Church style of speech definition. Address by His Holiness Patriarch Kirill on the occasion of the celebration of Orthodox Youth Day
Church-religious style serves the sphere of church-religious public activity and correlates with the religious form of public consciousness. Currently, the sphere of church-religious public activity is expanding its boundaries and is used not only in church services(in the genres of sermons, confessions, congregational prayers, etc.), but also in the media (in speeches by priests on radio and television).
The purpose of the church-religious style- promote the unity of the human soul with God.
Basic Style Functions:
1) installation on the affirmation of faith;
2) religious and educational;
3) educational and didactic, etc.
Main style features:
· archaic-sublime tonality of speech, corresponding to the high goal of religious activity and serving as a manifestation of the centuries-old tradition of communication with God;
symbolization of facts and events invisible world;
· evaluation of speech oriented towards religious values;
· modality of certainty, reliability of what is being reported.
The structure of this style includes the following: substyles:
1) religious(catechetical), which consists of the genres of teachings, catechisms; treatises and interpretations;
2) homiletical, represented by the genre of sermon delivered at the liturgy;
3) epistolary, representing speech genres of correspondence of clergy with each other or with the laity;
4) artistic and preaching, which consists of various texts correlated with genres of fiction (thought, lament, song, etc.);
5) prayerful, which reflect the genres of prayers in Russian.
Linguistic features of the church-religious style:
1) linguistic means that have an archaic-sublime coloring - primarily Church Slavonicisms ( good, temple, oblivion, gain, humble, hope; Old Slavonic prefixes and suffixes: redeem, patron, comforter, intercession, boldness, humility; morphological Old Slavonic means: lord, father, Mother of God, saint etc.);
2) means of speech expressiveness in the function of symbolizing phenomena spiritual world (metaphors, allegories, similes);
3) evaluative vocabulary ( most blessed, most pure, most holy, most glorious, greatest, most powerful etc.);
4) the conciliarity of religious communication is manifested in the active use of the 1st person personal pronoun plural, pronouns our and corresponding verb forms;
5) extensive quotation from Holy Scripture: « With the measure you use, it will be measured to you.”[Matt. 7, 2];
6) introductory words with the meaning of confidence, nouns true, true and derivative words true, truly, truly, truly.
Test questions for self-test
1. What is functional style?
2. What functional styles are distinguished in the Russian literary language? Describe book functional styles (name the sphere of functioning, the main goal and objectives, the main stylistic features, list substyles and genre varieties).
3. What are the linguistic (lexical, morphological and syntactic) features of the official business style?
4. What are the linguistic (lexical, morphological and syntactic) features of the scientific style?
5. What are the linguistic (lexical, morphological and syntactic) features of the journalistic style?
Task 100. Read part of the article by the famous researcher O.A. Krylova, dedicated to the religious style. Determine the reasons why, in the author’s opinion, this style can be distinguished as independent.
O.A. KRYLOVA
Is there a church-religious functional style in the modern Russian literary language?
For a long time in our country there was one sphere of social activity that was practically closed to the philologist-researcher. This is the sphere of church-religious public activity. In works on the history of literary language and stylistics, the question of what language (what style, what functional variety of the national language) serves this sphere was either not raised at all, or was touched upon briefly and resolved too superficially. In particular, it was said that this area is served not by Russian, but by the Church Slavonic language, and the whole problem was thus taken out of the sphere of competence of the stylistics of the modern Russian language. But even if such a decision is considered fair, the question still remains: is this the same Church Slavonic language that existed in Ancient Russia or not? Have there been any changes in it or not? And if they happened, what kind? And linguists began to raise these questions only recently.<…>However, it is quite obvious that speech activity in the church-religious sphere is currently not limited to the Church Slavonic language. The change in relations between the church and the state, between society and the church, which occurred during the years of perestroika and in the post-perestroika period, led to the fact that “the word of the priest,” as L.P. rightly noted. Krysin, - now sounds not only in the church temple, in front of parishioners, but also on the radio, on television; representatives of the clergy speak in parliament, at rallies, at various presentations, and consecrate newly opened schools, hospitals, cultural centers; in some educational institutions the word of God is introduced as an academic subject; Religious literature is printed and distributed in abundance among the population. All these types of speech activity are characterized by originality in the choice and use of verbal and syntactic means of the Russian language" [Krysin 1996: 135-138].
This situation allows us to raise the question of the presence in the modern Russian literary language of a special functional-style variety or a special functional style, which L.P. Krysin called it religious-preaching, but we propose to call it church-religious (more about the term below).
So, we put forward a hypothesis: the sphere of church-religious social activity at the present time is a sphere of bilingualism: the Church Slavonic language (the language of prayer, the language of liturgical books and services), on the one hand, and the church-religious style of the modern Russian literary language, on the one hand, function in it. another. The church-religious style of the modern Russian literary language appears in the genres of sermon, church message, funeral eulogy, instruction, etc. Of course, this hypothesis can be considered proven only after all the genres in which this style is embodied have been carefully studied. To date, we have analyzed only one genre - the genre of church-religious message based on the Christmas and Easter messages of the Patriarch of Moscow and All Rus' Alexy II and other clergy of the highest clergy.
(Cultural and speech situation in modern Russia/ Ed. N.A. Kupina. Ekaterinburg, 2000. pp. 107 - 109).
Task 101. Read the text. Name the bright ones distinctive features Church Slavonic style and Old Church Slavonicisms often used in it.
Church-religious style - the style of church books, sermons of priests; in particular the style of Russian translation bible books: one should not mix the church-religious style of the Russian language and the Church Slavonic language - the cult language of all Orthodox peoples, in which services are conducted in churches and prayers are composed.
Church-theological speech superimposes a large number of Church Slavonic linguistic elements on a Russian neutral stylistic basis (inter-style words, etc.), which give a unique stylistic flavor. These are Church Slavonicisms of a sublime nature that have long been adopted by the Russian language, and those that are not used in other styles, but are taken from purely Church Slavonic speech, from books written in Church Slavonic: otrokovitsa (“girl”), fornicator (“depraved woman”) , rebirth, vertograd ("garden"), axe, bed, tabernacle, only, forty, etc. These are words from another language (cf. the saturation of Russian speech with English and in French words such as autoline, shopping, garcon, jourfix, which also bring a strong, but, of course, different stylistic shade). We have given examples of Church Slavonicisms proper, but phonetic Church Slavonicisms are also inserted into sermons and other genres: dira (cf. Russian hole), saint (cf. Russian Holy), stars (cf. Russian stars), groan (cf. Russian . moan), Peter (cf. Peter), etc.; accentological Church Slavonicisms: comforter (cf. comforter), will come (cf. will come), chosen (cf. “chosen”) and word-formative Church Slavonicisms: fear, petel (cf. rooster), inquire (cf. ask ), as well as semantic Church Slavonicisms: husband in the meaning of “man”, wife in the meaning of “woman” (myrrh-bearing wives), belly in the meaning of “life” Words of later Russian origin are avoided if they can be replaced by higher words of the church dictionary: the word boy is not used, but instead they say lad, instead of this - this, instead of because - for or like, instead of the original Russian came out - came out, instead of break - break in church speeches there is not and should not be French, German, etc. English words, so common in other styles. They are deliberately avoided. They readily use Greek words: angel, icon, hypostasis, hesychia, apostle, chrism, heresy; to a lesser extent - Latin words. There is a completeness of syntactic constructions characteristic of high style.
Figures of speech are used sparingly and not all of them - only those that contribute to the creation of spiritual uplift and help clarify spiritual thought. Among them are symbolic parallelism (for example, a description of a natural phenomenon and then a spiritual phenomenon correlated with it), anaphora, allusion (frequent quotations from or references to the Bible).
(N.N. Romanova, A.V. Filippov. Culture of speech communication.
M., 2001. pp. 34-35).
Task 102. Read the text - an excerpt from “The Word of Metropolitan Philaret on the day of memory of St. Sergius.” Select Old Church Slavonicisms. Prove that the text belongs to the church-religious style of the Russian language.
However, let’s stop, if you like, philosophizing based on our own considerations and guesses. Imams, that is, “we have,” is the most famous prophetic and apostolic word. What does it say? Be imitators of God, it says through the mouth of St. Paul. And the very hypostatic incarnation of the Word says: you will be perfect, just as your Heavenly Father is perfect. How can this happen? No doubt through imitation. Or does the immeasurable loftiness of this model, offered to you for imitation, lead you to bewilderment and hopelessness of success? In vain. Imitation does not require equality with the prototype. You can remove from it only some features that are useful and accessible to you, one part of the immense picture in a reduced size, and at the same time the imitation will have its benefit, dignity and even perfection... Of course, you cannot illuminate another sun for the same or for another world, you can shine the light of saving truth in the mind of the ignorant, kindle a spark of love for good in a cruel or otherwise corrupt heart; and here you are, an imitator of God, who not only shines as the sun on visible world, but also enlightening souls with spiritual light.
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Ipatova Svetlana Nikolaevna. Church-preaching style of the Russian language of the 19th century (Based on the work of St. Ignatius): Dis. ...cand. Philol. Sciences: 10.02.01: Vologda, 2004 234 p. RSL OD, 61:04-10/1515
Introduction
CHAPTER 1. FORMS AND FUNCTIONS OF DIALOGICITY OF PREACHING TEXTS OF ST. IGNATIUS.; 18
1.1. Dialogical Relationships in Sermon 18
1.2. Means of expressing dialogicality in the sermon of St. Ignatius 22
1.2.1. Interrogative statements 22
1.2.2. Encouraging statements 37
1.2.3. Appeals in the sermon of St. Ignatius 44
1.3. Features of the functioning of dialogical forms of agreement and disagreement in preaching 46
CHAPTER 2. GENRE SPECIFICITY OF THE WORKS OF ST. IGNATIUS. 55
2.1. Problems of linguistic study of genres of church preaching style 55
2.2. Communication tactics in the works of St. Ignatius. 58
2.3. Communication block as a means of implementing tactics... 72
2.4. Traditional preaching genres of St. Ignatius 74
2.5. Primary and secondary genres in the works of St. Ignatius 97
Conclusions 113
CHAPTER 3. WORD-SYMBOL AS THE BASIS OF THE TEXT OF THE SERMON OF ST. IGNATIUS 117
3.1. Problems of linguistic and semiotic research of symbol 117
3.2. The concepts of “vision” and “contemplation” as a source of the symbolic plan of the sermon of St. Ignatius 123
3.3. An image from visible nature as a component of a symbol 134
3.3.1. The symbolic content of the word “tree”. 135
3.3.2. The word-symbol “tree” is the basis of the sermon composition. 142
3.4. Concept as the basis of symbolic meaning 146
3.4.1. Expression of the concept of “life” in the symbols of St. Ignatius 146
3.4.2. The imperative function of the symbol of wandering in the sermon of St. Ignatius... 155
3.4.3. The word-symbol “wanderer” as the basis of a sermon.. 157
3.4.4. The path as a symbol of life in the sermon of St. Ignatius. 161
3.5. Symbols of the thematic groups “man” and “life” 164
Conclusions. 175
CONCLUSION. 180
Bibliography 183
Appendix 206
II -1. The appearance of the term style in relation to religious texts 206
II -2. The combination of two traditions of understanding preaching... 206
II -3. Period as a stylistic device and communicative tactics of St. Ignatius.. 209
II -4. Composition “Teachings on Salvation and Christian Perfection” by St. Ignatius 213
II -5. Words and expressions characterizing the life of a rich man and a beggar in the “Conversation in the 22nd week. About the rich man and the poor" by St. Ignatius 214
II -6. Speech as a preaching genre 214"
II -7. Comparison of the sermons of St. Ignatius and J. Amfitheatrov 218
II -8. The structure of poems in prose by St. Ignatius 219
II -9. Symbolic meanings of the word tree in the texts of preachers of the 18th-19th centuries 222
II -10. The symbol of wandering in the works of preachers of the 11th-19th centuries... 228
Introduction to the work
In the Russian language there is a special layer of texts that function in the sphere of religious worship. The problem arises of their relationship to the existing system of functional styles of a given language.
The number of functional styles, according to some researchers, cannot be calculated (Elistratov 1996, Shmelev 1977:75, Avrorin 69-72) (for the term “style” in relation to church preaching, see P-1). Texts serving the sphere of religious worship, as we see it, constitute a unified communicative system of the Russian language. This system is defined differently by modern researchers: religious language, cult language, sacrum language, religious discourse, religious use of language (Wojtak 214), sacred language (Kolesov 2002:13), religious preaching style (Prybytko 32-43^ Gosteeva 1997, Krysin 1994, 1996), church-religious style (Krylova 2000, 2001), religious style (Leichik 165), church-preaching style (Grudeva 1999), religious communication (Karabulatova; 89), sacred (sacred) communication (Grinenko 1999a:99) and
Our work is a study of the style of preaching literature of Russian Orthodox Church XIX century Understanding preaching broadly as the archetype of Christian literature, and the entire Christian culture as preaching (cf. Levshun 2001:107, Kotelnikov 26), we will use the term church preaching style Russian language (TsLP), attributing the texts under study to this style. DSP
stands out on the basis of one extra-linguistic factor - religion as a form of social consciousness (Kozhina, Mishlanov; 1995:119, cf. Kozhina 1968:174, Sergeeva 1998:136). Other style-forming factors should also be taken into account: bookish rhetoric, dialogicity, the participation of extra-linguistic means of expression, connection with worship, the aesthetic dimension of a religious act, etc. (Mistrik 83).
Research concerning preaching as a genre is mainly based on material from medieval sermons (Bulanin 1989, Sazonova 1973, Kruglikova 1990, Likhachev 1987, Eremin 1962, 1968, Eleonskaya 1990; Karavashkin 2000, Odessky 1998, Kuskov 1989; Kagarlitsky 20 00, etc. ), or modern (Maidanova 1999; Shmelev 1999, Karasik 1992, Rozanova 2003, Prokhvatilova 1999).
Relevance of the selected topic lies, firstly, in the fact that the language of the most prominent preacher of the 19th century, St. Ignatius has not been yet; subject of monographic study; secondly, the features of the DSP of the Russian language of the 19th century. practically not studied, meanwhile, this functional variety played a crucial role in the development of the Russian literary language and in the formation; Russian speech ideal i (Skovorodnikov: 1996, Michalskaya 1992:67). According to P.E. Bukharkin, in general, the gap between two cultures in modern times was relative, the influence of the spiritual continued; literature on secular literature (Bukharkin 14).
A feature of any functional style is the conscious selection of linguistic means in order to optimize this type of communication. As is known, in; religious? sphere, along with Russian, the Church Slavonic language is used.. This feature of sacred communication is directly related to the problem of identifying genres of the digital language. Texts written exclusively in Church Slavonic, in our opinion, cannot represent the genres of the Russian language. So, E.V. Grudeva
proposes to limit this style to one genre - the sermon, as a text compiled in Russian, and not in Church Slavonic (Grudeva 151). Others; researchers within the CPS distinguish the genres of confession, teaching, conversation, lectures in and spiritual educational institution(Nefedyeva 279), prayers (Wojtak 1998), etc., while sermon and prayer are sometimes defined as the original, fundamental genres (Karabulatova 91). Some scientists, speaking about the genre diversity of this style, do not take various genres beyond its scope; liturgical texts operating in Church Slavonic (Krysin 1994:71). We cannot agree with the division of the TsPS genres into speech (teaching, prayer, parable, confession, sermon) and liturgical (akathist, penance, psalm), as L.V. does. Krysin (Krysin 1996:137), because their texts are written in different languages.
Recognizing? diversity: DSP genres, we must classify them as different subgenres. There are 5 substyles of DSPs:
confessional (catechetical), which consists of the genres of symbols, statements of faith, catechetical teachings, catechisms; apologetic treatises and interpretations (Vereshchagin 1996:213j Wojtak 216);
homiletical, which includes didactic and panegyric genres of sermon delivered at the liturgy (Vereshchagin 1996:213 ,. Chertoritskaya 8) (cf. teaching And solemn genres (Tareev 142));
3) epistolary, representing various speech genres
correspondence^ of clergy with each other or with laity (Vereshchagin
1996:213, Klimenko 1999:29-32);
4) artistic and preaching, which they represent
various texts correlated with genres; fiction
(thought, crying; song, etc.); expressing the truths of faith in art
mode;
5) prayer (genres of prayers in Russian).
Some researchers contrast CSP with all other functional styles of the Russian language on the basis of contrasting sacred communication with everyday, profane communication. Sacred language, recognized from the very beginning as a high * style, is distinguished primarily by the organization of the norm (Kolesov 2002:13^ see also : Grinenko 1999a:99, Golberg 2002:14). The presence of the norm raises the question of the time of the emergence of the Central Orthodox Church. yet a single literary language, the very concept of “norm” did not emerge. Based on this, as V.V. 242, Vinogradov - 1955:80-81). However, the concept of style as a category of historical language; according to BiB, is a linguistic phenomenon, not a functional one. the trinity of types: profane, professional and sacred - gave not only the trinity of style, but also the trinity of states of the language... What were previously perceived as “independent” languages; becomes
for example St. Demetrius of Rostov, especially since St. Ignatius; he himself recommended his creations to his flock (Lozinsky 39).
An independent problem in the study of CPS is the problem of attitude; sermons to oratory. This problem was solved in different ways by pre-revolutionary homiletics, corresponding to two traditions: Augustinian and Gregorian. According to the first point of view, homiletics goes back to classical rhetoric, oratory. This point of view was reflected in the Bs “Guide to Church Eloquence” (Manual 1804:57), in the handwritten “Experience of Instruction in Church Eloquence” by A.I. Pushkova (Pushkov; 1823), in “Readings on Spiritual Literature” by Y.K. Amphiteatrov (Amphiteatrov 1842), in the works of his followers (Longinov 1847, Metropolitan Anthony 1892, Govorov 1895, Chepik 1910, Favorov 1911, Troitsky 15). Another* tradition, the Gregorian, connects preaching with the function of the grace-filled life of the Church, and is based on the teaching on preaching contained in the Bible (John 16:13^14:26; Matt. 10:19; Mark LZ:11; Luke 12: 12; 1 Cor. 2:4, 12, 13; 1 John 2:20, 27). The sermon is interpreted as the embodiment of Divine energy (charisma), which is transmitted to the listeners through the priest. In this tradition, preaching is not recognized as a genre of oratory (Nikolsky 1895, Kutepov 1896, Barsov 1899:458, Tareev 1903). Consolidation trends? rhetorical and anti-rhetorical directions found і reflected in the works of homilets at the turn of the 19th - 20th centuries. (Yuryevsky 1903; Pevnitsky 1908, Bulgakov 1916, see also Vetelev* 1949). For more information about the two traditions of understanding preaching, see P-21
PHILOLOGISTS OF THE XX CENTURY ARE NOT USUALLY RELATED TO PREACHING TEXTS! To
a special functional style of the Russian language, and are considered in the field; private rhetoric - spiritual (church-theological) eloquence. Researchers of the 20th century talk about the partial borrowing of rhetorical techniques by the sermon from the section of elocution (Bulanin 1989:15), the borrowing of composition requirements corresponding to rhetorical ones;
disposition (Bezmenova 9, Kutina 12, Nefedeva 280), or the complete identity of the sermon with rhetorical skill (Morozova 1997d:140, Bazhenova-Ragrina 68, Begunov 75, Chertoritskaya 8, Kochetkova 1974, Michalskaya 1992, 1996, etc.) - In our opinion , the genre diversity of religious texts cannot be considered within the framework of the oratorical substyle of the journalistic style.
A study of the TsPS cannot be complete without a thorough study of the language of individual spiritual writers from the 18th century. to this day. Saint Ignatius (1807-1867) was canonized in 1988 as “an ascetic of piety, the author of numerous works, an ascetic and teacher of Christianity; life, whose works, in depth and spiritual content, reveal the spirit of patristic tradition and are its continuation” (Acts 1988:165). Seeing such a formulation of the reasons* for the canonization of the saint in the year of the millennium of the Baptism of Rus', one is involuntarily surprised by the fact that in the 19th century his works were read with great caution; many of them were subject to strict censorship. Textbooks on homiletics and the history of church eloquence, published for theological seminaries in late XIX- early 20th century, numerous manuals; By; church preaching, published in church magazines of that time (“Guide for Rural Shepherds”, “Wanderer”, “Home Conversation”, etc.), contain very little information about this bishop; none of the homiletical anthologies included his sermons ( Potorzhinsky 1879, 1887,1912; Dudarev 1901, Bulgakov 1915, Chepik 1910).
Available publications about this bishop relate primarily to his biography (the work of Hieromonk Ignatius (Sadkovsky) “In Search of the Living God” (1913), see also: Biographical sketch 1867, Death of the Right Reverend Ignatius 1867, Belovolov 1991, Archbishop Michael 1967, Viktorov 1958)) or the peculiarities of the religious and moral views of the saint (the work of Hieromonk Iliodor (Trufanov) “Religious
moral worldview of St. Ignatius" (1905), the fundamental work of Li Sokolov "St. Ignatius. His life, personality and moral and ascetic views" (1915), master's thesis of Associate Professor^ MDA Abbot Mi Lozinsky "Spiritual life of a layman and monk according to the works and letters of St. Ignatius (Brianchaninov)" in 2 volumes with a 6-volume appendix^ ( 1968) (Sokolov 2003, Lozinsky 2003, see also: Tertyshnikov 1994, Chinyakova 1999; Afanasyev, Voropaev 1991, Feofan 1869; Florovsky 1937:393-397)). In the only lifetime publication, the originality of St.'s creations was noted. Ignatius (Matveevsky 1863). Few modern linguistic research creativity of St. Ignatius is touched upon; genre organization of sermon (Sudakov 2002, 2003) or features of the epistolary heritage of this * preacher; (Postovalova! 2000). Study of idiostyle; St. Ignatius will allow us to answer the question why the works of this preacher were not perceived by his contemporaries as an example of the central teaching, but at the same time are widely used in church life now.
Interoperability problem? objective-structural qualities of style and its subjective orientation, correlation* with the subject, form \ expression of individual properties and creative possibilities; the author was first noted by V.V. Vinogradov; (Vinogradov 1961:8).- Concept: idiostyle; arises in connection with the development of the concept of personality in public consciousness. In the history of Russian spiritual culture, this process is taking shape; V; XVII-XVIir centuries Until XVII* very unsteady” (Vinogradov* 1961:40, Nekrasov 39-40, Bulanin 1995:33). In the "16th century" only weak sprouts of individual literary styles are visible (especially in the work of Archpriest Avvakum)" (Vinogradov 1967:83), the work correlates not so much with the author, but with the genre:; "By
essentially, the genre was the true carrier literary work"(Gukovsky 22), but also in the XVIII? V. “individual shades of style" of this or that writer; usually faded into a stable scheme of genre composition" (Vinogradov 1967:84).
XIX century V.V.; Vinogradov calls the era of the flourishing of individual styles (Vinogradov; 1971:70). “An ever-deepening individualization of style since the middle of the 19th century is revealed! in: the discovery and subtlest: development of means of speech expression" (Ibid > 67). Personal participation in style selection; less; important in CPS, in comparison with other areas of communication, cannot interfere with the study of idiostyle, because "V In its most creative examples, the writer’s individual language not only does not contradict the natural ideal of linguistic shamma, but even more than that: it reveals the properties of this norm in the most perfect way” (Vinokur 1990:41, see also Sapir 200).
IN \ connection with the above! special attention; The question deserves is to what extent the personality of St. can be reflected. Ignatius in his sermon. To the ambiguity of the answer; This question was pointed out by a homilet at the turn of the 19th-20th centuries: V.F. Pevnitsky. On the one hand, there is no room in the sermon? for the manifestation of personal originality” (Pevnitsky 75), in connection with which the concept of the image of the author can be expanded, i.e. it can be understood not only as applied to one individual author, but in general: to the author of church preaching texts; on the other hand, with the “perception of truth by the spirit? preacher... he reworks or changes its form, in relation to the needs or receptivity of his listeners... It is a flaw in the sermon if the imprint of the personal element or personal influence of the preacher is not visible in it... The soul: of a human preacher manifests itself the more powerfully and clearly and her personal originality in her word, the deeper and sincere her conviction in the truth proclaimed” (Ibid. 76). Q: This answer reflects “a peculiar paradox of religious
perception: being of all life’s acts the most individual, personally suffered, personally determined; at the same time it turns out to be the most universal - a clear sign that there is no opposition between the individual and the universal” (Bulgakov 1994:52).
When studying a writer’s idiostyle, the question arises about the distinction* between the concepts of idiostyle and idiolect. Often the significance of an idiolect is exaggerated when language is treated as a simple sum; idiolects (Vinokur 1987:11, cf. Lossky 238). Sometimes these concepts do not differ (Grigoriev 4), but more often modern researchers, contrasting the concepts of “language - individual modification”, idiolect and idiostyle are considered in the system of relationships “system - structure” and “system - text” (Revzina 68-69, Shchukin; 1978; Severskaya, Preobrazhensky 147, Baranov 1998:121). Under the idiolect? St. Ignatius we will; understand an acceptable version of the TsPS, and by idiostyle - a specific system of St. Ignatius, “in relation to other individual styles and manners” (Vinogradov 1967:84). Idiostyle is a broader phenomenon than idiolect, because reflects simultaneously both the systemic properties of the style and the variable ones, differentiated by; basis: constructive oppositions of particular systems of expression (see Severskaya, Preobrazhensky, 147). According to V.V., Vinogradov, “the individual style of a writer, his qualitative originality, is largely determined by the forms of embodiment of the “image of the author” in the “works of this writer” (Vinogradov, 1960:25). The image of the author in the TsPS is practically; not studied. Yu.V. Rozhdestvensky in: article “Image of the Author; in homiletics" (Rozhdestvensky 160-163), highlighting such features of the Russian preacher; such as asceticism, culture-creation, non-jurisdiction, charity, etc.: does not give; information about the linguistic expression of the author’s image, especially for a certain period of development of this style.
It seems to us appropriate to study the idiostyle of St. Ignatius should be carried out from the point of view of two aspects: communicative and genre. For stylistics as a whole, “there is no independent subject of research, outside the communicative approach” (Vinokur 1987:9). As is known, the problem of the image of the author in stylistics is, first of all, the problem of a participant in communication, subject to its laws developed in a team of native speakers. The image of the author is most clearly manifested in relations with his addressee: “style reflects the position of the subject of speech relative to the position of the addressee” (Dolinin 1978:36^ see also Zolotova 1982:3). As you know, a type of communication! has a significant impact on the genre^ differentiation^ of speech (Zemskaya; 42-43), and any individualization of style, in turn, is “accompanied by a shift” and confusion of the boundaries of literary genres” (Vinogradov* 1967:86). The genre* aspect is not opposed
Communicative-genre differentiation will allow
specify the functional specifics of the texts being studied, i.e. how the TsP is implemented in the structure of the text of St. Ignatius. It is the genre-communicative typology within the functional style that can give certain guarantees if possible; full accounting of style; specifics of the texts under study.
The purpose of the dissertation research is the study of idiostyle; St. Ignatius in і genre^ and communicative aspects as a variant of the DSP of the Russian language of the 19th century. This goal involves solving the following tasks: 1) describe the subjective! organization of texts of St. Ignatius, forms and functions of dialogicity in his sermons; 2) characterize the specifics of genres; the work of St. Ignatius, to find out how consistently the genre canon of sermons is presented in his work and to what extent
Is the author’s individuality reflected in the creation? text; 3) identify features; used in the sermons of St. Ignatius of figurative means of language; 4) to find out the role of rhetorical traditions in the CPS of the 19th century, in particular in the work of St. Ignatius; 5) determine the place of the spiritual creativity of St. Ignatius in the preaching heritage of his era.
We do not set ourselves the task of identifying the entire list of style-forming linguistic means, but we want to draw attention to the most controversial issues that have not received an unambiguous solution in modern stylistics.
Specificity of the idiostyle of St. Ignatius will be defined by us through: preference (see Ledeneva 38), i.e. a reflection of the preacher’s attraction to certain linguistic constants. Based on the pragmatic, semantic and syntactic model of the idiolect, it is possible to identify the features of the idiostyle, expressed 1) in preference for topics; genres: sermons, means and techniques of transmitting information, special ways of constructing a text, reflecting subject-object relations; 2) in preference for words in! the role of the predicate (means of characterization? expression of the author's position; evaluation), words of certain semantics (selective attitude towards one or another member of the lexical paradigm, thematic, lexical-semantic groups, synonymous series) \ (Dibrova 1996:136), in the features of figurative means of speech; 3) in the specifics of the syntax of the preacher (Efimov 1969:200).
The main source of our research is the three volumes of the works of St. Ignatius: two volumes, united by the title “Ascetic Experiences”, including mainly non-traditional genres of the TsPS, and “Ascetic Sermon”, which is an incomplete annual cycle of sermons (five weeks (out of eight) from Easter to Pentecost, from 21 weeks from Pentecost to Great Lent, all weeks of Great Lent). The sermons are arranged in the collection according to the beginning of the year.
according to the secular calendar. The type of ascetic preaching was also characteristic of St. Ignatius’s contemporary, St. Theophan, whose works, however, were placed in anthologies and were not subjected to the same censorship as the works of St. Ignatius.
In the second half of the 18th century. and the first half of the 19th century. the main one was the moral and practical direction church preaching, the most prominent representatives * of which were St. Tikhon; Bishop of Voronezh; Metropolitan Moskovsky and Platon (Levshin), Metropolitan. Moscow Filaret (Drozdov), Archbishop. Kherson Innocent* (Borisov), Archpriest Rodion Putyatin and others. In the second half of the 19th century. two directions are developing: social and journalistic (found . reflected in the sermons of Bishop of Smolensk* John (Sokolov), Archbishop. Demetrius of Kherson" this time in і In theology, moral themes replaced metaphysical themes. The formation of “Russian church” liberalism, more everyday and everyday than theological” (Florovsky 1937:388), the formation of a tradition of secularized religiosity; influence foreign literature are the reasons; restructuring moral theology; anew, as teachings about spiritual life. Under: the influence of the disciples of St. Paisius Velichkovsky revives contemplative monasticism. So, in Rev. Seraphim of Sarov (1759-1833) again becomes
living Byzantine and once-Byzantine contemplative and ascetic tradition” (Ibid. 392). The Byzantine tradition has been reflected in literature since the 40s. XIX century, when patristic translations of the spiritual books of St. Paisiy Velichkovsky and his students. “In a short time, a number of exemplary books for spiritual reading and reflections. Spiritual demand for these books: already existed.... Towards old and translated ones? the books were joined by new and independent experiences...” (Ibid. 393).
The study uses methods of stylistic analysis: descriptive, comparative, comparative-historical - and elements of discourse analysis, which is a coverage of religious communication taking into account; characteristics of cultural-historical and communicative plans.
Scientific novelty of the research determined by the fact that the dissertation proposes new criteria for description; stylistic features (genre, lexico-semantic, syntactic) and according to these criteria it is given detailed description idiostyle of St. Ignatius. Material was introduced into scientific circulation, which, having been published in 1867, remained little known and was never studied in a specifically philological rather than theological aspect: Study of the idiostyle of a 19th century preacher. in the genre-communicative aspect is being undertaken for the first time.
The following provisions are submitted for defense.
1. Creativity; St. Ignatius, which represents the idiostyle of the 19th century CPS, reflects to a greater extent the development of preaching poetics rather than adopting the rhetorical traditions of scholastic homiletics.
The most important functional-semantic category of sermon is dialogicity, which in its stylistic purpose differs significantly from dialogicity in other functional styles. This is manifested in the fact that the dialogical nature of the sermon does not imply polyphony, discussion, argument, because it is mediated by other important functional-semantic categories of preaching - prayerfulness and conciliarity.
41 The contemplative type of thinking of the preacher, his appeal to the mystical meaning of the phenomena and events under consideration does not allow him to use the usual system of tropes characteristic of other functional styles, and St. Ignatius is forced to use a special language of symbols, in the content of which the axes intersect; material and metaphysical worlds.
5.. St. Ignatius used the rich in his work; experience of verbal culture of the 19th century; not for) rapprochement with secular literature, but = to give this culture spiritual significance, which speaks of the contribution of St. Ignatius in the history of the Russian literary language.
Theoretical significance of the work is that the study of DSP in the genre-communicative aspect makes it possible to more fully reflect the functional-stylistic " Russian language system. The results of the study of the idiostyle of St. Ignatius can contribute to the study of the idiostyles of other preachers of both the 19th and other centuries.
Practical significance of the work determined by the fact that the material can be used? in teaching* stylistics,
lexicology, history of the Russian literary language, and also (subject to a certain degree of adaptation) in Russian literature classes in high school and in special courses in linguistic local history. The results of the study can also be applied in lexicographic practice to clarify the interpretation of words correlated with > words-symbols of St. Ignatius.
Approbation of work. The main provisions of the dissertation were discussed at the XII International Christmas educational readings (Moscow, 2004), at the XXXIII International Philological Conference (St. Petersburg, 2004), at all-Russian conferences: “University; science for the region" (Vologda, 2003; 2004), "Young researchers for the region" (Vologda, 2004), at interregional scientific conferences: “St. Petersburg-Vologda: historical and cultural interaction of the 18th - 20th centuries.” (Vologda, 2003), “Saints and devotees of the Russian North” (Veliky Ustyug, 2003), at the IV Interuniversity Conference of Young Scientists (Cherepovets, 2003), at scientific and practical conferences: “Spirituality and patriotism as the basis of modern education” (Vologda, 2002), “Saint Ignatius: spiritual heritage and modernity (On the 195th anniversary of his birth)” (Vologda, 2002), “Holy places of the Vologda region” (Totma, 2004).
The main results of the study were reflected in* 5 published works.
Structure of the dissertation. The purpose and objectives of the study determined the structure of the work, which consists of an introduction, three chapters, a list of references, an appendix and a list of abbreviations.
Dialogical relationships in preaching
Particular attention of researchers is drawn to the problem of determining the type of speech (dialogical І or І monologue) of church preaching texts: Monologue and dialogue are the main forms of embodiment of the genre (Kitaygorodskaya! 111). Being the most important component of the structure of the text, dialogue reflects the features; individual style of the author: In the 5th composition of TsGTE N.N.: Rozanova identifies a special genre - microdialogue (informative, prescriptive; appellative; phatic) (Rozanova 346); even yourself? genre of sermon, characterized by? by this "researcher with signs of І orality, monologue, spontaneity, preparedness" (Ibid. 348): Monologue by many; admits? artificial! language with form; (Shcherbai 1915: pp. 3-4- - appendix; Arutyunova 1992:52). It is associated with “authority, ritual, ceremony, etc.” (Yakubinsky 34); from the bookstore; narrative speech (Zolotova 1973:335), it is indicated that a written monologue projects the complex course of the speech process (Yakubinsky 3 7):
In the understanding of dialogue, there are two points of view: According to the narrow understanding, dialogue is one of the compositional forms of speech (dialogical and monological! speech), from the point of view of the broad understanding; “every monologue is a replica of a larger dialogue” (Bakhtin 1986:313). Recognition: the dialogical nature of any text is found in first antiquity; in: Aristotle's rhetoric, is completed by Bakhtin's M:M. The latter marked the beginning of a broad understanding of dialogue; like any verbal communication; and as a formative principle-spirit, the incomplete opposite of which is monologue (cf. thoughts; about dialogue as an all-encompassing property of literature: (Borovoy 27)). Dialogical relationships, according to; M.M. Bakhtin, is a broader concept than dialogical speech in the narrow sense, under which; mutual communication is understood in which: activity and passivity pass from one participant in communication to another, and the most favorable atmosphere is the moral equality of speakers (Bakhtin 1986:321).
Sermon, by; number of active participants in speech, is a monologue, but, included in communicative processes and carrying them out, it is marked by dialogism in the broad sense. A.K. Michalska recognizes the sermon as monologue only “in form”, points to the techniques and means of dialogization (“words; high: spiritual authorities - holy fathers, teachers and mentors... and the voice of the speaker himself” (Michalska 1992:65-66)). For G.A. Prokhvatilov’s feature of dialogicity is dominant in sermon I (Prokhvatova 1998). According to O.T. Loiko, all; “Christian: culture is to the greatest extent dialogical and dichotomous” (Loiko 51).
Problems of linguistic study of genres of church preaching style
The fundamentals of the theory of speech genres (RG) were outlined by M.M. Bakhtin in his work “Marxism and Philosophy of Language” (Voloshinov. 1930), and then developed in his article “The Problem of Speech Genres” (Bakhtin: 1986). According to M.M. Bakhtin, human speech in typical situations is cast into ready-made forms of speech. By definition MM. Bakhtin, RJ are relatively stable thematic, compositional and stylistic types of statements. Typical for RJ are the communicative situation and expression! And; expressive І intonation, volume (approximate length of the speech whole) (Bakhtin 1986:267), concept: addressee and concept of overaddressee (Ibid. 305), reproducibility (Ibid. 247-254).
Interest in various genres of human communication increased noticeably in the 80-90s of the 20th century. A genre is defined as “an “ideal” type or a logically constructed model of a specific literary work that can be considered as its invariant” (Tamarchenko 2001:263); When studying CPS, it is important to answer the question of dividing religious discourse into separate RLs. At the same time; characteristics of the structure of the preaching genre for the 19th century. should be combined with coverage of its features in diachrony.
The main difficulty faced by a modern researcher constructing a typology of RJ, and the homilet of the past, is the search for the basis for the classification. In this area, two methods have been most developed:; componential and illocutionary-performative analysis. Using the illocutionary-performative criterion in relation to the DSP, it is difficult to distinguish between texts that have the same goal - to encourage the addressee to save the soul. The method of component analysis is convenient when one RJ is opposed to another according to one differentiating feature, but the preaching RJ of St. Ignatius is opposed to each other by a whole complex of characteristics. We will try to combine these: two criteria on; on the basis that the components of the sermon of St. Ignatius differ not so much in content as in their goal setting. The illocutionary criterion in modern pragmatics has led pragmatics, as T.F. wrote. Vinokur, to some kind of crisis, when models became the center of attention and pragmalinguistics ceased to correspond to its purpose? - “to be the most personally oriented and most connected with reality external linguistic discipline” (Vinokur 1993:20-21). The purpose of our research is to consider the genres of St. Ignatius is not simply a textual model; but as specific texts of religious discourse of the 19th century.
Problems of linguistic and semiotic study of symbols
Creations of St. Ignatius I reflect the mystical experience of the preacher. and “any religious and? topics; especially the mystical consciousness itself! yours! is essentially forced to create for itself a system of sacred signs and symbols, without which it? not: could describe its “ineffable” content” (Averintsev; 1997:129 cm; also: Losev 1927:321-337, 463-528). Basics of linguistics? and semiotic? there were theories of symbol; laid down. Chі. Peirce, who identified 1 3 types of signs; - indices, iconic signs and; symbols, at; In this case, by symbol he understood a purely conventional one: a sign. By many; foreign; researchers" noted the connection between the symbol and metaphors and other paths on; the basis of the motivation of the meaning of the symbol; arising from: the relationships of specific abstract meanings? (Gassirer. 1946, 1957, Levi-Etros 1994). On Russian soil, the foundations for the study of symbols were laid by A.A. Potebnya, who spoke, in particular;, about; that “the symbol of language... can be called its poetry” (Potebnya 1990:22). At the same time, poetry can be different: in the broad sense, “poetic! the image every time it is perceived and enlivened by the one who understands; tells him something more than that; what is in it? immediately concluded”, in a narrow sense, poetry is equal to transference (metaphoricality) (Ibid. 141). IN? modern: lexical? semantics understanding of a symbol as a linguistic one! the category differs among different researchers; The difference: most often concerns two problems: 1) the relationship of the symbol: to a sign, image, concept, concept; 2); relation of the symbol: to expressive and figurative; means of language, tropes. 1. The relationship of a symbol to a sign, image, concept; concept..
Some researchers interpret the symbol through; concepts of image g and. sign and is defined as “an image taken in the aspect of its iconicity” and as “a sign endowed with all the organicity and inexhaustible ambiguity of the image” (Averintsev 1983:607, see also: Vinogradov 1923:196, Losev 1970, Arutyunova 1999:896, Shelestyuk 2001:52). According to another point of view; “the time has long come to put the symbol next to the concept” (Markov, 112), while symbolic meanings are not identified with conceptual ones. Synthesis; these approaches can be seen in the works of V.V: Kolesov; which examines the relationship of the symbol to the concept, image and concept in dynamics. Semantic syncretism of the concept, according to V.V. Kolesov, is framed in an image, analyzed; in concept; and in the symbol it already appears as “the unity of “thought-feeling””, and therefore can simultaneously replace both the concept and the image; symbol - conceptual image; or figurative: concept” (Kolesov 2002:57,62).
Question 43. Aesthetic language function. The language of fiction among other functional styles.
Aesthetic function is a function of aesthetic influence, manifested in the fact that speakers begin to notice the text itself, its sound and verbal texture. You begin to like or dislike a separate word, turn, phrase. Aesthetic attitude towards language means, in such a way that speech (namely the speech itself, and not what is being communicated) can be perceived as beautiful or ugly, that is, as an aesthetic object. The aesthetic function of language, being fundamental for a literary text, is also present in everyday speech, manifesting itself in its rhythm and imagery.
Artistic style is assessed in stylistic science as a language used in an aesthetic function to create works that can have an aesthetic effect on those who perceive it, and as speech in finished works of this kind.
The language of fiction performs the function of influence and aesthetic function.
Substyles of artistic speech: 1) poetic speech; 2) fiction; 3) dramaturgy.
Peculiarities:
The language of fiction is fundamentally devoid of any stylistic closure; it is open to any styles and linguistic means (this gives grounds for some linguists not to distinguish literary speech into a special style). However, the diversity of stylistic means does not lead to chaos or lexical diversity, since every word in a work of art is motivated by the content, goals and objectives of the author and is subordinated to an aesthetic function. Fiction is a kind of mirror of reality, reflecting all areas public life.
The word in artistic style has two meanings:
1) generally accepted, reflected in dictionaries; 2) additional, incremental, associated with the artistic world, the content of a given work. An artistic word means more than what it means in ordinary speech, while remaining outwardly the same word. This is artistic-figurative speech concretization: the word concretizes the concept, translating it into an image. Figurative concretization is carried out by numerous means: tropes, stylistic figures, etc.
Individuality of the syllable; it lies in new principles for combining words, new ways of using elements of folk speech, foreign, book words.
Question 44. Features of church-religious style. Genre differentiation.
Church-religious style is the style of church books, sermons of priests, in particular, the style of the Russian translation of biblical books.
The areas of use of the church-religious style of the Russian language are liturgical and preaching activities.
Peculiarities:
Church-theological speech is superimposed on the Russian neutral stylistic basis by a large number of Church Slavonic linguistic elements, which give it a unique stylistic flavor.
These are Church Slavonicisms of a sublime nature that have long been adopted by the Russian language, and those that are not used in other styles, but are taken from purely Church Slavonic speech, from books written in Church Slavonic.
Words of later Russian origin are avoided if they can be replaced by higher words in the church dictionary.
In church speeches there are not and should not be French, German and English words that are so common in other styles. They are deliberately avoided. Greek words are readily used; to a lesser extent - Latin.
Figures of speech are used sparingly and not all of them - only those that contribute to the creation of spiritual uplift and help clarify spiritual thought. Among them are symbolic parallelism (description of a natural phenomenon and then a spiritual phenomenon correlated with it), anaphora, allusion (frequent quotations from the Bible or references to it).
Specific style features:
– archaic-sublime tone of speech;
– symbolization of facts and events of the invisible world, as well as possible options for a person’s moral and religious choice;
– evaluation of speech oriented towards religious values;
– modality of certainty, reliability of what is being reported.
Substyles : style of translation of books of the Bible, preaching style, hagiographic style, style of church epistles.
The preaching style is used in the speech of the priest, instructing on the fulfillment of Christian virtues and the avoidance of sins and vices,
to the pursuit of righteousness.
Hagiographic style is the style by which the lives of saints are described.
Genres: spiritual conversation, prayer, confession, parting words, funeral oration, message, sermon, etc.
Church-religious style is a functional variety of modern style. rus. lit. language, serving the sphere of church-religious public activity and correlating with the religious form of public consciousness.
Currently, the sphere of church-religious public activity is expanding its boundaries. Communication in this area includes, on the one hand, the pronunciation of various canonical liturgical texts, the reproduction of prayers and chants, where the Church Slavonic language is presented, and on the other hand, speeches by clergy before a mass audience, carried out not in Church Slavonic, but in modern. rus. lit. language, which appears in this case in the form of a special function. style - church-religious. Thus, the sphere of church-religious social activity turns out to be a sphere of bilingualism.
But if the Church Slavonic language has been studied and described in detail, then the study of C. -r. functional With. modern rus. lit. language is just beginning; there are descriptions of the genres of church-religious messages and temple sermons; it is necessary to study the genres of parting words, funeral words and other words, the speech of clergy in an official setting - that is, all the genres and forms of speech in which the Tsar is embodied. functional With.
The content of the texts contained in the Ts.-r. With. , allows us to distinguish two sides in it: the dictum (eventual) content specified by the topic, and the modal frame of the dictum content formed by congratulations, calls, religious instructions, advice, praise of the activities of the Church, etc.: “Addressing you with Easter greetings , I urge you to successfully continue serving the Church and the Fatherland in boundless devotion to Christ, in fidelity to His commandments and love for every person and the entire human race" (Easter message of Alexy II, 1988).
The communicative purpose of the texts of the Ts.-r. With. always complex, multifaceted: while revealing the dictum content, the author simultaneously strives for an emotional impact on the addressee, and this emotional impact is associated with a specific event from biblical history, from the lives of the apostles, saints, Church leaders, etc., recalling which, the author strives for religious education of the audience; noting the most important events in modern church and - more broadly - public life, the author achieves another goal - promoting the positive role of the Church in the life of modern society and, finally, calling for the observance of Christian commandments, for the preservation of religious traditions, for the observance of church institutions, the author pursues the goal educating the audience in a religious spirit. Thus, the combination of emotionally impacting, religious-educational, religious-propaganda and educational-didactic goals realizes the multilateral communicative orientation of the C. -r. texts.
A complex communicative goal also forms the image of the author, who in Ts.-r. With. It also turns out to be complex, two-dimensional: on the one hand, he is a spiritual shepherd, a mentor of the laity, and on the other, one of the “children of the Mother Church,” experiencing feelings of joy, jubilation or, on the contrary, feelings of regret or sorrow together with those listening; this variation in the image of the author is reflected, in particular, in the variation of the linguistic form denoting the narrator (I am the author / we are the author / we are inclusive)
The image of the author as an intermediary between the Church - “the vicar of God on Earth” - and the believers, the people, and the intermediary who understands the people and is close to them, determines the absence of an explicit author’s expression of will in the form of a categorical order: the obligatorily prescriptive nature of the presentation in the form of a categorical imperative C.
R.s. is not peculiar: “We want our believers not to be limited only to acquaintance through the media about how the celebration will take place in the Holy Land or our capital, Moscow, but that they personally take part in the Great Jubilee in their church community, in his hometown, district or village" (Christmas message of Metropolitan Juvenaly, 1998–1999).
Addressee of the texts of Ts.-r. With. - these are, on the one hand, Orthodox Christians, if the text is heard in church and addressed to believers, or a wider audience, if the text is addressed, for example. , to listeners of radio broadcasts, television viewers, etc., i.e., the addressee is generalized and widespread (according to N.I. Formanovskaya). In the case of a clergyman’s address to other church figures of various ranks, the addressee is predictable and specific. But always texts written in Ts.-r. With. , are addressed to a mass audience, therefore, they represent public official speech, and therefore Ts.-r. With. is a book function. style of codified lit. language.
System of linguistic means of the Ts.-r. With. includes lexical units of four layers: 1) neutral, interstyle vocabulary (help, speak, do, each, then, Moscow);
2) general book (perception, being, primordial role, traditions, however, very much, adhere to other worldviews);
3) church-religious (Lord Almighty, monks and nuns, monastics, laity, patronal feast day, divine service, the kingdom of God, hierarchs, God-loving shepherds, the Holy Land, consecration, myrrh-bearing women);
4) vocabulary with newspaper and journalistic functional and stylistic overtones (sovereign states, militants, education, overcoming difficulties, economic and social situation, problems of refugees and regions).
The main lexical resource of the style is vocabulary that is emotionally and expressively colored, in particular archaically sublime and emotionally evaluative (unparalleled devotion, exalt warriors, unearthly greatness, draw inspiration, glorious holiday), the use of which is associated with the implementation of those communicative goals that were discussed above: with an educational and didactic purpose and the purpose of a positive emotional impact aimed at forming certain moral concepts in the addressee.
Grammatical resources of style include such morphological and syntactic means that provide:
1) the bookish nature of the style (in particular, the genitive substantive, participles and participial phrases, passive constructions);
2) archaic stylistic coloring of speech (archaic morphological forms, outdated management, inversion of the agreed component in the phrase);
3) creating an expressive effect (rows of homogeneous members, superlatives.
From a negative point of view, the arsenal of grammatical means of style is characterized by the absence of multicomponent complex sentences with heterogeneous syntactic connections, a non-union way of expressing subordinating relations, which is associated with the desire for accessibility and understandability of the C. -r. texts to a mass addressee.
The purposes of enhancing expression and, in particular, creating an emotional and evaluative stylistic coloring of speech, are served, in addition to the use of evaluative and emotionally expressive vocabulary: a) extensive quotation; b) the use of tropes and figures of speech (the most typical of which are metaphors, epithets, repetitions, gradation, antithesis, inversion, rhetorical question); c) techniques for complicating the composition of texts; eg : “We are sinful and unclean // And She (the Mother of God) / Most Pure” (antithesis); “And really / to whom and when did God refuse the grace / of enlightenment / Which Christian / cannot receive / wisdom from God?” (rhetorical question); (examples of N. N. Rozanova).
In general, from the point of view of linguistic embodiment, the studied genres of Ts.-r. With. They are distinguished by a combination of general bookish elements with church-religious and newspaper-journalistic elements, as well as an archaic-solemn and emotional-evaluative coloring, which distinguishes the C. -r. With. from all other book functions. styles, including from the newspaper-journalistic style, with which he is close in the complexity of the communicative function, the mass nature of the addressee and the emotional and expressive coloring of many linguistic means included in his system. However, these signs, as well as the different directions of influence, the nature of the author’s image, the lack of that openness to stylistically reduced, pejorative-evaluative and even non-literary elements, which is characteristic of newspaper-publics. style - all this does not allow us to consider Ts.-r. With. "variety" or "substyle" of newspaper-publics. functional modern style rus. lit. language.
