The modern Russian language is the national language of the Russian people, a form of Russian national culture. It represents a historically established linguistic community and unites the entire set of linguistic means of the Russian people, including all Russian dialects and dialects. The highest form of the national Russian language is the Russian literary language, which has a number of features that distinguish it from other forms of language existence: processing, normalization, breadth of social functioning, obligation for all members of the team, a variety of speech styles used in various areas of communication.

Russian folk dialects are a linguistic phenomenon: linguistic phenomena of ancient times and facts are intricately intertwined in them. modern language.

Dialects have in their composition a significant number of original folk words known only in a certain area. Dialectisms exist mainly in the oral speech of the peasant population; in official settings, dialect speakers usually switch to the common language.

The dialects imprinted the original language of the Russian people, in individual features local dialects, relic forms of Old Russian speech have been preserved, which are the most important source for the restoration of historical processes that once affected our language.

Dialect words do not enter the general literary language. However, through colloquial speech, they can penetrate the literary language.

To what extent has the issue of dialect vocabulary been studied?

AT teaching aids Rosenthal D. E. and Shansky N. M. "Modern Russian language" contains general theoretical information on the sections "Vocabulary of a limited sphere of use", "Dialectisms, their types", "The meaning of dialectisms in the Russian language".

In artistic speech, dialectisms perform important stylistic functions. Theoretical information on this topic is presented in the textbooks of Rosenthal D. E. “Practical Stylistics” and Golub I. B. “Stylistics of the Russian Language”.

The book "Russian Dialectology" edited by Meshchersky N.A. gives a detailed picture of the state of Russian dialects in our days. In the theoretical part research project we used the materials of the chapter "Vocabulary": "Types lexical dialectisms”, “Semantic groups dialect words».

Articles by B. D. Vorobyov and K. I. Demidova are devoted to the problems of Ural dialectology.

The subject of the study is dialect words found in the speech of the inhabitants of the village of Sami, Ivdelsky district, Sverdlovsk region, which denote local names of plants.

The relevance of the work.

Since ancient times, man has been aware of his inseparable connection with nature, his dependence on environment. For centuries, knowledge and experience have been accumulated, which made it possible to take care of nature and extract the maximum benefit from it without harming it. This wisdom has been preserved not only in folk art, in spiritual and material culture, in customs and rituals, in everyday life and art, but also in everyday-subject vocabulary, which is in the active or passive stock of dialect speakers.

One of the first to draw attention to the need to study dialects, to their role in the history of the Russian language, M. V. Lomonosov. But until now, lexicology does not have a sufficient number of dictionaries of regional dialects. For example, in 1964, in Sverdlovsk, the Dictionary of Russian Dialects of the Middle Urals, Volume I (A-I), was published. But even this dictionary is not in the libraries of the city of Krasnoturinsk.

All words of the Russian language are included in its lexical system, and there are no words that would be outside it, perceived separately, in isolation.

The term lexicon (gr. lexikos - verbal, dictionary) is used to denote the vocabulary of the language. This term is also used in narrower meanings: to determine the totality of words used in one or another functional variety of the language (book vocabulary), in a separate work (lexicon "Words about Igor's Campaign"); you can talk about the vocabulary of the writer (Pushkin's vocabulary) and even one person (The speaker has a rich vocabulary).

Vocabulary - a set of words of a language, dialect, any work. Vocabulary is considered from the point of view of the source (history) of origin (archaisms, Slavicisms, neologisms) and the sphere of use (dialectisms, provincialisms, jargonisms, professionalisms, barbarisms). The study of vocabulary deals with the branch of science lexicology. The tasks of lexicology include the study of the meanings of words, their stylistic characteristics, the description of the sources of the formation of the lexical system, the analysis of the processes of its renewal and archaization.

The vocabulary of the Russian language, like any other, is not a simple set of words, but a system of interconnected and interdependent units of the same level. The study of the lexical system of a language reveals an interesting and diverse picture of the life of words, bound friend with each other in various relationships and representing the "molecules" of a large, complex whole - the lexical and phraseological system of the native language.

Not a single word in the language exists separately, isolated from its general nominative system. Words are combined into different groups based on certain features. So, certain thematic classes are distinguished, which include, for example, words that name specific everyday objects, and words that correspond to abstract concepts. Among the first, it is easy to single out the names of clothing, furniture, dishes, etc. The basis for such a combination of words into groups is not linguistic characteristics, but the similarity of the concepts they denote.

Lexicology establishes a wide variety of relationships within the various lexical groups that make up the nominative system of the language. In the lexical system of the language, groups of words are distinguished, connected by a common (or opposite) meaning; similar (or opposed) in stylistic properties; united by a common type of word formation; connected by a common origin, features of functioning in speech, belonging to an active or passive vocabulary, etc.

Stylistic layers of vocabulary.

Our speech is stylistically heterogeneous. It distinguishes styles of official business, scientific, colloquial, etc. From a stylistic point of view, all common Russian vocabulary (except for dialect, highly specialized and slang words) can be divided into three large groups: neutral (interstyle) vocabulary, oral speech vocabulary and written vocabulary speech.

Neutral vocabulary is the basis of the vocabulary of the language. Neutral vocabulary is called because it is devoid of a special stylistic coloring. Neutral interstyle vocabulary is represented by the background against which words of written speech and words of oral speech stand out.

1) The vocabulary of oral speech includes words characteristic of oral varieties of the language, primarily for casual conversation. These words, as a rule, are not used in written styles: in scientific and technical literature, in textbooks, in official documents and business papers. The vocabulary of oral speech is heterogeneous, this vocabulary is divided into two large groups - colloquial and colloquial vocabulary. Colloquial vocabulary includes words that give speech a touch of informality, ease (but not rude). Colloquial vocabulary is "lower" in style than colloquial, and is outside the strictly standardized literary speech.

The vocabulary of written speech includes words that are used mainly in written varieties. literary language: in scientific articles, textbooks, in official documents, etc. Based on the use of certain words in different styles of speech, as well as on the basis of the emotionally expressive coloring of words, three types of written vocabulary are distinguished: bookish, high and official vocabulary .

1) Book words are used in all written varieties of the language (in journalism, in scientific literature, in textbooks, in official documents, in business papers), giving the speech a "bookish" sound.

2) High vocabulary is characterized by elation, often solemnity and poetry.

3) The official vocabulary includes a relatively small number of words and phrases that are used mainly in official documents.

§2. Vocabulary of limited and common use

Vocabulary of the Russian language, depending on the nature of the functioning, is divided into two large groups: commonly used and limited to the scope of use. The first group includes words, the use of which is not limited either by the territory of distribution or by the type of activity of people; it forms the basis of the vocabulary of the Russian language. This includes the names of concepts and phenomena from different areas of society: political, economic, cultural, household, which gives reason to single out various thematic groups of words in the composition of the national vocabulary. Moreover, all of them are understandable and accessible to every native speaker and can be used in the most various conditions. Vocabulary of a limited scope of use is common within a certain area or in a circle of people united by a profession, social signs, common interests, pastime, etc. Similar words are used mainly in oral irregular speech. However, artistic speech does not refuse to use them: writers find in them the means to stylize the artistic narrative, to create the speech characteristics of the characters.

Dialectisms.

Russian folk dialects, or dialects (gr. dialectos - dialect, dialect), have in their composition a significant number of original folk words known only in a certain area. So, in the south of Russia, a stag is called a grip, a clay pot is called a mahot, a bench is a uslon, etc. Dialectisms exist mainly in the oral speech of the peasant population; in an official setting, dialect speakers usually switch to a common language, the conductors of which are school, radio, television, and literature.

The dialects capture the original language of the Russian people, in certain features of local dialects, relic forms of Old Russian speech have been preserved, which are the most important source for the restoration of historical processes that once affected our language. But we will talk more about dialect words in the next paragraph.

Terminological and professional vocabulary.

The use of terminological and professional vocabulary used by people of the same profession working in the same field of science and technology is socially limited. Terms and professionalisms are given in explanatory dictionaries marked "special", sometimes the scope of use of a particular term is indicated: physical. , medical , math. , astronomer. etc. Each field of knowledge has its own terminological system. Terms - words or phrases that name special concepts of any sphere of production, science, art. Each term is necessarily based on the definition (definition) of the reality it denotes, due to which the terms represent an accurate and at the same time concise description of an object or phenomenon. Each branch of knowledge operates with its own terms, which are the essence of the terminological system of this science. As part of the terminological vocabulary, several “layers” can be distinguished, differing in the scope of use, features of the denoting object.

a) First of all, these are general scientific terms that are used in various fields of knowledge and belong to the scientific style of speech as a whole: experiment, adequate, equivalent, predict, hypothetical, progress, reaction, etc. These terms form a common understandable fund of various sciences and have the highest frequency of use.

b) There are also special terms that are assigned to certain scientific disciplines, branches of production, technology. For example, in linguistics: subject, predicate, adjective, pronoun; in medicine: heart attack, fibroids, cardiology, etc.

Professional vocabulary includes words and expressions used in various areas of production, technology, which, however, have not become common. Unlike terms - official scientific names of special concepts, professionalisms function mainly in oral speech as "semi-official" words that do not have a strictly scientific character. Professionalisms serve to designate various production processes, tools of production, raw materials, manufactured products, etc. For example, professionalisms are used in the speech of printers: ending - “graphic decoration at the end of the book”, antennae - “ending with a thickening in the middle”, tail - the "bottom outer margin of the page", as well as the "bottom edge of the book", opposite the head of the book. Separate professionalisms, often of a reduced stylistic sound, become part of the commonly used vocabulary: give out on - mountain, assault, turnover. In fiction, professionalisms are used by writers with a specific stylistic goal: as a characterological tool in describing the lives of people associated with any kind of production. Professional slang vocabulary has a reduced expressive coloring and is used only in the oral speech of people of the same profession. For example, engineers, jokingly, call a self-recording device a snitch, in the speech of pilots there are the words nedomaz, peremaz, meaning "undershoot and overshoot of the landing mark", as well as a bubble, sausage - "probe balloon", etc. Professional jargon is not is given in special dictionaries, in contrast to professionalisms, which are given with explanations and are often enclosed in quotation marks: "clogged" font - "a font that has been in typed galleys or stripes for a long time"; "foreign" font - "font letters of a different style or size, mistakenly included in the typed text or heading."

Slang vocabulary.

Jargon is a social type of speech used by a narrow circle of native speakers, united by a common interest, occupation, position in society. In modern language, there are youth jargon and slang (English slang - words and expressions used by people of certain professions or age groups), professional jargon, camp jargon is also used in places of deprivation of liberty.

The most widespread in our time is youth jargon, popular with students and young people. Jargons, as a rule, have equivalents in the national language: a hostel - a hostel, a scholarship - a scholarship, spurs - cheat sheets, a tail - academic debt, a rooster - excellent (grade), a fishing rod - satisfactory, etc. The emergence of many jargons is associated with the desire of young people brighter, more emotionally express their attitude to the subject, phenomenon. Hence such evaluative words: awesome, awesome, iron, cool, neigh, baldet, buzz, donkey, plow, sunbathe, etc. All of them are common only in oral speech and are often absent in dictionaries.

The camp jargon, which was used by people placed in special living conditions, reflected the terrible life in places of detention: convict (prisoner), veneer or shmon (search), gruel (stew), tower (execution), informer (informer), knock (inform ), etc. This layer of Russian vocabulary is still waiting to be studied, although at present it is being archaic. The speech of certain socially closed groups (thieves, vagabonds, etc.) is called slang (fr. argot - closed, inactive). This is a secret, artificial language of the underworld (criminal music), known only to the initiated and also existing only in oral form. Separate argotisms are spreading outside the slang: thieves, mokrushnik, pen (knife), raspberry (brothel), split, nix, fraer, etc., but at the same time they practically go into the category of colloquial vocabulary and are given in dictionaries with the corresponding stylistic litters: "colloquial", "roughly colloquial".

Insufficient knowledge of jargons and argotisms, as well as their mobility in the language - migration from one lexical group to another - is also reflected in the inconsistency of their interpretation by compilers of dictionaries. So, in the “Dictionary of the Russian Language” by S.I. Ozhegov, the word “fall asleep” in the meaning of “fail” is “colloquial”, and in the meaning of “get caught, be caught in something” - “colloquial”. AT " explanatory dictionary of the Russian language, edited by D. N. Ushakov, it has the marks “colloquial”, “from thieves' slang”. In addition, S.I. Ozhegov gives labels to most jargons that do not indicate their genetic roots: cramming - “to memorize is meaningless”, “colloquial”; ancestors - "parents", "colloquial", "joking"; salaga - "a young, inexperienced sailor", "colloquial", "joking".

Jargonisms and even more argotism are distinguished by vulgar coloring. However, their lexical inferiority is explained not only by stylistic inferiority, but also by a blurry, inaccurate meaning. The semantic structure of most slang words varies depending on the context. For example, the verb kemarit can mean "rest", "nap", "sleep", the adjective iron has the meanings "reliable", "valuable", "beautiful", "faithful". Therefore, the use of jargon and argotism makes speech not only rude, obscene, but also careless, fuzzy.

The emergence and spread of jargon and argotism is rightly assessed as a negative phenomenon in the development of the national language. Therefore, the language policy is to refuse to use them. However, writers and publicists have the right to turn to these vocabulary layers in search of realistic colors when describing the relevant aspects of our reality. At the same time, jargonisms, argotisms should be introduced into artistic speech only in quotation, as well as dialectisms.

We have indicated the features of the vocabulary of common and limited use. In the following paragraphs, we will consider in more detail dialect words, their types, use in works fiction.

§3. Dialect words, their types

Dialectology is a branch of the science of language, a linguistic discipline that studies the dialects (adverbs, dialects) of a language. A dialect is called a variety given language used by a more or less limited number of people connected by a territorial, professional or social community and in constant and direct linguistic contact.

Modern dialectology deals mainly with territorial variants of the language, with territorial dialects, in other words, with local dialects in their state of the art and in historical development, as far as this development can be traced. When studying the dialects of the Russian language, the sources are, firstly, direct recordings of living colloquial speech native speakers, rural residents of a particular area. The study of dialectology is necessary for understanding historical development language. Dialects often retain phenomena that, for one reason or another, were not retained in the literary language in the process of its formation. Dialectology helps to understand the ways of formation of the literary language, formed on the basis of one or another dialect or their complex, and makes it possible to establish a connection between the history of the language and the history of the people.

A caution should be exercised against the erroneous idea of dialects as a "spoiled" literary language, as the result of its distortion by illiterate peasants. Dialects are older than the literary language. They often preserve the ancient features of the common language, serving at the same time as a source of its continuous enrichment.

Researchers-dialectologists study mainly the specific part of the vocabulary of dialects, the change and development of the words included in it. In order to correctly determine the subject of research, it is necessary to know what a dialect word is, what are its characteristics. The main feature of a dialect word is its use in a limited area. Therefore, it is wrong to attribute to dialectisms words denoting specific phenomena of the old peasant life (ethnographisms) or local nature: canopy, cage, zipun, bast shoes, onuchi, carpet, gully; special terms of all-Russian distribution: mill, shuttle, duck, thigh - terms of weaving; colloquial vernacular vocabulary, as well as distorted versions of foreign words that have entered the speech of native speakers over the past decades: ahtobus, gronom, decolon, fershal, semi-clinic. All these words are not limited locally in their use, are not associated with certain groups of dialects. According to the definition of F. P. Filin, “a dialect word is a word that has a local distribution and at the same time is not included in the vocabulary of the literary language (in any of its varieties)”

In the specific vocabulary of dialects, the following most general groups of dialectisms can be identified in relation to the vocabulary of the literary language

Types of lexical dialectisms:

1. Proper-lexical dialectisms.

Local words, the roots of which are absent in the literary language, or derived from the roots provided in the literary language, which have their own special meanings in dialects: cattails "to be naughty" - "to play pranks", sape "weave" - "basket", obols "rschik -" deceiver " , kona "to be -" to ask ", lopoti" to - "clothes".

2. Lexical and derivational dialectisms.

Words that differ from their corresponding literary language equivalents in their morphological composition; words with the same roots and having the same meaning as in the literary language, but with different suffixes: one "new-" once ", more" only "it hurts".

3. Phonemic dialectisms.

Words that coincide in meaning with the corresponding words of the literary language and differ from them by one phoneme. Moreover, these phonemic differences are not related to the phonetic and morphological patterns existing in modern dialects. In these words, there was a lexicalization of some phonetic phenomenon: arzhano "th -" rye ", you" shnya - "cherry", pa "gloomy -" cloudy ", coma" r - "mosquito".

4. Semantic dialectisms.

Words that have the same morphemic composition with the corresponding words of the literary language, but differ from them in their meanings: paha "th-" sweep the floor", pour "st -" drown ", huge" many- "skillful, knowledgeable" mi "mo- “immediately”, smell - “hear”, native - “large, large”.

Semantic groups of words.

The vocabulary of dialects is rich in words reflecting the originality natural conditions a particular area, features of economic life and life of the population. The vocabulary of dialects in this area is detailed, especially in the part that belongs to the leading area of the economy.

Agriculture. The names of various land plots and lands are diverse: plowing "on -" arable land ", on" stubble - "meadow, hay land", guys "on -" fallow land "; parts of the field, depending on the nature of their processing: rut, pereezd - “a part of the field captured by a plowman from turn to turn". In this semantic group of vocabulary, we find archaisms associated with slash-and-burn agriculture in Russia, when farmers cut down and burned forests, uprooted stumps to expand meadows and crops; names of areas cleared from under the forest for plowing: burned, logs "on, fingertips", you "slides -" a place where the forest burned out or was burned out by man. Many of these words in modern dialects have fallen out of active vocabulary and were preserved only in toponymy or changed their semantics. The names of parts of old agricultural implements are differentiated in dialects: rosso "ha (arch.), Koko" ra (Psk.) - "the main wooden part of the plow", openers "(arch.), ra" flax (Perm.), plowshares "( psk.) - "metal tips on the forks of a plow"; names of laying sheaves, hay, straw: standing "nka, suslon, babu" rka, grandmother, ba "barrel - "small laying of sheaves" (psk.), threshing sites: dolo "n (pec.), lado" n (yarosl.) tokovnya (psk.) and many others.

Livestock. The economic functions of domestic animals of different ages determined the detailing of the age names of the horse: seletok (arch.), sosu "n (yarosl.) - "up to a year", shearing" n (yarosl.) - "from one to two years", u "chka (yarosl.) - “from two to three years old”, a quarter (raven) - “from three years old.” .), podtelok (Don.) - “from a year to two”, myaki "nnik, ears" to (yarosl.) - “from two to three”. The names of animals and birds are detailed according to their use in the household: by "roses (pok.), boar (raven) - "male pig, producer", boar (Psk.) - "baked boar"; par" nya (yarosl.) , situ "ha (Psk.) - "hen".

Fishing, hunting, forestry. The forest and water resources of our country contributed to the widespread development of hunting and fishing - the main occupation of the population in many territories of the Far North and Siberia. Hence the various names of fishing and hunting grounds, gear and devices: zapa "from (Psk.), Porya" day (arch.) - common name a set of nets, merezha (print) - “fishing net on hoops”, bards "to (Novg.), Siku" sha (Psk.) - “baubles”.

Buildings, their parts. Differences in the names of residential and outbuildings according to dialects are often associated with an ethnographic difference in realities. In the north, where the characteristic type of building is the house-yard, i.e. both the living quarters and the outbuildings are under the same roof, various names for the parts of this complex: hut - "room in the house", ceiling - "attic", you "cabinet - “living quarters in the attic.” In the south, livestock premises are built separately: zaku "ta, kotu" x, omsha "nickname. Special names in dialects have different types hedges: garden "yes (arch.), hedge" yes (Psk.) - "fence of long poles", barco" n- "fence of thick stakes" (Psk.), braid, braid.

Names of household items. This semantic group includes the names of household utensils, dishes: moho "tka (ryaz.), pole" n (kaluzh.) - "clay vessel for milk", horn "h (Kursk) - "grab"; meals and food: va "rya (arch.) -" liquid hot food "; clothes, shoes: blue "k (psk) -" sundress from a heel, "krutso" wiki (psk.) - "rope bast shoes".

Names of objects and phenomena of the surrounding nature. The detailing of the names is connected with the peculiarities of the local landscape. In the north and north-west, the abundance of forests, swamps and reservoirs is reflected in the vocabulary: ra "da, sa" hta, ka "ltus (arch.) Bagno (Psk.) - "varieties of swamps", ly "va (volog.) - “big puddle, lake”, suze “mier” - “dense forest”.

In addition to the vocabulary that calls various items, realia, in dialects there is a lot of so-called non-objective vocabulary: verbs, adjectives, adverbs, various auxiliary words. The non-subject vocabulary of dialects has been studied to a lesser extent, however, to make sure of its diversity, we will consider some thematic groups.

Speaking verbs. This group is widely represented in all Russian dialects. Dialect verbs can call the process of speaking as such: ba "yat (Arch., Perm.), homon" t, noise "t, bala" kat (Psk.); to characterize the pace of speech, the manner of speaking, the features of the speech process: taranti "t-" speak quickly, "lopota" t- "speak without stopping"; reflect the content of the speech, its focus: bitch "th (Psk.), Ko" new (pech.) - "gossip."

The verbs of movement are also diverse in dialects. We will confine ourselves to examples from Pskov dialects: fornication "be, blyka" - "walk, wander", stare - "slide", strengthen - "climb".

Adverbs of time. Most of the northern dialects know a group of adverbs with the general meaning of the past tense: let "tos, winter" s, spring, autumn "s, y" rope, night "s - "last summer", as well as adverbs this "year, this" year - "this year", this "summer -" this summer. In the same dialects, with an indication of an indefinite time of action in the past, adverbs are used onogdy, onogdy "s, onome" days, yes "wen-"recently, one of these days".

Adjectives relating to the characteristics of a person are numerous in dialects. These words give an idea of the appearance of a person, his soul and spiritual qualities, character traits, etc. For example, in the Pskov provinces: shcha "pny -" beautiful ", kalya" ny - "healthy, strong", di "cue, blah" vyy, fashionable "lyy, mo" ugly - "thin , skinny.

So, we examined lexical dialectisms - words known only to native speakers of the dialect and outside of it having neither phonetic nor word-forming variants. In the common language, these dialectisms have equivalents that name identical objects, concepts.

§four. The stylistic role of dialect words in work of art

A special place among functional styles is occupied by the style of fiction. The most characteristic feature of this style is figurativeness. The author chooses words in such a way that the reader can see specific objects, “hear” the voice of nature, that is, he creates visual and auditory images. Thus, in a work of art, the word serves as a means of creating artistic image, that is, it performs an artistic function. Influencing not only the intellect, but also the feelings, a work of art is emotional.

Imagery is created by a special selection and combination of words for visual purposes, the use of vivid epithets, comparisons, metaphors. Emotionality is expressed in the use of emotional-evaluative words, exclamatory sentences, words with diminutive suffixes, and so on.

The language of fiction can use linguistic elements from different styles, as well as elements that lie outside the literary language. In the speech of the characters, colloquial, slang, dialect vocabulary can be used.

Modern writers also willingly use dialectisms when describing village life, landscape, when conveying the speech of their characters:

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

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

At least don't be shy! He’s standing there with one foot, and Shio is shaking something.” (Shukshin)

It is necessary to distinguish, on the one hand, the “citation” use of dialectisms, when the writer introduces them as an element of another style and the reader understands that this is the speech of the characters, and not the author; and, on the other hand, the use of dialectisms on an equal footing with the vocabulary of the literary language as stylistically unambiguous lexical means. The citation of dialectisms in a literary text is usually stylistically motivated, if the author observes a sense of proportion and does not get carried away by local words that are incomprehensible to the reader, explaining those dialectisms that can make perception difficult. The desire to introduce dialectisms into artistic speech on an equal footing with literary vocabulary most often receives a negative assessment. Let us refer, for example, to poetic lines, the meaning of which may remain a mystery to the reader: “Odal Belozor swam; The slope with a twist ants"

Sometimes a writer focuses on the criterion of accessibility, understandability of the text and therefore uses dialectisms that do not require explanation. But this leads to the fact that in works of art the same dialect words are often repeated, which have already become, in essence, “all-Russian” and have lost their connection with a specific folk dialect. The introduction of dialectisms of this circle into a literary text is no longer perceived as an expression of an individual author's manner. Therefore, word artists must go beyond the "inter-dialect" vocabulary and look for their speech colors in local dialects.

Thus, in works of fiction, dialect words are used for a realistic depiction of everyday life (creating "local color"), speech characteristics of characters, as a means of expression

In Chapter I, we examined what the vocabulary of a limited sphere of use is, dialect words, their types, and the stylistic role in works of fiction. In the next chapter, we will process the dialectisms collected during the dialectological expedition to the village of Sami and compile a systemic dictionary of local plant names.

II. Practical part

Staraya Sama is located north of the village of Maslovo. This village is connected by a short railway line to Sama station.

After 1917, the development of the ore of the Samskoye deposit was resumed several times, but it really took off after 1953. In 1956, a washing and enrichment factory was built.

The population of the village is 1500 people. It has a school and other children's institutions, two clubs, a library, a paramedical and obstetrical station, and shops.

Every vacation, especially summer, I constantly go to the village of Sama to visit relatives.

When I was little, I noticed that neighbors and residents of the village sometimes say some strange words, such as “rolled wire”, “stag”, “sludge”, “zaimka”, “zagnetka”. And I began to ask my grandmother what these words meant, and then she explained to me that ordinary felt boots are called wire rods or pims, and the usual tong for the oven is a stag. I began to listen to these words, later, at school, I learned that these words are called dialectisms. Sometimes, when I heard some unusual word, I wrote it down, indicating the meaning, that is, I collected these words.

At the end of the 9th grade, before the summer holidays, my Russian language teacher Yulia Alexandrovna Shirokova suggested to me, knowing that every vacation I go to my grandmother in the village of Samu, the topic: “Local names of plants in the speech of the inhabitants of the village of Sama”. I gladly agreed, and in June 2006 I left not just to visit my grandmother, but on a dialectological expedition. For the whole summer, I listened attentively to the speech of my grandmother, her neighbors, started various conversations with them. As a result, I wrote down 56 dialect words. In September, we began processing dialectisms, compiling vocabulary cards. The result of our work was a system dictionary of local plant names. But that is the subject of the next paragraph.

§2. System dictionary of local names of plants in the village of Sami, Ivdelsky district, Sverdlovsk region

The main source of the systemic dictionary of local plant names in the village of Sami was everyday-subject vocabulary, which is in the active and passive stock of dialect speakers.

Vocabulary for the dictionary was collected by direct observation of the functioning of words in the speech of the inhabitants of the village, as well as during conversations on various topics: plants, mushrooms, trees, etc.

After analyzing the dialect words, we compiled a dictionary dictionary. There are 56 words in our dictionary.

From the point of view of functioning, we analyzed 10 lexico-semantic paradigms of the subject-everyday vocabulary of the dialect of the village of Sama with a common semantic factor:

1) aquatic plants;

4) shrubs;

5) shrubs;

6) medicinal plants;

7) wildflowers;

8) garden flowers;

9) weeds;

In the system dictionary, after the dictionary, a list of words included in various lexical-semantic paradigms is placed. Then the dictionary entries are placed in the dictionary, arranged in alphabetical order. The headword has stress, grammatical markings: nouns have gender, the genitive form of the singular. The compilation of the dictionary of local names of plants in the village of Sama was based on the principle developed by Demidova K.I. for compiling a system dictionary of the dialect of the Talitsky district of the Sverdlovsk region.

The modern Russian language is the national language of the Russian people, a form of Russian national culture. It represents a historically established linguistic community and unites the entire set of linguistic means of the Russian people, including all Russian dialects and dialects. Russian folk dialects, or dialects, have in their composition a significant number of original folk words known only in a certain area. The original language of the Russian people was imprinted in the dialects.

The study of dialects helps to delve deeper into the variety of words, forms and sounds of the modern language throughout the space occupied by its speakers; contributes to a deeper understanding of the texts of fiction, as writers use dialect words and forms for certain stylistic purposes; helps to learn the lessons of our ancestors, which will prompt and help find solutions environmental issues today, because since ancient times, man has been aware of his inextricable connection with nature, his dependence on the environment, and this wisdom has been preserved not only in folk art, in spiritual and material culture, in customs and rituals, in everyday life and art, but also in everyday -subject vocabulary, which is in the active or passive stock of dialect speakers.

One of the first to draw attention to the need to study dialects, to their role in the history of the Russian language Lomonosov M.V.

But until now, lexicology does not have a sufficient number of dictionaries of regional dialects, so the issue of compiling a system dictionary of dialect words is relevant.

Our task was to collect and process dialect words found in the speech of the inhabitants of the village of Sami, which denote the local names of plants, trees, mushrooms. In this work, we have shown materials for the system dictionary of local plant names.

As a result of the dialectological expedition, we recorded 56 dialect words.

From the point of view of functioning, we analyzed 10 lexico-semantic paradigms of the subject-everyday vocabulary of the dialect of the village of Sama (“medicinal plants”, “herbs”, “mushrooms”, etc.), which formed the basis of the system dictionary of local plant names.

Our work has practical significance, because the materials of the system dictionary of local plant names can be used by teachers of the Russian language and literature in Russian language lessons when studying the topic "Vocabulary", in literature lessons when studying the work of D. N. Mamin-Sibiryak, P. P. Bazhov, because in the works of these and other Ural writers, dialectisms play a certain stylistic role: they are necessary for depicting realistic life and the speech characteristics of characters; as well as local historians and lovers of the Russian word.

Throughout the history of the Russian literary language, its vocabulary has been replenished with dialectisms. Among the words that go back to dialect sources, there are interstyle, neutral ones: strawberry, plow, smile, very, but there are words with a bright emotional coloring: nonsense, trouble, lurid, tedious, mumbling, taking a nap. Most of the dialectisms are connected with the life and way of life of the Russian peasantry, so many of the words of these thematic groups in the modern literary language, by origin, dialectal: laborer, grain grower, plowing, harrowing, greenery, plowing, harrow, spindle, mower, milkmaid and under. Many of these dialectisms have already entered the literary language in our time. initiative, newcomer, hype, craftsman.

Especially typical for modern language processes is the replenishment of vocabulary with ethnographisms. So, in the 50-60s, Siberian ethnographisms were mastered in the literary language fall, decay, sludge and others, even earlier - taiga, hill, owl. (It was these words that once served as the reason for M. Gorky's speech against the writers' passion for "local sayings", but the language accepted them, and they are given in dictionaries without restrictive marks.)

One of the ways of penetration of dialectisms into the common language is their use by writers depicting the life of the people, seeking to convey the local flavor when describing the Russian village, to create vivid speech characteristics of the villagers. The best Russian writers turned to dialect sources: I. A. Krylov, A. S. Pushkin, N. V. Gogol, N. A. Nekrasov, I. S. Turgenev, L. N., Tolstoy and many others. Turgenev, for example, often has words from the Oryol and Tula dialects: big road, buchilo, doctor, potion, paneva, talk and etc.; he explained dialectisms incomprehensible to the reader in the notes.

Modern writers also willingly use dialectisms when describing village life, landscape, when conveying the speech of their characters: All evenings, and even nights [guys] sit at lights, speaking locally, yes they bake Opalihi, that is, potatoes (Abr.); “Don’t eat, that’s weakness,” the old woman remarked. cock- I'll cook the broth? He eat delicious fresh something ... - No need. And search we won’t sing, but we’ll decide the trigger ... - At least not for a while freak out!.. One foot is already standing there, and Isho shakes something(Shuksh.).

It is necessary to distinguish, on the one hand, the "citation" use of dialectisms, when the writer introduces them as an element of another style and the reader understands that this is the speech of the characters, and not the author; and, on the other hand, the use of dialectisms on an equal footing with the vocabulary of the literary language as stylistically unambiguous lexical means. The quotation use of dialectisms in a literary text is usually stylistically motivated if the author observes a sense of proportion and does not get carried away by local words that are incomprehensible to the reader, explaining those dialectisms that can make perception difficult. The desire to introduce dialectisms into artistic speech on an equal footing with literary vocabulary most often receives a negative assessment. For example, let us refer to poetic lines, the meaning of which may remain a mystery to the reader: swam odal Belozor; Slope with screwed up...

Sometimes a writer focuses on the criterion of accessibility, understandability of the text and therefore uses dialectisms that do not require explanation. But this leads to the fact that in works of art the same dialect words are often repeated, which have already become, in essence, "all-Russian" and have lost their connection with a specific folk dialect. The introduction of dialectisms of this circle into a literary text is no longer perceived as an expression of an individual author's manner. Therefore, word artists must go beyond the "inter-dialect" vocabulary and look for their speech colors in local dialects.

The role of dialectisms in the works of Russian literature. Dialectisms are words or combinations of words that are common in a limited area and used by the literary language, but not included in its system.

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. People's speech can reflect the phonetic, word-formation, grammatical features of the dialect. 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: Where I am, it has always been sugat.

And now? I’m not 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 will close my eyes and they will sprinkle me with juniper!” Who would have thought that such familiar words as balls, plant, in the Vyatka dialect have a completely different meaning? In the 20th century, when the writer's right to replace literary words with dialectisms was heatedly debated, 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" This, of course, does not mean that a strict ban was imposed on dialect words. Not! Artists of the word skillfully use expressive dialectisms. M. A. Sholokhov achieved great skill in this in "The Quiet Don", "Virgin Soil Upturned", "Don Stories". From these works, readers learned many Don realities.

Remember the Sholokhov bases, gossip, kuren and others. 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 her own yard dog stuck in the doorway so scared 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's still 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.

End of work -

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Dialects of the Russian language

It is necessary to distinguish between the concepts of the Russian national language and the literary Russian language. The national language - the language of the Russian people - covers all areas ... So, let's talk about dialects - a component of the national language. I would like to immediately give as an illustration one interesting story, told by V.I.Dal in his wonderful ...

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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.

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 turned to dialect sources. Turgenev, for example, often has the words from Oryol or Tula dialects ( high road, talk, poneva, potion, medicine, buchilo and etc.)

Modern writers also use dialectisms: from the writers of the twentieth century - I. Bunin, S. Yesenin, M. Sholokhov, F. Abramov, V. Soloukhin, V. Shukshin and many others.

In artistic speech, dialectisms perform important stylistic functions:

They help convey the local flavor.

The reader will learn many features of peasant life, for example, from the description of F. Abramov (the story "Wooden Horses"):

FROMstory Maxim introduced me on the very first day ... I just gasped when I saw what was there. A whole peasant museum!

Hornedreel , Rosna - home loomgodwit , painted spinning wheels -mezehi (from Mezen),ruffled , all kinds of boxes and baskets ...

Since then, I rarely looked attell . And not because all this the revived antiquity was new to me - I myself came out of this wooden and birch bark kingdom. New for me was the beauty of chiseled wood and birch bark. Here's what I didn't notice before.

They convey the features of the speech of the characters.

F. Abramova (story "Wooden Horses"):

Mom called her brothers: so and so, dear brothers, help your sister out. And those, it is known: for theirVasya [Vasilisa] ready to turn the devil. The site, which is necessary, was chosen, the forest is down -which knocked outwhich set on fire, and in the same autumn they sowed rye.

Hereurvai [“uncouth” men] andscratched. Trouble , what kind of rye has grown - a little not on a par with spruces. You know,on arson how to be born. The hunt is over, goodbye, fish. They took up the axe.

Wellrobili ! I don't remembersmall still was, and my mother told us everything, how she saw them at work on this very Rich Woman. I go, he says, through the forest, looking for a cow, and suddenly, he says, a fire, but such, he says, big - right up to the sky. And naked men jump around this fire. I, says my mother, died in the first place, I can’t take a step: I think,Leshaki this is no one else. And thenurvai. They do the cleanup. And in order not to be hot, they took off their shirts, and it’s a pityLopotin - then [clothes] - not the present time ...

So, so wildurvai , - Evgenia emphasized again. - And what? They neverworked , they shot birds, - you yourself know how much strength they have accumulated.

Oh, mother, mother ... I wanted the best, but brought trouble. After all, theirfisted, when collective farms started...

For example, vivid expression distinguishes dialectisms in V.M. Shukshin’s 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 fresh and boring... 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.<…>Yes, you're dying, aren't you? Maybe isho oklemaissya.<…>

Agnyusha, - he said with difficulty, - forgive me ... I was a little dilapidated ...

Dialectisms are used for a more accurate, from the point of view of the author, naming of certain things and concepts.

Here is an excerpt from V. Lipatov's story "Deaf Mint":

From the back, only by height can one be distinguished from the other, even the gait is the same - bearish, waddling, shoulders lowered under the load of axes and saws, the step is not fast, but wide, "birky ”, as the people of Narym say.

Good word -birky . So they say about a berry, large, convenient for picking, -tag berry; so they say about a well-honed ax: -birky takes a lot; about a stingy, stingy man -birky , everything pulls into the house.

Functions of dialectisms in literature

Functions of dialectisms in literature.
In contrast to the departments of linguistics, which single out as their subject one of the elements of the external or internal form of the word (phonetics, grammar, semasiology), dialectology builds its study synthetically, considering both phonetic and semantic and grammatical features of a known, geographically fixed unit.
Dialectology is associated with the style of artistic speech, which studies language tools, including dialectisms, as part of the language of a work of art.
Among the linguistic disciplines, dialectology is one of the latest in time of creation. True, the fact of the dialectal fragmentation of the language was already recognized by ancient stylistics and grammar, which created a number of terms to denote the deliberate and unintentional introduction of dialectisms into the literary language of a work of art., but until the 19th century, dialectal phenomena were considered only as well-known deviations from the "accepted" linguistic norms - deviations to be fixed as errors. Only the romantic philosophy of the early 19th century manages to substantiate the independence and inherent value of oral dialects as “folk languages”: the growing interest in the study of dialectisms in the composition of a work of art, observed in the second half of the 19th century, seems to be largely due to the peculiar populism of the neogrammarists who tried to to find in "folk dialects" the undisturbed "purity" of linguistic development.
In linguistic literature, there is a broad and narrow understanding of dialectism as the main component of dialectology.
1) A broad approach (presented in a linguistic encyclopedia) is characterized by an understanding of dialectisms as linguistic features characteristic of territorial dialects included in literary speech. Dialectisms stand out in the flow of literary speech as deviations from the norm.
2) A narrow approach (reflected in the monographs of V. G. Vitvitsky, V. N. Prokhorova) consists in the fact that dialectisms are called dialect words or stable word combinations used in the language of fiction, journalistic and other works.
In our work, based on the object of study, we rely on a narrow approach and under the term dialectisms we understand the phonetic, word-formation, morphological, syntactic, semantic and other features of the language reflected in a work of art, inherent in certain dialects in comparison with the literary language.
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. Prokhorov “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. A Nechaev "Dialectisms in the Fiction of Siberia" and others. A number of works are devoted to the analysis 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. The role of dialectisms in the works of the authors of the East Kazakhstan region was not considered in this aspect.
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. The words used in the language of fiction from the vocabulary of the dialect are 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.
When dialectisms from oral speech come to the disposal of the writer, he, interspersing them into the language of the artistic text, subordinates each dialectal word to the general plan of the work, and this is done not directly, but through the methods of narration.
As you know, the text of any work consists of no more than three ways of narration: the speech of the author, characters and non-authorial (non-properly direct) speech, which is a combination of the subjective plans of the author and the hero. These ways of narration are directly connected with the general idea of the work, which leads to the distribution of functions between them. The specific language material, in turn, is subject to the mode of narration, and through it, to the general idea of the work. Thus, various layers of vocabulary, including dialectisms in the composition of a work of art, depending on the method of narration, can change their meaning and stylistic functions.
For the indigenous population of the villages, the dialect (that is, the local dialect) is, first of all, the native language, which a person masters in early childhood and is organically connected with it. Precisely because the articulatory skills of speech are formed naturally, they are very strong in everyone. It is possible to rebuild them, but far from everyone and not in everything. So, a peculiar process of overcoming dialectal features is widely represented in the language of works of fiction of the East Kazakhstan region, where the convergence of dialects with the literary language creates a new type of speech - a semi-dialect, the representatives and carriers of which are the writers themselves, most of them come from villages.
The semi-dialect that develops in the process of moving from a dialect to a literary language is viewed through the above methods of narrating a work of art, that is, the speech of the author, characters, and non-authorial speech. The phenomenon of this transitional type of speech is not possible in all genres of fiction, most often it can be found in an autobiographical novel or in autobiographical notes, where the image is a character and the narrator is the same person. Its formation and development, as well as the formation and development of its linguistic features, is the process of movement from a dialect to a literary language.
With the help of dialectology data, it is more understandable to resolve the issue of the principles of the selection of dialectisms by the writer, the manifestation of his artistic taste, awareness in the selection of material for creating images of folk-colloquial speech. Dialectological data help to answer the question of what vocabulary of the dialect the artist of the word prefers to use.
Thus, the processes taking place in the sphere dialect language as part of the language of a work of art, have much in common with the processes inherent in Russian colloquial speech, an oral variety of the literary language. In this regard, dialectisms are a rich source for identifying the processes and trends of the literary language.
The forms of use of local dialects in literature are determined by the social differentiation of the language and the underlying economic reasons. In the literatures of countries and epochs, when there is still no economic and political centralization, several dialects associated with the most significant centers can coexist as the language of literature. At the same time, usually, in the presence of communication between the respective areas (at least within certain social groups), the artistic use of dialects leads to the elimination of especially sharp dialectisms and to the unification of the vocabulary, due to which literary works written in one dialect can be understood by representatives of other dialects. So you can talk about the medieval German literary language of courtly poetry.
In the future, the coexistence of individual dialects as stylistically fixed features of well-known genres is possible. So, in ancient Greek poetry, dialect coloring is obligatory both for various genres and for various elements one genre.
The social basis for the introduction of dialectisms into literary creativity appears brighter in the rules of ancient Indian dramaturgy, which connects with the social position actor drama, his use of one dialect or another.
Most often, however, linguistic unification, reflecting economic and political centralization, is accompanied by a struggle against dialectisms as a form of expression for the "lower" classes of society.
In such eras of stabilization and unification of the literary language, the introduction of local and social dialectisms is allowed only as a comic device in the respective genres. Genres such as comedy and the picaresque novel, for example, allow the widespread use of dialectisms even when the literary style is stabilized.
The rehabilitation of dialectisms as not only a comic, but also a visual means that enhances the “local flavor” in works of high style (tragedy, psychological novel, lyrics, everyday drama, etc.) is going on in Western European and Russian literature in parallel with the strengthening of the development realism and naturalism.
In the first half of the 18th century, the process of concentration of national elements intensified in the development of the Russian literary language. This process leads to the fact that the living folk speech, as before, remains stylistically disordered. The norms for the use of regional dialects in works of art are indefinite and unlimited. As a result, the study of the functions of dialectisms in the language of works of art of the 18th century is not possible.
In the article by V.I. Chernyshev "Notes on the language of Maikov's fables and fairy tales", a writer of the 18th century, about whom little biographical information has been preserved, there is no clear distinction between dialectisms and Old Slavonicisms. Such formations of words by V.I. Chernyshev calls them “conditionally Slavicisms”, since not always, but in most cases, as the comparative historical method has shown, both dialectisms and Old Slavonicisms go back to a single Proto-Slavic dialectism.
Maikov's fables are written in the good literary language of the time, in which the Old Slavonic element is combined with Russian and the purest Old Slavonicisms are found side by side with the most common expressions. So, the use of prepositions (ko, so, in), dative-prepositional variants of words like -earth-, instrumental -bones-, genitive case of adjectives zh.r on -yya-, non-membered declensions, indefinite inclination on -ti- are in Great Russian dialects. But for the writers of that time, these forms were not only the norm of use, all of them, apparently, were considered Old Slavonicisms, which is why they subsequently disappeared from the language of works of art.
AT early XIX century, after the formation of a "new syllable Russian language”, from which by this time vulgarisms, dialectisms, colloquial words and expressions were excluded, 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. In terms of language, in a few works of art, this was the process of "fouling the literary narrative with fresh shoots of live oral speech, its different 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.
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-dialect language are sharply emphasized. 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.” [.11,386 - 387]
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.
It follows from the foregoing that V. V. Vinogradov clearly distinguishes two functions of dialectisms in the language of N. V. Gogol's works:
1. Characterological (reflective) function "which imposes characteristic colors on the speech of characters";
2. Nominative (nominative) function of the lexical level.
The traditions of N. V. Gogol are continued by I. S. Turgenev, who also skillfully weaves dialectisms into the artistic fabric of his works.
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.
The cumulative function acquires a special shade through the dialect-vernacular-colloquial contexts that are usually found in the speech of the characters. However, sometimes such contexts are also found in the author’s speech, for example, in the story “singers”, the author says about Morgach: “I have never seen more penetrating and intelligent eyes, like his tiny, crafty“ peepers ”- and to the word“ peepers ” gives a footnote: "Orlovtsy call the eyes peepers, as well as the mouth a food."
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.
Thus, interspersing dialectisms into the language of their works, the writers of the 19th century sought to bring their works closer to living folk speech, which is the unifying and semantically organizing center of the national language of the nation.
The realistic traditions of artistic speech survived until the era of the socialist revolution, but in the 20th century the gap between the city and the countryside quickly disappears. The convergence of local speech with the literary language occurs in the process of cultural development of the peasant masses. Literary speech becomes an organic element in the thinking of the advanced peasantry. The problem of the struggle between the literary language and local dialects is losing its acuteness, since the bulk of the peasantry no longer opposes itself in linguistic terms to the city. Elements of dialect vocabulary do not create a sharp alienation of regional dialects from the national language, but, merging into literary speech, they are gradually assimilated by it. Consequently, dialectisms are deliberately introduced into the language of works of art at the beginning of the 20th century, with the aim of a realistic depiction of reality and an increasing convergence of literary and artistic speech with its oral forms.
In the article “Notes on dialectisms in the work of V. Astafiev”, L. G. Samotik highlights the following methods and functions of dialect words:
1. The modeling function - the transmission of genuine folk speech - provides a realistic method in fiction. The main function of folk - colloquial words, the rest are secondary in relation to it: “you produce food, you didn’t fly on an Essene plane” (V. Astafiev “King is a fish”).
2. The modeling function is recreated through the technique of alienation, which is used mainly in the author's speech (in case of direct alienation, the source of dialectism is indicated): “Sparrows, in the local way - chivili” (V. Astafiev “King is a fish”); and through indirect alienation, in which literary word stands out graphically (quotation marks, italics) or is explained in footnotes, through a synonym for the literary language or in a plug-in construction: “The sturgeon crawled to the stern to take a bowstring on the tip.” Footnote: on tips - on the gap (V. Astafiev "Tsar - fish").
3. Nominative function- the main function of the lexical level. It acquires special meaning in this group of words through ethnographisms: “A woman shod in rubber waders, peasant pants and a hat ...” (V. Astafiev “Hare Staff”)
4. The emotive function is the transmission through dialectisms of the subjective attitude to what is reported by both the hero and the author of the work: “Andryukha, the accursed Baskobain, helped me ...” (V. Astafiev “The King is a Fish”).
5. Culminative function - the function of attracting the reader's attention to the word. It is carried out, firstly, through the method of violating the integrity of the graphic image of the word, that is, a deviation from the rules of spelling and grammar: - ishsho - instead of "still"; secondly, through the introduction into the text of words that are alien to the system of the literary language, that is, lexical dialectisms.
The culminating function is carried out through contexts that are homogeneous (dialectically - vernacular - colloquial, usually in the speech of characters): “They don’t drink (colloquial), Mitreus (dial.), two: who is not served and who has no money (colloquial) ”(V. Astafiev“ The Last Bow ”), contrasting (comparison of dialectisms with high, outdated vocabulary, which often creates the effect of irony): “One gambler was (bookish) already in his pants, losing everything else from himself ... from afar (dial .), giving advice to the players” (V. Astafiev “The Damned and the Murdered”) and focused, when dialectism stands out, is opposed to the vocabulary of the literary language (technique of stylistic contrast): “But life went forward ... left the newspaper and left the radio - they greatly disturbed my conscience ”((V. Astafiev“ The Last Bow ”).
6. The aesthetic function is associated with attention to dialectism as a word that has special properties compared to literary vocabulary (sometimes it is understood broadly, opposing the modeling function as the main function of a literary text that conveys events that did not exist, but fictitious ones): “Akim ... brought from the bushes "fire extinguisher" - a large bottle with cheap wine, famously referred to as "Porkhvein" (V. Astafiev "Tsar - fish")
7. C aesthetic function the metalinguistic function of dialectisms intersects - focusing the reader's attention on the word as such: “This is what, silhouette - that? “Hwigura!” (V. Astafiev "King - fish")
8. The phatic function (indicative, identifying) of dialectisms is associated primarily with the special image of the author - a person from the people, close to his heroes and reader, not enchanted by the dialect word. The essence of this function lies in the fact that in the author's speech dialect words are usually used to create local color, and at the same time they are, as it were, alienated: “Sparrows, in the local way - chivili”, “... a winter hut, in other words, a flank ...” (V. Astafiev "Tsar - fish").
9. Characterological function - dialectisms serve as confirmation of the social characteristics of the characters: social (the speech of a peasant; the speech of any villager; the speech of either an uneducated uncultured person, or a person from a people who carries a deep national worldview); by territory of belonging (the speech of a person who was born and raised in a particular locality); individual characteristics of speech. Often these sub-meanings in dialectism are syncretic.
From all of the above, it follows 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 differs from colloquial speech and not so much in immanent features as in a given range. 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.
Literature
1. Blinova O. I. The language of artistic works as a source of dialect lexicography. Tyumen, 1985
2. Yartseva VN Linguistic encyclopedic dictionary. – M.: Soviet Encyclopedia, 1990
3. Vetvitsky V. G. Dialectisms as a means of creating local color in the novel by M. A. Sholokhov "Quiet Flows the Don". - : Leningrad State University, 1956
four. . Prokhorova VN Dialectisms in the language of fiction. Moscow, 1957
5. Language of works of art. Sat. articles. - Omsk, 1966
6. Kogotkova T. S. Letters about words. - M.: Nauka, 1984
7. Zhirmunsky V. M. Problems of German dialectography. Moscow, 1951
8. Trubachev O. N. Proto-Slavic lexical heritage and Old Russian vocabulary of the pre-literate period. Etymology. - M., 1994
9. Chernyshev V. I. Notes on the language of Maikov's fairy tales and fables. - M: Science, 1976
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11. Vinogradov V.V. Essays on the history of the Russian literary language of the 7th - 19th centuries. - .: Higher School, 1982
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