In artistic speech, dialectisms perform important stylistic functions: they help convey local color, the specifics of life, and culture; features of the speech of heroes, finally, dialect vocabulary can be a source of speech expression and a means of satirical coloring.

The use of dialectisms in Russian fiction has its own history. Poetics of the 18th century allowed dialect vocabulary only in low genres, mainly in comedy; dialectisms were a distinctive feature of the non-literary, predominantly peasant speech of the characters. At the same time, dialectal features of various dialects were often mixed in the speech of one hero. Sentimentalist writers, prejudiced against the rude, "muzhik" language, protected their style from the dialect vocabulary. Interest in dialectisms was caused by the desire of realist writers to truthfully reflect the life of the people, to convey the “common folk” flavor. I.A. Krylov, A.S. Pushkin, N.V. Gogol, N.A. Nekrasov, I.S. Turgenev, L.N. Tolstoy and others. In Turgenev, for example, words from the Oryol and Tula dialects are often found (bolshak, gutorit, poneva, potion, wave, doctor, buchilo, etc.). 19th century writers used dialectisms that corresponded to their aesthetic attitudes. Stylistically, the appeal to reduced dialect vocabulary could also be justified. For example: As if on purpose, all the peasants met all shabby (I.S. Turgenev) - here dialectism with negative emotional and expressive coloring in the context is combined with other reduced vocabulary (willows stood like beggars in rags; peasants rode on bad nags).

It is necessary to distinguish, on the one hand, the “citation” use of dialectisms, when they are present in the context as an element of another style, and, on the other hand, their use on an equal footing with the vocabulary of the literary language, with which dialectisms should stylistically merge. With the "citation" use of dialectisms, it is important to know the measure, to remember that the language of the work must be understandable to the reader. For example: All evenings, and even nights, [the guys] sit by the fires, speaking in the local language, and bake opalikhs, that is, potatoes (V.F. Abramova) - this use of dialectisms is stylistically justified. When evaluating the aesthetic value of dialect vocabulary, one should proceed from its internal motivation and organic nature in the context. In itself, the presence of dialectisms cannot yet testify to a realistic reflection of local color. As rightly emphasized by A.M. Gorky, “life needs to be laid in the foundation, and not stuck on the facade. The local flavor is not in the use of words: taiga, zaimka, shanga - it should stick out from the inside.

More difficult problem is the use of dialectisms on a par with literary vocabulary. In this case, the fascination with dialectisms can lead to clogging the language of the work. For example: All wabit, bewitch; Odal Belozor swam; The slope with a twist ants - such an introduction of dialectisms obscures the meaning. When determining the aesthetic value of dialectisms in artistic speech, one should take into account what words the author chooses. Based on the requirement of accessibility, understandability of the text, the use of such dialectisms that do not require additional explanations and are understandable in context is usually noted as proof of the writer's skill. As a result of this approach, dialectisms that have become widespread in fiction often become “all-Russian”, losing touch with a specific folk dialect.

Writers should go beyond "inter-dialect" vocabulary and strive for non-standard use of dialectisms. An example of a creative solution to this problem can be the prose of V.M. Shukshin. In his works there are no incomprehensible dialect words, but the speech of the heroes is always original, folk. For example, vivid expression distinguishes dialectisms in the story "How the old man died":

Yegor stood on the stove, slipped his hands under the old man.

Hold on to my neck... That's it! How easy it has become! ..

Got sick... (...)

In the evening I will come and visit. (...)

Don't eat, that's weakness, - the old woman noticed. - Maybe we can chop the trigger - I'll cook the broth? He's a slick, fresh one... Huh? (...)

No need. And we won’t sing, but we’ll decide the trigger. (...)

At least for a while, don’t be flustered! .. He’s standing there with one foot, but isho shakes something. (...) Are you really dying, or what? Maybe isho oklemaissya.(...)

Agnyusha," he said with difficulty, "forgive me... I was a little dim-witted...

For modern language fiction the widespread use of dialectisms is uncharacteristic. This is due to the activation of the process of dissolution of local dialects in the literary Russian language, their convergence with it. This process captures the entire system of speech, but the vocabulary is the most permeable. At the same time, a complex, multi-stage restructuring of dialect vocabulary is observed: from narrowing the scope of use individual dialectisms until their complete disappearance from the dialect dictionary due to a change in the methods of conducting Agriculture, the extinction of certain crafts, the replacement or disappearance of many social and everyday realities, and the like.

“With quick steps I passed a long“ area ”of bushes, climbed a hill and, instead of the expected familiar plain (...), I saw completely different, unknown places to me” (I. S. Turgenev, “Bezhin Meadow”). Why did Turgenev put the word "square" in quotation marks? Thus, he wanted to emphasize that this word in this sense is alien to the literary language. Where did the author borrow the highlighted word from and what does it mean? The answer is found in another story. “In the Oryol province, the last forests and squares will disappear in five years ...” - Turgenev says in “Khora and Kalinich” and makes the following note: “Squares” are called large continuous masses of bushes in the Oryol province.

Many writers, depicting village life, use words and set phrases of the folk dialect common in the area (territorial dialect). Dialect words used in literary speech are called dialectisms.

We meet dialectisms in A. S. Pushkin, I. S. Turgenev, N. A. Nekrasov, L. N. Tolstoy, V. A. Sleptsov, F. M. Reshetnikov, A. P. Chekhov, V. G. Korolenko, S. A. Yesenina, M. M. Prishvin, M. A. Sholokhova, V. M. Soloukhina, I. V. Abramova, V. I. Belova, V. M. Shukshina, V. G. Rasputin, V. P. Astafiev, A. A. Prokofiev, N. M. Rubtsov and many others.

Dialect words are introduced by the author, first of all, to characterize the character's speech. They indicate both the social position of the speaker (usually belonging to a peasant environment) and his origin from a particular area. “All around are such gullies, ravines, and in the ravines all the cases are found,” says Turgenev’s boy Ilyusha, using the Oryol word for a snake. Or from A. Ya. Yashin: “I’m walking along the oseks once, I look - something is moving. Suddenly, I think, a hare? - says the Vologda peasant. Here is the indistinction c and h, inherent in some northern dialects, as well as the local word "osek" - a fence of poles or brushwood that separates a pasture from a hayfield or village.

Writers who are sensitive to language do not overload the speech of the characters with dialect features, but convey its local character with a few strokes, introducing either a single word or a phonetic (sound), derivational or grammatical form characteristic of the dialect.

Often writers turn to such local words that name objects, phenomena of rural life and do not have correspondences in the literary language. Let us recall Yesenin's poems addressed to his mother: "Don't go on the road so often / In an old-fashioned shabby husk." Shushun is the name of women's clothing such as a jacket worn by Ryazan women. We find similar dialectisms in modern writers. For example, in Rasputin: "Of the whole class, only I went in teals." In Siberia, chirki are light leather shoes, usually without tops, with edging and ties. The use of such words helps to more accurately reproduce the life of the village. Writers use dialect words when depicting a landscape, which gives the description a local flavor. So, V. G. Korolenko, drawing a harsh path down the Lena, writes: “Across its entire width, “hummocks” stuck out in different directions, which the angry fast river threw at each other in the fall in the fight against the terrible Siberian frost.” And further: “For a whole week I have been looking at a strip of pale sky between high banks, at white slopes with a mourning border, at “pads” (gorges) mysteriously creeping out from somewhere in the Tunguska deserts ... "

The reason for the use of dialectism may also be its expressiveness. Drawing the sound that reeds being moved apart, I. S. Turgenev writes: "... the reeds ... rustled, as we say" (meaning the Oryol province). In our time, the verb "rustle" is a commonly used word of the literary language, the modern reader would not have guessed about its dialectal origin if it were not for this note of the writer. But for the time of Turgenev, this is dialectism, which attracted the author with its onomatopoeic character.

Different ways of presenting dialectisms in the author's speech are also associated with the difference in artistic tasks. Turgenev, Korolenko usually single them out and give them an explanation. In their speech, dialectisms are like inlays. Belov, Rasputin, Abramov introduce dialect words on equal terms with literary ones. In their works, both are intertwined like different threads in a single fabric. This reflects the inextricable connection of these authors with their heroes - the people of their native land, about the fate of which they write. So dialectisms help to reveal the ideological content of the work.

Literature, including fiction, serves as one of the conductors of dialect words in literary language. We have already seen this with the example of the verb "to rustle". Here's another example. The word "tyrant", well known to all of us, entered the literary language from the comedies of A. N. Ostrovsky. In the dictionaries of that time, it was interpreted as "stubborn" and appeared with territorial marks: Pskov(skoe), tver(skoe), ostash(kovskoe).

The entry of dialectism into the literary (standardized) language is a long process. Replenishment of the literary language at the expense of dialect vocabulary continues in our time.

1. The role of dialectisms in the works of Russian literature

2. Dialectisms in the works of N. V. Gogol

3. Dialectisms in the works of I. S. Turgenev

4. Dialectisms in the works of S. A. Yesenin

In linguistics, the question of dialectisms as part of the language of a work of art is one of the least studied. Separate works of such scientists as V. N. Prokhorova “Dialectisms in the language of fiction”, E. F. Petrishcheva “Extra-literary vocabulary in modern fiction”, P. Ya Chernykh “On the issue of artistic reproduction of folk speech”, O. And Nechaeva "Dialectisms in the fiction of Siberia" and others. A number of works are devoted to the analysis of dialect vocabulary in specific works of Russian writers of the 19th - 20th centuries: dialectisms in the work of I. S. Turgenev, S. Yesenin, M. Sholokhov, V. Belov, F. Abramov.

In works of fiction, the originality of dialects can be reflected to varying degrees. Depending on what specific features are transmitted in dialect words, they can be classified into four main groups:

1. Words that convey the features of the sound structure of the dialect - phonetic dialectisms.

2. Words that differ in grammatical forms from the words of the literary language - morphological dialectisms.

3. Transmitted in the literary language of a work of art features of the construction of sentences and phrases, characteristic of dialects - syntactic dialectisms.

4. Words used in the language of fiction from the vocabulary of the dialect - lexical dialectisms. Such dialectisms are heterogeneous in composition. Among the dictionary-opposed vocabulary, the following stand out:

a) semantic dialectisms - with the same sound design, such words in the dialect have the opposite literary meaning (homonyms in relation to the literary equivalent);

b) lexical dialectisms with a complete difference in terms of content from the literary word (synonyms in relation to the literary equivalent);

c) lexical dialectisms with a partial difference in the morphemic composition of the word (lexical and derivational dialectisms), in its phonemic and accentological fixation (phonemic and accentological dialectisms).

5. Dictionary words that are the names of local objects and phenomena that do not have absolute synonyms in the literary language and require a detailed definition - the so-called ethnographisms, belong to vocabulary that is not opposed to vocabulary.

The above classification of the use of dialectisms in the language of a work of art is conditional, since in some cases dialect words can combine the features of two or more groups.

AT early XIX century, after the formation of the “new syllable of the Russian language”, from which vulgarisms, dialectisms, colloquial words and expressions were excluded by that time, new, more democratic norms of the literary language appeared.

Along with this, there was a process of artistic and speech formation of national characters, which is closely connected with the idea of ​​nationality in the Russian literary language. Linguistically, in a few works of art it was a process of "fouling literary narrative with fresh shoots of lively oral speech, its various dialects and styles." In connection with the development of this process, the question of the meaning of dialectisms in the composition of the language of works of art, their functions and the limit of their use acquires particular urgency.

2. V.V. Vinogradov in the IX chapter of the book "Essays on the History of the Russian Literary Language" under the title "Gogol's language and its significance in the history of Russian literary speech of the 19th century" considers the dialectal and stylistic composition of the Gogol language, the principle of mixing the styles of the literary and bookish language with different dialects of oral speech, as well as the breadth of capture of class, professional and regional dialectisms in the language of N.V. Gogol.

V.V. Vinogradov highlights the reflective (characterological) function of dialectisms in the language of N.V. Gogol’s works, arguing that the Ukrainian dialect, whose dialectisms N.V. Gogol skillfully interspersed in literary texts, is considered as the language of local household use. And only in this function could he get into Russian literature of the 19th century, as an expression and reflection of Ukrainian folk types (mainly with a comic coloring).

According to V. V. Vinogradov: “in the Gogol style, social facets were introduced into the Ukrainian element by the forms of mixing it with the dialects and styles of the Russian language.”

Thus, N.V. Gogol deliberately Russifies individual words of the Ukrainian dialect, without separating them from the nature of the narrators of the story “Evenings on a Farm near Dikanka”. In the works of N.V. Gogol, the conditionally literary functions of the Ukrainian vernacular are sharply emphasized. dialect language. Pure, non-Russified Ukrainianisms are being introduced into the Cossack speech: "That's all, dad ... that thank you mom! .." They are italicized and commented by the author in the links.

In the language of Dead Souls, lexical dialectisms are widely represented, with the help of which, apparently, the naming function of the lexical level, recreated through ethnographisms and lexical dialectisms, acquires special significance: “The master’s house stood alone in the brisk, that is, on a hill open to all winds.. . ”, “Sobakevich hunched over as if it weren’t him ...”, “he will retire ... to some peaceful backwoods of a county town and there he will shut up forever in a cotton dressing gown, at the window of a low house.” The elements of the unconstrained introduction of dialect words both into the literary and bookish, descriptive and journalistic language of N.V. Gogol speak of the writer's conscious artistic goal: the destruction of the old system of literary and bookish styles. Thus, N.V. Gogol, following A.S. Pushkin, brings the literary language closer to the living oral-folk speech, characteristic of a society of a non-aristocratic circle.

3. In the monograph of P. G. Pustovoy “I. S. Turgenev - the artist of the word "presents some of the techniques and functions of dialectisms in the literary speech of the writer.

1) The main function of dialectisms in the literary texts of I. S. Turgenev, P. G. Pustovoy considers the characterological function: in contrast to Dahl, who strove to literally copy the peasant lexicon, in contrast to Grigorovich, who, imitating folk speech, created various stylizations, Turgenev (like Gogol) did not strive for naturalistic detail in the description of peasant life, he considered various dialect words and expressions as a characterological means that creates vivid expression against the background of the language norm of the author's speech.

Language as a characterological means, filled with dialect vocabulary, is especially pronounced in I. S. Turgenev's Notes of a Hunter.

2) The author introduces some local words and expressions into the text for cognitive purposes, that is, in order to expand the reader's understanding of the features of the described dialect, he explains them, resorting to a kind of method of indirect alienation, in which the explanation of the words is given in footnotes: "buchilo" - deep pit with spring water; "kazyuli" - snakes; "foresters" - people who iron, scrape paper; "sugibel" - a sharp turn in a ravine; "order" - forest; "top" - a ravine and more.

3) The most characteristic technique of I. S. Turgenev, when depicting characters, P. G. Pustovoi considers the technique of dynamization of speech, due to which elements of syntax prevail in the language of characters: frequent turns of words; the use of dialect vocabulary; omissions of predicates, giving movement to speech; interrogative and exclamatory sentences: “At one vat, the form stirred, rose, dipped, looked like, looked like that in the air, as if someone was rinsing it, and again in place.” With the help of this technique, the revival of the story and the activation of the listeners are achieved: “Do you know why he is so sad, everything is silent, you know? That's why he's so unhappy. He went once, my aunt said, - he went, my brothers, into the forest for nuts. So he went into the forest for nuts, and he got lost; went - God knows where he went ... ".

4) As a speech characteristic of the characters in the "Notes of a Hunter", - according to P. G. Pustovoy, - distorted foreign words: “scholat”, “universities”, “ladecolon”, “fireworks”, “keater” and more. However, this phenomenon can also be characterized as a cumulative function of dialectisms, which is carried out through the method of violating the integrity of the graphic image of the word, that is, deviations from the rules of spelling and grammar.

Dialectisms in the essays and stories of I. S. Turgenev are artistically justified, do not lose their independence and constantly interact with the main vocabulary of the literary language - this gives reason to assert that I. S. Turgenev multiplied and developed the stylistic richness of Russian artistic speech.

4. Dialectisms actively live in Yesenin's poetic word. In a special way woven into the fabric of his poetic speech, they help create the unique creative style of the poet. Yesenin's dialect vocabulary is not stylistically marked. Often the reader does not even notice that he has to choose the meaning for an incomprehensible word, based on its phonetic form and context. The “guessed” value does not always correspond to the actual one. Sometimes dialect words turn the poem into a real puzzle:

In the sled of the lake over the meadow

The belated call of ducks.

Under the window from slippery firs

Shadow holds out his hands.

Quiet waters paragush kvely

Smokes a cradle at the bend.

As N. Shansky writes in the article “Difficult lines of the lyrics of S. Yesenin”, this is “a completely incomprehensible, dark octagonal verse”. It turns out that “in the sled of the lake” means “on the edges of the lake”, the word “paragush” does not mean anything, since this is a typo. The correct word was “karagush kvely” - the name of the bird. It is significant that this typo was reproduced in many publications, since for most readers these lines are just a set of sounds, that is, absurd. Comfortable " building material» For Yesenin's poems, dialectal word-formation models also serve. Stylistic marking of such forms as opposed literary norm usually not emphasized by the poet. Let us give just a few examples: in the evening, in pursuit, color (“flower”), apple (Tanya walks by the ravine for wattle fences in the evening; The river laughed after me; others

The fact of using S.A. Yesenin of various synonymic constructions can be regarded as a manifestation of a creative artistic approach to the organization of the compositional-speech structure of the text. In this approach, the author's orientation towards the selection of means of the national language, the attitude towards the people as a bearer of the spiritual values ​​of Russian culture, which has consolidated centuries-old experience, observation, and figurative assimilation of reality, is manifested in the language. Dialecticisms, native Ryazan speech, organically merging into the general flow of Yesenin's poetic word, allow him to "sing in his own way", original, make his poetry "the best expression of wide sunsets beyond the Oka and twilight in damp meadows, when not that fog falls on them, not that bluish smoke from the forest fires ”(K.G. Paustovsky).

5. It follows from the foregoing that the function of dialectisms in the language of works of art depends on the stage of development of the Russian literary language. And if in works of art of the 18th century dialectisms are inseparable from Slavicisms and are considered the norm of artistic speech, and in the 19th century dialectisms as part of the language of works of art they are a sporadic phenomenon, since the language of the 19th century seeks to be cleansed of dialects, vulgarisms, colloquial words and expressions, then The 20th century is characterized by the multifunctionality of dialectisms in literary texts, which is achieved through the use by writers of a greater number of dialect words, which was due at the beginning of the 20th century to the desire to give Russian speech a generally accessible “light” character, coinciding with the thinking of people of that time.

Artistic speech is different from colloquial speech and not so much by immanent signs as given by a series. This creates a profound difference between these styles: the meaning of dialectisms is modified in artistic speech by sound, while in colloquial speech the sound of dialectisms is modified by their meaning. Thus, the occasional meaning of dialectism, enriched in artistic speech with new meanings, is transformed in the context of the narrative.

In a work of art, dialect vocabulary primarily fills speech ordinary people and is used by them in an informal setting, which is due to the conditions of oral communication, in which interlocutors choose the most famous ones from a huge number of words, those that are more often perceived by ear. Pavel Lukyanovich Yakovlev (1796 - 1835), brother of the lyceum friend A.S. Pushkin, in order to show the originality of local Russian dialects, wrote an "elegy" in the Vyatka dialect, the content of which must be "translated" into Russian, because it contained many incomprehensible dialectisms. Judge for yourself, here is an excerpt from the "Vyatka Elegy" and its literary translation:

“Everyone was bashing that I was a smart, important kid. Where I am, it has always been sugat. And now? I’m no longer spinning like a stream ... Oh, when I close my balls and they put a mitten on me ... "

“Everyone said that I was a neat kid, well done. Where I am, it's always crowded. And now? I no longer frolic like a bird! ... Oh, when, when I close my eyes and they will sprinkle me with juniper!

In the 20th century, when the writer's right to replace literary words dialectisms were heatedly argued, some young writers tried to defend their "freedom" of choice. It was then, in the 1930s, when this linguistic controversy was going on, that M. Gorky wished the novice authors to write "not in Vyatka, not in Balakhon"...

The interest of writers in dialectisms is dictated by the desire to truthfully reflect the life of the people. Many outstanding masters of the word turned to dialect sources - A. S. Pushkin, N. V. Gogol, N. A. Nekrasov, I. S. Turgenev, L. N. Tolstoy. The dialectisms in Turgenev's Bezhin Meadow do not seem inappropriate to us: “Why are you crying, you forest potion?” - about a mermaid; “Gavrila bailed that her voice, they say, is so thin”; “What happened the other day in Varnavitsy…”; “The headman got stuck in the doorway ... she scared her own yard dog so much that she was off the chain, and through the wattle fence, and into the dog.” Local words in the speech of the boys gathered around the fire do not require "translation".

And if the writer was not sure that he would be understood correctly, he explained the dialecticisms: “He went to the meadow, you know, where he goes down with death, because there is a buchilo; you know, it is still all overgrown with reeds ... "And in this phrase, some clarifications need to be made: "Sudibel is a sharp turn in a ravine"; "Buchilo is a deep pit with spring water" - these are the notes of I. S. Turgenev.

Literature

1. Blinova O. I. The language of artistic works as a source of dialect lexicography. Tyumen, 1985: Leningrad State University, 1956

2. Prokhorova V. N. Dialectisms in the language of fiction. Moscow, 1957

3. Language of works of art. Sat. articles. - Omsk, 1966

4. Yesenin S.A., Works / Comp., Intro. article and comment. A. Kozlovsky. – M.: Artist. lit., 1988. - 703 p.

5. Yartseva VN Linguistic encyclopedic dictionary. – M.: Soviet Encyclopedia, 1990

Questions and tasks for practical tasks

Practical training number 1.

1. What does Russian dialectology study?

2. What are the main tasks of Russian dialectology?

3. What is called a semi-dialect?

4. What is the source of dialectology?

5. What methods are used in the study of dialects?

6. What is the importance of dialectology in the study of the history of the Russian language?

7. Define the terms "dialect", "adverb", "dialect".

8. What dialect differences are called opposed

Practice #2

Dialect differences at different levels of the language system: phonetics, word formation, morphology, syntax. Dialect differences in. the use of phonemes, positional alternations of stressed phonemes. Transitional types of vocalism between Okane and Akane. Tendency to lose the neuter gender in the dialect language. Declension of nouns. Dialect differences related to the place of stress of nouns. Dialectal differences in the field of syntax: differences in structure, function and meaning, phrases and sentences.

Practice #3

Prepare your material for discussion in order to be able to present it publicly and logically trace the connection between different LSG words.

Practical exercise No. 4 Study of vocabulary and semantics based on dialect dictionaries and atlases on the example of Men's clothing

Men's long-skirted clothing, caftan, with fees: borchatka, landing, chapan, chekmen ...

Short outerwear, working coat: bekeshka, ponytail, ponytail shabur, host, shugay ... Give a picture.

Trousers, trousers: marriages, gati, gacha, ankle boots, nadragi, footcloths, trousers, porters, porters, spoilers, trousers, trousers ...

Wadded pants: padded jackets, padded jackets ...

Trouser leg: galosh, galoshva, kaloshina, waistband, spoilage, portochina, solopina, solokha, soloshina, solpa, solpina, solpishka, snot, snot, stolopa, trouser leg ...

Width: oguzes, middle, middle, saddle, fly ...

The back of the trousers: rump, rump, rump, rump, ports, trousers ...

The belt of the trousers, sewn on the inside: gach, gachi, gachen, gashinka, gashnik, gashinka, extinguisher, gashnik, sheathing, edge, edge, skin, skin, ochkur, ochkura, girdle, belt, ostebok, underbelly ...

Belt: fear, fear, belt, belt, belt, belt, belt, ostezhka, belt, strap ...

Men's top shirt: top, top, top, top...

Kosovorotka: collar, kosovorotka ...

The back panel of a men's shirt: back, back ...

Pelka? Does this word mean: 1) the cut of the collar of the shirt; 2) shirt collar; 3) the front of the shirt; 4) a strip of fabric at the collar of the shirt, where buttons are sewn; 5) the place of the button closure...?

A placket made of fabric, which is sewn to a men's shirt, where the buttons are on the inside: on the hem, on the hem ...

A slit at the collar of a man's shirt: a passage, a passage ...

Side fastener in a men's shirt: a lap…

Lining in the shoulder part of a men's shirt up to half of the chest and back: genuine, underlay, underlay, underlay, shoulder pad, shoulder pad ...

Men's neckerchief: tie, collar, love spell, necklace, necklace, necklace, collar, collar ...

Men's undershirt: undershirt, undershirt, undershirt, koshulya, koshulitsa, koshulyukhna, put on, put on, vest ...

Collar and clasp on the lower men's shirt: kondyr, kurtak, kurtysh, kurtyak, pavoroten ...

Practice #5

A comprehensive, multi-aspect study of vocabulary and semantics based on dialect dictionaries and atlases, representing linguistic phenomena in a spatial projection.

The program of the Lexical Atlas reflects the main links of the lexical system of the dialect language, not only according to the thematic principle, but also according to the lexical-semantic principle, which is based on the lexical-grammatical articulation of words. First of all, abstract nouns, adjectives, verbs, adverbs are meant.

Some semasiological categories - objectivity, attribution, procedurality - are partly included in the main thematic sections of the Program. The categories of objectivity (nouns) are better presented, the categories of attribution (adjectives, adverbs), procedurality (verbs) are much weaker.

Nouns

Fatherland, motherland: patrimony ...

Freedom in the manifestation of smth., ox: wolka, freedom ...

The right and opportunity to dispose of someone, something, to subordinate to one’s will, power: dominion, lord, hair ...

Power, strength: dominion, possession, howl ...

Ban, ban: ban, ban...

Self-government: freemen ...

Request: execution...

Merit: long service...

Happiness:…

Misfortune, trouble: knitting ...

Lies, untruths: lies, lies, paper clips ...

Anxiety, excitement: homosis ...

Resurrection: rise, rise...

Thinking, thinking: thinking, disgusting ...

Property: property...

Loss, damage: flaw ...

Practice #6

The study of vocabulary and semantics based on dialect dictionaries and atlases, representing linguistic phenomena in a spatial projection on the material of nouns.

Thinking, thinking: thinking, disgusting ...

Fiction: Riddle, Riddle...

Loss, damage: flaw ...

Meeting: windy, meeting, stret...

Quarrel: nonsense ...

Rest, respite: sigh, inhale ...

Breadlessness, hunger: a sigh ...

Light: visibility, visibility ...

Education, upbringing: study ...

Punishment: training, pulling out ...

Bragging: vykhvalka, vykhvalka ...

Pleasure: Satisfied...

Desire, intention: faith...

Politeness: well…

Pride: Height...

Practice #7

adjectives

Color.

Gray, ash-colored: beaded, beaded ...

Cloudy (about the sky): gray-haired ...

White, silvery (about the hair of an elderly person): beaded, beaded ...

With an admixture of grayish-white wool (about fur): gray ...

Grayish white, whitish (about moss, fog, etc.): gray ...

Light, easily soiled (about clothes): prominent, easily soiled ...

Clear, transparent (of a liquid): white, blazing, light…

Cloudy, opaque: gray-haired ...

Dirty: beady, beady, cluttered, grumpy, patrony ...

Practice #8

Sound.

Very loud: feverish…

Quiet: subtle...

c) taste.

Delicious: Basque, Basque, kind, okay, gentle, sloping, the best, savory, sweet, good ...

Tasteless: thin, dashing ...

Undersalted: saltless, slightly salted ...

Sweet: sweet, malty…

Unsweetened: simple…

.Practice #9

The study of vocabulary and semantics based on dialect dictionaries and atlases, representing linguistic phenomena in spatial projection using adjectives as an example

Characteristic properties of the surface.

Brilliant: Brilliant…

Rough (to the touch): clumsy, thick, heavy…

Furry: Furry…

characterizing physical properties, condition.

Sluggish (about a person, animal): sea ...

Affectionate: Affectionate…

Bad (about a thing): thrown, junk, wallowing ...

Strong, durable: kremlin, stocky, powerful,

vigorous…

Practice #10

The study of vocabulary and semantics based on dialect dictionaries and atlases representing linguistic phenomena in a spatial projection using the example of verbs

Work a lot, hard, diligently: croak, duck, trumpet, break, break, turn, turn, mint, tumble, hook, soar forehead, work as a gurus ...

Working badly: licking fingers, doing charmak ...

To get tired of work, to earn money: to crouch, to be unwilling, to make fun of it, to make a fuss, to suffocate, to roam, to belittle ...

To do something for a long time, slowly: to snare (sya), to knead, to wallow, to shish, to sprinkle, to flutter ...

To be lazy: to eat, to rouse, to moo ...

Spending time idly, walking idly, doing nothing: whipping, whimpering, shying away, loitering, shuffling, swishing, blonding, blonding, climbing, whipping ...

Speak (o. n.): bait, bait, scribble ...

Speak slowly, talk: babble, joke, chirp, squabble, jostle, scribble, bait, bahor, say.

Speak uncertainly: barrack, babble ...

To speak loudly: to speak loudly, to yawn, to gagar, to bark, to roar, to growl, to hoot, to roar, to gamble, to cackle ...

To talk a lot: to linger, to bell, to coo, to babble, to lalyak, to elbow, to roll, to babble, to babble, to smoke ...

Practice #11

The study of vocabulary and semantics based on dialect dictionaries and atlases, representing linguistic phenomena in a spatial projection on the example of "Dwellings and its parts"

Living quarters: hut, upper room, burner, hut, room, five-wall, front, middle, side, rear, shomnosha, kitchen, closet ... If there are several living quarters, give their names and indicate the signs by which they differ, for example: hut 'a dwelling with a Russian stove'; upper room ‘clean living quarters’; hut ‘living quarters with a Russian stove in a five-walled space’; five-wall ‘clean room behind the fifth wall with or without a Dutch oven’; khata ‘part of a dwelling with a Russian stove’; fence ‘a room behind a partition with a bed’; izba ‘a dwelling heated by a Russian stove or a stove of another (heating) type’; kutya ‘a fenced-off part with a Russian stove, intended for cooking’; house ‘a dwelling without a Russian stove, in which they live in the summer’; wintering / hut-wintering ‘dwelling with a Russian stove, in which they live in winter’, etc.

What do the words mean: a) upper room ‘any room in a multi-room house’, ‘front room’ ‘unheated room for property and sleeping in summer’…; b) crate ‘an unheated room within a residential building (where?) for property and sleeping in the summer’; ‘separate unheated building for property and sleeping in summer’; ‘building for storage of grain’…; c) room ‘a clean half of the living space (behind the fifth main wall? behind a wooden partition? regardless of the type of partition?)’; ‘cold room for storing property, products’; ‘sleeping room with a bed’…; d) Wednesday ‘separate room by the stove’; ‘a place near the stove, not fenced off from the rest of the space of the hut’…; e) sideboard ‘a clean half of the hut’ ‘a room behind a partition or curtain with a bed’; ‘winter hut’… f) sholnysha / shomnysh / sun ‘part of the hut by the stove (behind the partition)’, ‘the front part of the hut’; ‘closet-type room’ (where?)…? Draw a plan of a residential building with the designation of its parts.

Practice #12

The study of vocabulary and semantics based on dialect dictionaries and atlases, representing linguistic phenomena in a spatial projection on the example of "household utensils"

The concept of "household utensils" includes a wide range of household items: dishes, kitchen utensils, movable furniture, baskets, bags, bags. The “Cookware” section is elaborated in particular detail: crockery (o.n.), kitchen utensils, dining utensils, tea utensils, glassware, tubs, barrels, utensils for various household needs. Many of the objects of interest have their own ethnographic features in different localities. Therefore, it is very important not only to hear what they are called, but also to indicate their purpose, the material from which they are made (clay, metal, wood).

Tableware

Household utensils for cooking, serving food, storing supplies, etc. (o. n.): tableware, loan, court, courts…

Earthenware (o.n.): mountaineer, cherepinina…

a) Cookware.

Utensils for cooking (shchi, soups): pot, mahogany, sagan, cast iron... Indicate its dimensions, shape, material from which it is made. Give me a drawing.

Small pot for cooking porridge: pot, mahotka, kandeyka…

Clay pot with a narrow neck: glitch, glitch

Clay pot woven with birch bark: birch bark, birch bark... Indicate the purpose, give a drawing.

Big cast iron: garnet, cast iron… Specify a destination.

Clay or metal object with which the pot is closed, cast iron: lid, tire…

Dishes with a handle for cooking food, boiling milk: pot, landerak, loafer…

Is the word used and in what meanings? coppersmith? Does this word mean: 1) a copper basin; 2) a saucepan...?

Enameled (about utensils): watered, whitewashed…

Metal frying pan with curved edges: sweatshirt, pan, chapel…

Clay bowl: dish, lettuce, Bowl, skull... Give a drawing.

Earthenware for milk (narrow neck without handle and spout): gleck, gorlanchik, krinka, jug, kushin, pot... Give a drawing.

Dishes in which churn butter: striker, churn, oiler... Give a drawing.

Broken earthenware pieces: shards…

Metal utensils for storing liquids, in the form of a can without a handle: can, kandeyka, flask... Give a drawing.

Practice #13

The study of vocabulary and semantics based on dialect dictionaries and atlases, representing linguistic phenomena in a spatial projection on the example »

"home stuff

Dining room, tea utensils.

Tableware (o.n.): crockery…

Dinnerware round shape with flat bottom and raised edges: talerka, bread box, teacup…

Tableware in the form of a large round plate: saucer, dish, sagan, stavets…

Is the word used and in what meanings dish. Does this word mean: 1) a tea saucer; 2) a deep plate...?

Tableware for salt: salt box, salt box…

Is the word used and in what meanings? solanka? Does it designate: 1) dishes for salt; 2) food

Practice #14

The study of vocabulary and semantics based on dialect dictionaries and atlases, representing linguistic phenomena in a spatial projection on the example peasant clothes, shoes, hats, mittens, jewelry

Clothing (o.n.): twist, twist, twist, okruta, neighborhood, twist, badass, burst, spatula, burst, spade, spatula, putting on, vestment, dressing, clothes, dressing, clothes, clothing, clothes, Oh baby, paid, plait, plate, payment platform, dress, rite, attire, ports, shell, envelop, shell…

Dress up: get dressed, get dressed, get dressed, clothe, dress up, go around, go around, turn around, wrap around, wrap around, put on, settle in, wrap up, hide away, hide, tense up, pounce, dress up, equip yourself, \

Put on clothes: put on, hope, put on, dress up, put on shoes, go around, go around, throw on, shells, envelop, shell…

Dressed: odemkoy, clothes, clothes…

Wear more than you need: couch, moan, cough up, put on, succumb, snuggle up…

wrap up: snort, wrap up, wrap up, wrap up, get bored, huddle, snack…

Zip up: zip up, button up, zip up, wallow, overwhelm…

Undress: unwind, loose your elbows, get bogged down, put on, scatter, scatter, unwind, spread out, straighten up, unfold, catch, distract, drag…

Having undressed: dressing room, undressing, undress, undress walk, TV, zagolaika…

Outerwear (o. n.): top, top, Verkhovik, upper head, upper tower, gunya, gunye, gunka, burst, shovel

Practice #15

The study of vocabulary and semantics based on dialect dictionaries and atlases, representing linguistic phenomena in a spatial projection on the example Women's clothing

Women's clothing (o.n.): orders, rite, rite, row, in a row…

Is the word used and in what meanings? sak? Does this word mean 1) a long coat of straight cut on wadding with a fur collar; 2) a long summer coat made of thin linen; 3) a coat at the waist, extended at the bottom; 4) women's short coat; 5) long jacket…?

Is the word used and in what meanings? shugai? Does this word mean: 1) an elegant jacket on wadding with pleats at the back below the waist; 2) a sheepskin coat; 3) a jacket with long sleeves sewn into the waist; 4) clothes made of silk with fur trim on the sleeves and collar...?

Jacket: shorty, shorty, korotukh, korotukha, shorty, shorty, shorty, shorty, shorty, Shorty, shorty…

Long warm (wadded) women's jacket made of plush or velvet: plisovka, bun, velvet, velvet…

Is the word used and in what meanings? oversleeve? Does this word mean: 1) a quilted padded jacket with sleeves; 2) women's clothing such as a jacket with gathers at the waist; 3) women's jacket, waist-length, with long sleeves, buttoned in front; 4) sleeves sewn to a sundress; 5) sleeve lining, edging; 6) jewelry on the sleeves; 7) an apron with sleeves...?

Short outerwear for women, padded with cotton, with a cut-off back and gathering, with long sleeves: bostrok, spanish, wire rod, while away, shorty, shorty, nakis, perushko, ceiling, dragged, landing, sayar, greenhouse, Yufta…

Sleeveless jacket on wadding or loose-fitting fur: kabat, cadman, while away, shorty, shorty, tip, breastplate, shugayka, shugaets, shugaychik, skimmer…

Tank top, close-fitting chest: crimping, swage, crimping machine, crimping, close-fitting, skintight, clamping, body warmer, caravan…

Fur trim on clothes: opush, edge, furry

Questions to prepare for intermediate certification

1. Key concepts of descriptive dialectology
2. Descriptive and historical dialectology
3. Correlation of concepts dialect - vernacular - literary language
4.Russian dialectology and historical grammar
5. Basic research methods in dialectology
6. Opposite and non-opposite features of dialects
7. Features of intonation in Russian dialects (characteristic of the northern and southern dialects)
8. Systems of percussive vocalism
9. Changes in the quality of vowels under stress as a result of historical processes
10. Mid-high vowels, implementation features and origin
11. Unstressed vocalism after hard consonants (types of okanya and akanya)
12. Unstressed vocalism after soft consonants (yokan, yakane (strong - dissimilative - assimilative-dissimilative), hiccup and yak)
13. Features of the consonant system of Russian dialects
14. Clatter and its varieties
15. The character of the back-lingual (hard and soft) consonants G, K "in the southern and northern dialects
16. Reasons for the "weakness" of the labio-dental fricatives Ф and В in Russian dialects
17. Dialect variants of the pronunciation of V in strong and weak positions
18. Changes and replacement of smooth sonorants in Russian dialects
19. Complex phonemes Zh"D"Zh" and Sh"T" in the northern and southern Russian dialects, the general direction of change and possible options pronunciation
20. Possible types of assimilation by hardness-softness in Russian dialects
21. Zekane and tsekane

Questions for the exam in Russian dialectology