar to indirect speech:

1) __________________________________________________________________________________

2) ___________________________________________________________________________________

_____________________________________________________________________________________

Friends visited the theater. They really liked this show.- inappropriately direct speech.

Improperly direct speech is ϶ᴛᴏ a stylistic figure of expressive syntax. It is widely used in fiction as a technique for bringing the author's narration closer to the characters' speech. This way of transmitting someone else's speech allows you to preserve the natural intonations and nuances of direct speech and at the same time makes it possible not to delimit this speech from the author's narration.

Question 5. Citation and its forms.

Quote (lat. sito - I call, I bring) - ___________________________________________

_____________________________________________________________________________________

Quotes perform several functions:

1) are used to confirm or clarify the author's thoughts;

2) are used, on the contrary, to criticize the quoted thought;

3) a quotation can also perform an emotionally expressive function - to reinforce what was said earlier, to give it a particularly expressive character;

4) a quote should be a source, a starting point of reasoning (for example, in literary or linguo-stylistic analysis);

5) quotations can serve as illustrative material in linguistic research, incl. be presented as samples of certain linguistic facts in dictionaries, grammars, etc.
Hosted on ref.rf
scientific works.

By its structure the quote should be one sentence (simple or complex), several sentences, part of a sentence, up to individual phrases and words.

For instance: But if the homeland is such, as Lermontov said about it in the poem ʼʼFarewell, unwashed Russiaʼʼ, then where does it come from, contrary to consciousness, ʼʼcontrary toʼʼ, ʼʼstrange loveʼʼ?

1. The quotation is written as direct speech. In this case, it is a sentence consisting of two parts: the words of the author - a quote. But a quotation differs from direct speech in its special purpose and special accuracy of indicating the source of the quoted statement. Punctuation marks in this case are placed, as in sentences with direct speech:

Belinsky wrote: ʼʼNature creates a person, but develops and forms his societyʼʼ.

ʼʼLanguage, - pointed out A.P. Chekhov, - should be simple and elegantʼʼ.

If the sentence, which is a quotation, is not given in full, an ellipsis is put in place of the missing members of the sentence:

1) the quote is not given from the beginning of the sentence: L.N. Tolstoy wrote: ʼʼ...in art, simplicity͵ brevity and clarity is the highest perfection of the form of artʼʼ.

2) missing part of the text in the middle of the quote: Speaking about the merits of the language of folk poetry, A.A. Fadeev recalled: “It is no coincidence that our Russian classics ... recommended reading fairy tales, listening to folk speech, studying proverbs, reading writers who have all the richness of Russian speech.”

3) the quote is an unfinished sentence: N.V. Gogol admitted: ʼʼ I still, no matter how hard I struggle, cannot work out my syllable and my language ... ʼʼ

2. Quotations can be included in the text as its independent parts. , without the words of the author. In this case, the quotation is enclosed in quotation marks, the author or the source of the quotation is indicated in a footnote or is in brackets after the quotation.

Comedy gives Chatsky ʼʼa million tormentsʼʼ (Goncharov).

Differences in the methods of depicting characters - lyrical, epic and dramatic - depend on the differences in the genres of literary artistic speech. IN literary work the language of the people depicted in it is primarily motivated by those characters with which it is associated, the properties of which it individualizes ...ʼʼ (L.I. Timofeev).

3. Quotations can be introduced into indirect speech. In this case, the quotation usually follows the explanatory conjunction and begins with a lowercase letter: M.V. Lomonosov wrote that the "beauty", splendor, strength and richness of the Russian language is quite clear from books written in past centuries ... ʼʼ.

4. Quote can be introduced with special introductory words and sentences pointing to the source cited: According to V.A. Hoffmann, Khlebnikov's "linguistic position through and through, fundamentally archaistic".

A special type of quotations (both in their function and in their place in the text) is epigraph . Epigraphs are placed in front of the text of the entire work or its individual parts (chapters) and serve to reveal the main idea of the work or its part, as well as show the reader the author's attitude to the depicted, establish deep connections with other works, discover what is accepted call the subtext of the work.

Theme for independent work:

BASICS OF MODERN RUSSIAN PUNCTUATION

PLAN

1. The concept of punctuation and the history of its study.

2. Principles of Russian punctuation: grammatical, semantic and intonation, their hierarchy and interaction.

3. The modern system of punctuation marks, their main functions.

4. Regulated and unregulated punctuation. Optional and author's punctuation marks.

Literature:

1. Modern Russian language. At 3 o'clock. Part 3. Syntax. Punctuation / V.V. Babaitseva, L.Yu. Maksimov. - M., 1987.

2. Valgina N.S. Modern Russian language. Syntax. - M., 2003.

3. Modern Russian language. Analysis of language units / Ed. E.I. Dibrova. At 2 h. Part 2 - M., 2001.

4. Modern Russian language / P.A. Lekant, E.I. Dibrova, L.L. Kasatkin and others; ed. P.A. Lekanta. - M., 2007.

5. Shapiro A.B. Modern Russian language. Punctuation. - M., 1977.

6. Valgina N.S., Svetlysheva V.N. Spelling and punctuation. Directory. - M., 1993.

7. Rosenthal D.E. Punctuation Handbook: Dictionary-Reference.–M., 1997.

Question 1. The concept of punctuation and the history of its study.

Punctuation - this:

1) ________________________________________________________________________________

2) ________________________________________________________________________________

___________________________________________________________________________________

Punctuation marks are used to indicate such a division of written speech, ĸᴏᴛᴏᴩᴏᴇ should not be conveyed either by morphological means or by word order.

One can judge what an important achievement of culture was the introduction and mastering of the system of punctuation marks by comparing the design of ancient monuments with modern written texts. As you know, the ancient Slavic texts did not have not only punctuation marks, but also division into words. It is easy to imagine how difficult the perception of such texts was.

The gradual introduction of division into words and the design of the punctuation system in Russian writing is associated with the second half of the 16th century - with the activities of the first printer Ivan Fedorov and his associates, in general with the development of printing and school education. At the same time, a system of punctuation marks, close to the modern one, developed only by the 18th century, but the 18th century is also characterized by punctuation norms that have not yet fully developed, the confrontation of different normative tendencies, which is incomplete compared to the modern composition of punctuation marks (there was not yet, for example, a dash , dots, quotation marks).

The first attempts to comprehend punctuation in Russia are associated with the names of Maxim the Greek, Lavrentiy Zizania, then - Melœtiy Smotrytsky.

The theoretical development of the question of punctuation was first presented in ʼʼRussian Grammarʼʼ by M.V. Lomonosov (1755 ᴦ., published in 1757 ᴦ.), who gave a list of punctuation marks (ʼʼlowercaseʼʼ signs) and outlined regulations their use. Lomonosov formulated the basic principle of punctuation: the semantic side of speech and its structure (Lomonosov wrote: ʼʼLowercase characters are placed according to the strength of the mind and according to its location and unionsʼʼ). The meanings of punctuation marks, defined in Lomonosov's theory, are sufficiently clear, differ little from the basic meanings of signs in modern punctuation, which indicates its stability.

N. Kurganov, A.A. Barsov, N.I. Greek expand the general rules proposed by Lomonosov, give more detailed characteristics of the meanings of individual signs and the rules for their placement.

Further, the development of punctuation issues is associated with the names of A.Kh. Vostokova, I.I. Davydov and, finally, Ya.K. Grotto. It is in the work of Grot ʼʼControversial issues of Russian spelling from Peter the Great to the presentʼʼ (1873 ᴦ.) that certain results of the research of previous authors are summed up. Grot saw the basis of punctuation in the logical articulation of speech, which is transmitted in oral speech by pauses and intonation.

The original solution to the issues of Russian punctuation is presented in the works of A.M. Peshkovsky, L.V. Shcherby.

The basis of punctuation for Peshkovsky is the rhythmic-melodic side of speech; he believes that punctuation reflects not grammatical, but ʼʼdeclamatory-psychological division of speechʼʼ.

L.V. Shcherba also sees in ʼʼphrasal intonationʼʼ the basis for punctuation. But, recognizing the dominant role of intonation in the choice of punctuation marks, Shcherba does not deny the importance of other factors (meaning, grammatical structure of the sentence).

In the future, the development of questions on the theory of punctuation went along the path of identifying not just one principle, but a set of principles that operate in the practice of printing. These are the principles of formal grammatical, semantic and intonation.

Question 2. Principles of Russian punctuation: grammatical, semantic

and intonation, their hierarchy and interaction.

stand out three basic principles of Russian punctuation: grammatical (N.S. Valgina - formal grammatical); semantic; intonation.

At the same time, the first two are recognized as leading, which allows us to speak about the semantic-syntactic (or otherwise, structural-semantic) basis of modern punctuation.

The ratio of the SCS and the paragraph - the concept and types. Classification and features of the category "STS and paragraph ratio" 2017, 2018.

General information

Paragraph

A paragraph is a piece of text between two indents, or red lines. A paragraph differs from a complex syntactic whole in that it is not a syntactic level unit. A paragraph is a means of dividing a coherent text based on a compositional-stylistic one.

Note. The paragraph is considered in this case only in connection with the identification and characterization of a complex syntactic whole: in order to distinguish between these concepts, since they are often confused.

However, there are other opinions regarding the paragraph as a unit of text: it is considered either a syntactic unit, or a logical, or a stylistic one.

For A.M. Peshkovsky, for example, a paragraph is an intonational syntactic unit. L.M. Loseva considers the paragraph a semantic-stylistic category), we find the same in M.P. Senkevich. For A.G. Rudnev is a syntactic unit. The latter seems absolutely unacceptable.

The functions of a paragraph in dialogic and monologue speech are different: in a dialogue, a paragraph serves to distinguish between replicas of different persons, i.e. performs a purely formal role; in monologue speech - to highlight compositionally significant parts of the text (both from the point of view of logical and semantic, and emotionally expressive). The functions of a paragraph are closely related to the functional and stylistic affiliation of the text and its stylistic coloring; at the same time, they also reflect the individual author's peculiarity of text design. In particular, the average length of paragraphs often depends on the style of writing.

A paragraph and a complex syntactic whole are units of different levels of division, since the bases of their organization are different (a paragraph does not have a special syntactic design, unlike a complex syntactic whole), but these units are intersecting, functionally contiguous, since both of them play a semantic-stylistic role. That is why a paragraph and a complex syntactic whole can coincide in their particular manifestations, correspond to each other. For example: We climbed the embankment and looked at the ground from its height. Fifty sazhens from us, where potholes, pits and heaps merged seamlessly with the darkness of the night, a dim light flickered. Behind him shone another light, behind this a third, then, receding a hundred paces, two red eyes shone side by side - probably the windows of some barracks - and a long row of such lights, becoming thicker and dimmer, stretched along a line to the very horizon, then turned left in a semicircle and disappeared into the distant mist. The lights were still. In them, in the silence of the night and in the dull song of the telegraph, something was felt in common. It seemed that some important secret was buried under the embankment, and only lights, night and wires knew about it ... (Ch.); Rain throughout the summer was medium-sized and warm. At first, people were wary of him, they stayed at home, and then a normal life began in the rain, as if he had not been. In this case, people acted like chickens, because there is an exact sign of predicting the duration of the rain: if during the rain the chickens hide in shelter, then the rain will soon stop. If chickens, as if nothing had happened, roam the street, along the road, along the green lawns, it means that the rain has charged for a long time, in all likelihood for several days (Sol.).

1) a complex syntactic whole is broken by a paragraph:

It would be necessary to stop, enter the hut, see the twilight of embarrassed eyes - and again go further in the noise of pines, in the trembling of autumn aspens, in the rustle of coarse sand pouring into a rut. And look at the flocks of birds that are pulled in the sky over Polissya to the dark south. And it is sweet to yearn for the feeling of one’s complete kinship, one’s closeness to this dense land (Paust.);

2) in one paragraph - three complex syntactic integers:

It was an August night, starry but dark. Because I had never before in my life been in such an exceptional situation as I happened to be in now, this starry night seemed to me deaf, unfriendly and darker than it really was. // I was on a railroad line that was still under construction. A high, half-finished embankment, heaps of sand, clay and rubble, barracks, pits, wheelbarrows scattered here and there, flat elevations above the dugouts in which the workers lived - all this jumble, painted in darkness in one color, gave the earth some strange , a wild face, reminiscent of times of chaos. There was so little order in everything that lay in front of me that among the ugly pitted, unlike ground, it was somehow strange to see the silhouettes of people and slender telegraph poles, both of which spoiled the ensemble of the picture and seemed not of this world. . // It was quiet, and only one could hear how above our heads, somewhere very high, the telegraph buzzed its boring song (Ch.).

Introduction

Complex syntactic whole as a text unit

Structural and internal organization of the SCS

Means of communication of units in the SCS

Conclusion

List of used literature

Introduction

The text is made up of separate, interconnected parts. These parts are the units of the text. Since the text is both a syntactic and compositional-stylistic unity, it is customary to distinguish between two types of its division.

At the compositional-stylistic level, a paragraph, chapter, etc. (that is, graphically selected parts) is highlighted. At the syntactic level, one of the main units of division of the text is a complex syntactic whole (or, in other terminology, a superphrasal unity).

The relevance of the topic of the work lies in the fact that it was carried out in the context of the ever-increasing attention of linguistics to the text and its constituent units.

The purpose of the abstract is a more complete acquaintance with an important link in the structure of the text - a complex syntactic whole (prose stanza) for developing the skills of a culture of oral and written speech. Development tasks are:

a) show the phenomenon under study in comparison with the proposal;

b) give an idea of its constituent parts;

c) show its role and significance in the structure of the text.

As an object of study in the abstract, scientific literature was used, as well as textbooks and study guides in linguistics. The main methods used in this work were the study of scientific material on a given topic, its positive and critical analysis.

The abstract consists of an introduction, the main part, a conclusion and a list of references.

1. Complex syntactic whole as a text unit

Recent studies have shown that between the sentence (understood as the building material of the text) and the whole text there is an important link for a more complete disclosure of thought, which is the connection of sentences. This is a complex syntactic whole (STS) (in other words, a superphrasal unity, a component, a prose stanza).

A prose stanza, or a complex syntactic whole, is not the sum of sentences, but a syntactic unit of the language. Between its components (sentences) there are grammatical relations. The stanza is also distinguished by a single position.

A stanza is a large unit of text that has a certain composition. It is possible to single out the beginning in it (it is made up by the first sentence, which has the greatest independence, meaning the beginning of a thought and determining the further course of its development, this is the organizing center of the stanza), the middle part (the development of thought, the theme of the stanza) and the ending (specially allocated for a more complete feeling completion of the development of thought part of the stanza). This is a typical composition of a complex syntactic whole.

A complex syntactic whole, or a super-phrasal unity, is a unit of monologue speech, consisting of two or more sentences that reveal one micro-topic, united in meaning and structurally, but not highlighted graphically.

Complex syntactic integers are a means of expressing semantic and logical unities. Separate sentences as part of complex syntactic wholes are united by interphrase links, which are carried out with the help of lexical continuity, as well as by special syntactic means.

2. Structural and internal organization of the SCS

Structural means of organizing independent sentences as part of complex syntactic wholes are conjunctions in the connecting meaning, anaphorically used pronouns, adverbs, adverbs, adverbial combinations, modal words, word order, correlation of tense forms of verbs, possible incompleteness of individual sentences. For example, in a complex syntactic whole: It was heard near the third corpus: "Zhak ... zhuk ... zhuk ...". So, near all the buildings and then behind the barracks and behind the gates. And it was as if, in the midst of the silence of the night, the monster with purple eyes was making these sounds - the means of organizing sentences are a synonymous repetition (these sounds), an adjunctive union and, adverb so, the past tense of verbs.

Sentences as part of a complex syntactic whole: Throw up a heavy, like a crowbar, single-barreled shotgun and shoot it with a flurry. A crimson flame with a deafening crackle will flash towards the sky, blind for a moment and extinguish the stars, and a cheerful echo will ring out and roll across the horizon, dying far, far away in the clear air (Bun.) - connected by the designation of the action (first sentence) and its result (second sentence), the commonality of the species-temporal forms of verbs-predicates and the unity of intonation.

Very characteristic of complex syntactic wholes are connecting constructions that are sequentially connected to the main (first) sentence. For example: Twelve quilted jackets rest peacefully until morning in iron lockers. And twelve southwests in the upper compartments. And twelve pairs of boots, tired, tired (from the magazine).

A complex syntactic whole can be divided into paragraphs, but often such formal differentiation may not be present. A complex syntactic whole should not be identified with a paragraph, although their boundaries often coincide.

A paragraph is an indent at the beginning of a line (red line) and a segment of written speech from one red line to another.

The paragraph formalizes the beginning of a new thought and at the same time signals the end of the previous one. It is used to separate dialogue replicas or compositional-semantic segments of a monologue text from each other in writing.

The division into paragraphs clarifies the composition of the text. The absence of paragraphs would make the text difficult to perceive, devoid of compositional guidelines.

The ratio of a paragraph and a complex syntactic whole can be as follows: 1) paragraph = complex syntactic whole; 2) a paragraph consists of two or more complex syntactic integers; 3) the boundaries of the paragraph and the complex syntactic whole do not match.

The first case is the most common and neutral; numerous examples can be found in Pushkin's prose.

The second case is also quite common. In fiction, in one paragraph, no matter how many complex syntactic wholes it includes, various kinds of inserted chapters, letters, dreams of heroes are drawn up. For example, "The Tale of Captain Kopeikin" in Gogol's poem "Dead Souls" is singled out in one paragraph.

The third case (mismatch between the boundaries of a complex syntactic whole and a paragraph) is less common, but the stylistic effect is stronger. The paragraph in this case serves as a technique for highlighting, emphasizing individual parts of the whole, or is a means of expressing the author's attitude. For example: Of course, I deserved more: the St. George Cross, - but I had an unbearable character, I constantly argued with my superiors, arbitrarily, and, of course, I was bypassed. St. George's cross flew by (V. Kataev). In this case, the selection of the last sentence into a separate paragraph serves as a means of expressing the irony and self-irony of the author.

A complex syntactic whole can serve as a model for both a text and a text fragment; all three types of speech can appear in it (1st - from the 1st person, 2nd - from the 2nd person, 3rd - from the 3rd person), or two or even one of them; it can be adequate to one of the functional and semantic types of speech (description, narration, reasoning), or contain their elements in a mixed form (including definitions).

Means of communication of units in the SCS

The sentences that make up a complex syntactic whole can be interconnected by a chain, parallel or connecting link. Often the connection is of a mixed type with a noticeable dominance of one of the species.

Complex syntactic integers can be of homogeneous and non-homogeneous composition. In complex syntactic integers, two main ways of connecting sentences are possible - chain and parallel connection. Between homogeneous sentences in the composition of complex syntactic wholes, a parallel connection is found, between heterogeneous - chain.

In complex syntactic wholes with a chain connection, a gradual development of thought is given. The sentences, both in meaning and structurally, seem to “cling” to one another; what in the first sentence is reported as something new, in the subsequent sentence becomes an element known, previously mentioned; Each next sentence begins where the previous one ended. The chain connection of sentences is carried out most often with the help of repetitions, pronominal words, synonymous substitutions. For example: Behind the garden they had a large forest, which was completely spared by the enterprising clerk, perhaps because the knock of the ax reached the very ears of Pulcheria Ivanovna. It was deaf, neglected, the old tree trunks were covered with overgrown hazel and looked like the furry paws of pigeons. Wild cats lived in this forest. Forest wild cats should not be confused with those daredevils who run on the roofs of houses. Being in cities, they, despite their tough temper, are much more civilized than the inhabitants of the forests (N. Gogol).

In complex syntactic integers with parallel connection, a description is given of a number of simultaneously occurring or successive phenomena that are listed or compared. The first sentence in such complex syntactic integers usually has a general content, and subsequent sentences, constructed in the same way, reveal this general content. For example: The July twilight forest was slowly preparing to go to sleep. The restless forest birds fell silent, the fir-trees swollen with darkness froze. The resin hardened, and its smell mixed with the smell of dry dew that had not yet fallen to the ground (V. Belov).

With a parallel connection, the content of sentences is listed, compared or contrasted, they usually show structural parallelism. The purpose of such complex syntactic integers is to describe a series of changing events, actions, states, and pictures. For example: The storm raged over St. Petersburg, like returned youth. Light rain lashed the windows. The Neva swelled before our eyes and shimmered over the granite. People ran along the houses holding their hats. The wind flapped black overcoats. An obscure light, ominous and cold, then waned, then flared up, when the wind blew a canopy of clouds over the city (Paust.).

Parallel and chain communication can be combined within one complex syntactic whole. For example: Falling snow stopped and hung in the air to listen to the ringing that poured in streams from the house. And Cinderella looked, smiling, at the floor. Glass slippers stood beside her bare feet. They trembled, colliding with each other, in response to chords flying from Grieg's room (Paust.). Between the first two sentences there is a parallel connection, and then the sentences are joined according to the chain connection method.

An important role in the structure of a complex syntactic whole can be played by the first sentence - the beginning. It "gives" the theme, which is revealed by the subsequent components of the whole. Structurally, the first sentence is built freely and quite independently. But all subsequent ones turn out to be structurally related (word order, aspectual-temporal forms of verbs, intonation and partly lexical composition are subordinate to the sentence-beginning).

All forests are good with their mushroom air and the rustle of leaves. But the mountain forests near the sea are especially good. They hear the sound of the surf (Paust.). Beginning - the first sentence, the main subject of the message. The purpose of the second sentence is to convey adversative-excretory relations (the connection is made through a combination but especially). The third sentence substantiates the second one (the connection indicator is a pronominal repetition in them, replacing the substantive phrase mountain forests near the sea). In addition to the lexical and syntactic indicators of communication (especially good; in them), there are actually syntactic ones - the union, but also the word order in the second and third sentences: the predicate precedes the subject, which is predetermined by the structure of the first sentence.

The weather hurt. In the morning the sun shone, hovered over the smoking fields, over the muddy roads, over the loaves saturated with water, lying on the ground. In the morning, Averky, sometimes leaving his cart and wandering to the hut, promised the old woman that he would be fine. But by lunchtime, the clouds again came in, seeming even blacker from the brilliance of the sun, the clouds changed their unusual colors and shapes, a cold wind rose, and an oblique rainbow rain ran across the fields (Bun.). Zachin - the weather was tormenting. All the content of the subsequent proposals is subordinated to this original topic: its detailed justification is given. Structural connectivity is revealed in the following: the main verbs have one temporary plan (tormented, shone, soared, promised, came in, changed, rose, fled); parallelism in the construction of explanatory sentences (second and fourth sentences); repetition of the circumstance of time at the beginning of each sentence (in the morning; in the morning; but for lunch); adversative relations at the junction of the third and fourth sentences (union but), the position of the verb-predicate before the subject (the second and fourth sentences).

An example of the analysis of a complex syntactic whole as a text unit

In accordance with the foregoing, the text can be analyzed according to the following scheme proposed by Professor Solganik G.Ya. :

Characteristics of the text in terms of its composition (sentence, stanza or fragment) and its composition.

Dividing text into paragraphs:

a) paragraph = fragment;

b) paragraph = stanza;

c) paragraph< строфы;

d) paragraph< предложения;

e) the absence of paragraphs.

From what person is the text written?

The presence and form of someone else's speech (direct, indirect, improperly direct).

Characteristics of the text by the number of persons - participants in the speech (monologue, dialogue, polylogue).

Types of speech (description, narration, reasoning, definition) in the text.

Types of connection (chain, parallel, connecting) in the text.

The functional style of the text (conversational or bookish: scientific, official business, journalistic, fiction).

Figurative and expressive means (tropes) and figures of speech in the text and their functions.

Consider an example.

Once Ibrahim was at the exit of the Duke of Orleans. The duke, passing by him, stopped and handed him the letter, ordering him to read it at his leisure. It was a letter from Peter the Great. The sovereign, guessing the true reason for his absence, wrote to the duke that he did not intend to force Ibrahim in anything, that he left it to his good will to return to Russia or not, but that in any case he would never leave his former pet. This letter touched Ibrahim to the depths of his heart. From that moment on, his fate was sealed. The next day, he announced to the regent his intention immediately

Exam: Economics and Law

42. Paragraph (A) and complex syntactic whole (STS). Period and its structure. dialogic unity.

The boundaries of A and SCS, although they coincide, are not the same. A. is 1) a red line or an indent at the beginning of a line equal to 3 characters, 2) a segment of written speech from the 1st red line to the next. Signs of A. as a segment of speech: 1) A. is not a structural-semantic, but a stylistic-compositional unit, 2) A. highlights the most important groups of sentences or individual sentences in the text in order to: a) describe a new stage in the development of the action, b) give a characterization of the new hero, c) make the author's digression, 3) the division of the text into paragraphs is associated with the musical features of the text, with the individual author's manner of ordering and presentation of information, 4) dividing the text into A-s can serve as a means of influencing the worst imagination of the reader and his emotions, and in many cases is a creative process.

A. and STS are "units of different levels, but they can intersect, functionally touch, because they play a semantic-stylistic role. In this regard, they can coincide (this happens often). Such A-s are stylistically neutral. Borders A. and STS can and do not coincide.A-s can consist of 2-3 STS. In these cases, the stylist role of A. will be different.A. from one sentence express the expression of emphasis, give events in close-up, acting as a kind of headline following it STS, i.e. A in this case is the beginning (micro-theme ) STS. One suggestion can stand out in a separate A. and in those cases when it is the ending of the STS and plays the role of a kind of generalization. When A. consists of 2-3 STSs, it serves to combine different events in one picture. In this case, several micro-themes form one common big theme, which is shown in one paragraph. The winter was warm. Behind Revel, the sea was ice-free. Shchedrin looked at took off from the deck of the transport to the dusk-shrouded shores. There, in Reval, his mother remained. She came from Petrograd to see off her son and stayed at an inexpensive hotel. Here A. includes 2 STS. One with a parallel connection (the first two sentences), the other with a chain connection (the last three sentences). The division of the text into A. is an important style-forming factor. Thus, large A-s are more characteristic of an epicly calm narrative. A-s - sentences are more characteristic of a dynamic, tense narrative. from the individual style of the author.The role of A in different styles is different (in public style).

Period (P) and its structure

Distribution in the language of thin. literature and in public. P (Greek "circle") - a special form of organization of speech. P - most often various complex sentences with homogeneous, subordinate or independent sentences. In addition to complex ones, there are also simple sentences built in the form of a period (to be chosen, to serve eternal truth, to give everything to the idea: youth, strength, health, to be ready to die for the common good - what a high, what a happy lot!). P is characterized by the following signs: 1) a clear, rhythmic-intonational and semantic division of the entire sentence into 2 parts. 1st is pronounced with an increase in tone and an acceleration of the tempo, 2nd - after a deep pause - with a decrease in tone and a slowdown in tempo, 2) the 1st part usually depends on the 2nd (submits to it), is larger in volume, and most often is divided into parts of the same type ( members of P), 3) usually the members of P are built symmetrically, they are prepositions or turns of the 1st structure, with the 1st word order, with predicates of the same type in form. Monogamy (anaphora) is widely used (I will sink to the bottom of the sea, I will fly beyond the clouds, I will give you everything, everything earthly - Love me). P at the junction of parts is usually divided by a dash, zpt + dash, zpt. Any preposition is constructed in the form of P m b. "P - especially solemn, expresses excitement, emotion, elation, is widely used in poetry, in poetic prose, oratorical, journalistic styles. Form P corresponds to its content in verse - NII "When the yellowing field is agitated."

Dialogue unit (DE)

DE is a combination of replica-sentences into one structural and semantic whole, according to the patterns, to which dialogic speech is built. DE - the largest structural-but-semantic. unit dialogue th speech, consists of 2, less often 3-4 sentences - replicas, closely connected. m / in itself in meaning and structure, while the content and form of the 1st replica determines the form and content of the 2nd. It turns out that only in a combination of replicas is the necessary completeness of this part of the dialogue found for understanding:

What is your name?

My name is Leonty Petrovich.

According to their meaning and formal features, including intonation, DEs are divided into a number of types: 1) question-answer unity (most distribution), 2) unity, in which the 2nd repl continues the unfinished 1st, connection meaning with her:

Tatyana: He is beautifully dressed...

Black grouse: And cheerful.

3) unity with relations of disagreement / agreement m / y replicas:

You, Yegor, this does not concern.

No, it does.

4) unit with the relation of the statement and one or another of its qualifications:

Their tower is like a fortress.

Such a simple building.

Not all successive repls have these features. There are replicas that appear to be complete in terms of the meaning of the sentence, and they are, as it were, not connected m / with themselves:

Comrade Maksudov? the blond asked.

I'm looking for you all over the theater, - a new acquaintance spoke up. - Let me introduce myself: Director Foma Strizh.

Answered by: Maxim Berezhnov

ecosystems

Zoology

Biology

Long 19th century

recent history

Middle Ages

new time

Interwar period