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 language” are devoted to him. fiction”, E. F. Petrishcheva “Extra-literary vocabulary in modern fiction”, P. Ya Chernykh “On the issue of artistic reproduction of folk speech”, O. A. 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.

First of all, it is argued that the acceptance of words influences the recipient's thinking in the sense of the "inhuman vocabulary". Secondly, the words are not to be taken uncritically, which was implied by Schloz rather than by the epithet of ornans. In fact, Schloz actually recommends a critical acceptance of these words, which does not fit into his friendly familiar friend-enemy pattern. It seems to me important, and it would also be one of the prerequisites for using language without repression, that it is clearly clarified with what meaning certain words are used that are considered political keywords.

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

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

Both manuals are traditional tools of the linguist, not free from subjectivity, and not completely punishable. The following explanations cannot and do not want to be model entries in a dictionary, even if you only think of synchronous representation.

They will offer some suggestions, make some comparisons, and try to point out different ways of reading words and understanding their motives. The following dictionaries were used. Peter Veigt: A Revolutionary Dictionary. Ernst Jürgen Bernbeck: A Political Dictionary.

For further analysis, other political dictionaries, state lexicons, etc. should be used. but this is beyond the space a journal can provide for such an investigation. Since the work of Parliament does nothing to change society, direct action is required in the form of demonstrations, riots, strikes and, if necessary, violence against property and institutions. Such activities serve to change the state of mind of the participants and are therefore seen as an important way of learning.

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:

What all these forms of protest have in common is that those who are dissatisfied "do something" to point out and correct the situation. The same article categorically speaks of the “informational meaning” of actions and gives an example of this: in trials, “the judge must be attributed to his function in the repressive apparatus” by breaking through the rituals that simply have a function in this process, to intimidate the defendant and demoralize him. This must happen through complete failure from the role. This example alone shows how wrong it would be to equate action with purely physical activity, or even with violence.

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);

The word "action" denotes all forms of protest and provocation that are capable of questioning existing forms and orders, not for interrogation, but for reinterpretation and, if possible, meaningful modification. Anarchy, anarchism, anarchist. The anarchist is a subversive, public enemy. -.

These explanations are not completely neutral because they are not complete. Of the anarchists, Marxism is ultimately called "authoritarian socialism", while they understand their ideas as "liberalist socialism". The accusation "They want anarchy!" How often is there a false statement, namely, when self-determination and freedom from an unreasonable rule are implied. Of course, most listeners will, and this is the purpose of the rebuke, think of chaos, violence and destruction and reject criticism of the prevailing social order.

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 the vocabulary that is not opposed to vocabulary.

Questions and tasks for practical tasks

Thus, the expression is ideal for misleading because of its double meaning. While this aspect cannot be completely ruled out, it is only one aspect that certainly does not adequately address anarchist doctrine. Explanations such attempts carry the danger of new misunderstandings already within themselves.

Dining room, tea utensils

"A radically new social order, in order to act with urgency, requires a radically new person, ideally an improved physical world." Therefore, the extra-parliamentary opposition uses the terms anarchism and anarchy with some restrictions. It is not uncommon to speak of the "peaceful anarchy of the lovers of reason and the reasonable", although there is rarely anything concrete about this utopia. As a repressive slogan to defame a political opponent, it offers itself directly. real power should not be contrary to the natural need for freedom, but can be seen as a role model and give impetus to their own development.

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.

On the other hand, false power is that which relies solely on the position of a strong man, which is assumed and can only be exercised by force. This false authority is then given an authoritarian adjective. A. must be distinguished from prestige and power, although the possibilities of influence thus indicated affect other persons in A. In the twentieth century, hypersensitivity to all manifestations of A. remained, filing anti-authoritarian writings of public appeal. There are also authoritarian regimes in the century, authoritarian behavior can be observed everywhere.

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.

In addition, the naturalness with which the trust in the quality of services and products is seen as something positive, and at the same time non-critical consumption is amazing. It is possible that the author himself succumbs to the risk of a repressive use of language that does not deprive true power of false power. And again in another place: authoritarian. In the definition of this word, authentic power now appears, devoid of power: “authoritative: on the basis of genuine power acting in legitimate power; resolute, resolute."

The danger of misunderstanding and misinterpretation is already hidden in this word. "Anarchy" is an aspiration, a pointer: as much anarchy as possible in this or that case. -. "Authoritarian" has become a megalomaniac, today covers the most heterogeneous situations - and often makes impossible any cooperation, even non-authoritarian. The healing process began when the word "authoritarian" was forced to de-govern in practice: as in left-wing magazines, publishers, theaters, "authoritarians" were destroyed so badly that they were destroyed, which was not authoritarian there.

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.

It would be fruitful if the stress words they encountered were differentiated by practice. The prevailing abstraction, the concrete superstition of the time, obscures the idea of ​​concrete events. How easily the lazy can turn the whole cosmos into their listless grasp - with nothing but modern vocabulary. One should use this practice as an assistant to theory.

Whether this process is taking place remains to be seen. Of course, the author assumes that it becomes quite clear where the wrong application begins, where the process described as authoritarian, etc. Speaks so clearly to himself that he rejects the word within his limits.

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).

In any case, this word is not part of the language of the leftist students. Three examples are given for the present usage, which, however, are not interpreted except by quoting a translation of the American usage, and from the context of which it is also not clearly stated what the word means. It also includes ideas of society generated by professional life, education, leisure, family life, sexual behavior, and so on. if a person does not meet these standards, he risks being cast out as an outsider.

Today, this term means primarily social order late capitalism, but he can, for. To further clarify the term, on the meaning of which, apparently, there is no unanimous opinion, some evidence is given: Robert Neumann says that the reading of Zwerenz's book "the joy of the political establishment" has passed. Thus, there is a limit to a "political" institution: politically powerful. Herbert Marcuse says: "Obscene is a moral term in the institute's dictionary."

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.

He goes on to talk about "establishing one's own morality." a creature that mobilizes "all its strength." But he also talks about "established values" and so on. through these writings, creation became a political buzzword. It is used by Marcuse as a word that he subjects to his "linguistic therapy": it initially expresses exactly what Marcuse now considers negative. For Marcuse's critical theory, this positive content was supposed to mean "a complete distortion of its true meaning", since it signifies institutions that are inhuman and immoral for his conception.

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 south, 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 together literary language with a lively oral-folk speech, characteristic of a society of a non-aristocratic circle.

Marcuse thus uses a political linguistic critique of the reappraisal of meaning, the word of moralization. The attached adjective is applied to manifestations of an institution. Hildegard Hamm-Brücher speaks of "a society that has not yet found a mature, rational political and social image". This is the society that democracy has always wanted "in the form of suffering, but not in the form of will."

Fascism, fascism, fascist. Movements and systems of a totalitarian, dictatorial, nationalistic nature. Its characteristics are the dismantling of democratic rights and the growing ferocity of political debate. This includes the demonization of a political adversary that no one else actually deals with, but must be "rooted out". An example of fascisization is the decisive rejection of the participation of workers in the management of the company, the call for strong man, peace and order.

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 muzhik 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.

This word is a useful addition to the vocabulary, since it has a differentiating character and allows you to designate trends, approaches to fascism. This also applies to the word fascistoid. It means "hidden willingness of society or individuals to use fascist methods of government." As an example of fascist remarks, it says: Look at these guys, you should see these guys, you should look them straight in the face and then know You, who are only concerned with the destruction of our liberal order: One can be a fascist without wanting fascism, from knowledge " that trained fascism can be dangerous to individual members of the ruling class."

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.

Colloquially, Fascistoid could be rewritten as "fascist inspiration" while fascist denotes a fascist tendency much more. The way leftist students imagine the infatuation process is illustrated by the following quote. This shows us that when we talk about fascism, we have to rethink, because fascism in West Germany goes differently than before.

Fascist; Tendencies and fascist traits have recently been confirmed in the behavior of some leftist students. If some leftists translate a new, critical language designed for better analysis and differentiation of social relations, into the "jargon" of uncertainty and defamation, then the suspicion of fascist behavior is quite obvious. That the "Carrier", as Glaser calls it, is in danger was also discovered by Carl Marcus Michel. And exposes himself to absurd and offensive interpretations.

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 merged 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 larger 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 the 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, extinguishment, gashnik, sheathing, edge, edge, skin, skin, ochkur, ochkura, belt, 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 lexico-semantic principle, which is based on the lexico-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 section “Dishes” is especially detailed: dishes (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 picture.

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 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 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 the interim 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