Stylistic features in the speech of modern politicians. Stylistic features of scientific speech Stylistic features of speech

Language styles are its varieties that serve one or another side of social life. They all have a few parameters in common: the purpose or situation of use, the forms in which they exist, and the set

The concept itself comes from the Greek word "stilos", which meant a stick for writing. how scientific discipline style finally took shape in the twenties of the twentieth century. Among those who studied the problems of stylistics in detail were M. V. Lomonosov, F. I. Buslaev, G. O. Vinokur, E. D. Polivanov. D. E. Rosenthal, V. V. Vinogradov, M. N. Kozhina and others paid serious attention to individual functional styles.

Five in Russian

Functional styles of the language are certain features of the speech itself or its social variety, specific vocabulary and grammar that correspond to the field of activity and way of thinking.

In Russian, they are traditionally divided into five varieties:

colloquial;
official business;
scientific;
journalistic;
art.

The norms and concepts of each depend on the historical era and change over time. Until the 17th century, colloquial and book lexicons differed greatly. The Russian language became literary only in the 18th century, largely thanks to the efforts of M. V. Lomonosov. Modern styles of language began to take shape at the same time.

Birth of styles

AT Old Russian period there were church literature, business documents and annals. Spoken everyday language differed from them quite strongly. At the same time, household and business documents had much in common. M. V. Lomonosov made quite a lot of efforts to change the situation.

He laid the basis for the ancient theory, highlighting the high, low and middle styles. According to her, the literary Russian language was formed as a result of the joint development of book and colloquial variants. She took as a basis stylistically neutral forms and turns from one and the other, allowed the use of folk expressions and limited the use of little-known and specific Slavic words. Thanks to M. V. Lomonosov, the styles of the language that existed at that time were replenished with scientific ones.

Subsequently, A. S. Pushkin gave impetus to the further development of stylistics. His work laid the foundations of the artistic style.

Moscow orders and Peter's reforms served as the origins of the official business language. Ancient chronicles, sermons and teachings formed the basis of the journalistic style. In the literary version, it began to take shape only in the XVIII century. To date, all 5 styles of the language are well-defined and have their own subspecies.

Conversational and household

As the name implies, this style of speech is used in everyday communication. Unlike jargon and dialects, it is based on literary vocabulary. His sphere is situations where there is no clear official relationship between the participants. In everyday life, mostly neutral words and expressions are used (for example, “blue”, “horse”, “left”). But you can use words with colloquial coloring (“locker room”, “lack of time”).

Within the colloquial, there are three subspecies: everyday-everyday, everyday-business, and epistolary. The latter includes private correspondence. Colloquial and business - a variant of communication in a formal setting. The colloquial and official-business styles of the language (a lesson or a lecture can serve as another example) in a certain sense divide this subspecies among themselves, since it can be attributed to both.

Allows familiar, affectionate and reduced expressions, as well as words with evaluative suffixes (for example, "house", "bunny", "boast"). The colloquial and everyday style can be very bright and figurative due to the use of phraseological units and words with an emotionally expressive connotation (“beat the bucks”, “near”, “child”, “blessed”, “skirt”).

Various abbreviations are widely used - “bad”, “ambulance”, “condensed milk”. Colloquial easier than bookish - the use of participles and participles, complex multi-part sentences is inappropriate. In general, this style corresponds to the literary one, but at the same time it has its own characteristics.

scientific style

He, like the official business one, is very strict in the choice of words and expressions, sharply narrows the boundaries of what is permissible. The Russian language does not allow dialectisms, jargon, colloquial expressions, words with emotional overtones. Serves the spheres of science and production.

Since the purpose of scientific texts is to present research data, objective facts, this puts forward requirements for their composition and the words used. As a rule, the sequence of presentation is as follows:

introduction - setting the task, goal, question;
the main part is the search and enumeration of answer options, drawing up a hypothesis, evidence;
conclusion - the answer to the question, the achievement of the goal.

A work in this genre is built consistently and logically, it presents two types of information: facts, and how the author organizes them.

The scientific style of the language makes extensive use of terms, prefixes anti-, bi-, quasi-, super-, suffixes -ost, -ism, -ni-e (antibodies, bipolar, supernova, sedentary, symbolism, cloning). Moreover, the terms do not exist by themselves - they form a complex network of relationships and systems: from the general to the particular, from the whole to the part, genus / species, identity / opposites, and so on.

Mandatory criteria for such a text are objectivity and accuracy. Objectivity excludes emotionally colored vocabulary, exclamations, artistic turns of speech, here it is inappropriate to tell a story in the first person. Precision is often associated with terms. An excerpt from Anatoly Fomenko's book "Methods of Mathematical Analysis of Historical Texts" can be cited as an illustration.

At the same time, the degree of “complexity” of a scientific text depends primarily on the target audience and on the purpose - who exactly the work is intended for, how much knowledge these people supposedly have, whether they can understand what is being said. It is clear that at such an event as a school lesson of the Russian language, simple styles of speech and expression are needed, and complex scientific terminology is also suitable for a lecture for senior students of a university.

Of course, other factors also play an important role - the topic (in the technical sciences, the language is stricter and more regulated than in the humanities), genre.

Within this style, there are strict requirements for the design of written works: candidate and doctoral dissertations, monographs, abstracts, term papers.

Substyles and nuances of scientific speech

In addition to the actual scientific, there are also scientific and educational and popular science substyles. Each is used for a specific purpose and for a specific audience. These styles of language are examples of different, but at the same time similar outwardly communicative streams.

The scientific and educational substyle is a kind of lightweight version of the main style in which literature is written for those who have just begun to study a new area. Representatives - textbooks for universities, colleges, schools (high school), part of the tutorials, other literature created for beginners (below is an excerpt from a psychology textbook for universities: authors V. Slastenin, Isaev I. et al., “Pedagogy. Study Guide ").

The non-fiction substyle is easier to understand than the other two. Its purpose is to explain complex facts and processes to the audience in a simple and understandable language. A variety of encyclopedias "101 facts about ..." were written by him.

Official business

Of the 5 styles of the Russian language, this one is the most formalized. It is used to communicate between states, and institutions with each other and with citizens. It is a means of communication between citizens in production, in organizations, in the service sector, within the limits of their performance of their official duties.

The official business style is classified as bookish and written, it is used in the texts of laws, orders, orders, contracts, acts, powers of attorney and similar documents. The oral form is used in speeches, reports, communication within the framework of working relationships.

Components of the official business style

Legislative. It is used orally and in writing, in laws, regulations, resolutions, instructions, explanatory letters, recommendations, as well as in instructions, article-by-article and operational comments. It is spoken orally during parliamentary debates and appeals.
Jurisdictional- exists in oral and written forms, is used for indictments, sentences, arrest warrants, court decisions, cassation complaints, procedural acts. In addition, it can be heard during judicial debates, conversations at the reception of citizens, etc.
Administrative- is implemented in writing in orders, charters, decisions, contracts, labor and insurance contracts, official letters, various petitions, telegrams, wills, memos, autobiographies, reports, receipts, shipping documentation. The oral form of the administrative substyle - orders, auctions, commercial negotiations, speeches at receptions, auctions, meetings, etc.
Diplomatic. This genre in writing can be found in the form of treaties, conventions, agreements, pacts, protocols, personal notes. Oral form - communiques, memorandums, joint statements.

In the official business style, stable phrases, complex conjunctions and verbal nouns are actively used:

based…
in accordance with…
based…
due to…
by virtue of…
due to...

Only the scientific and official business styles of the language have clear forms and structure. In this case, this is a statement, resume, identity card, marriage certificate and others.

The style is characterized by a neutral tone of narration, direct word order, complex sentences, conciseness, conciseness, lack of individuality. Special terminology, abbreviations, special vocabulary and phraseology are widely used. Another striking feature is the cliché.

journalistic

The functional styles of the language are very peculiar. Journalism is no exception. It is he who is used in the media, in social periodicals, during political, judicial speeches. Most often, its samples can be found in radio and television programs, in newspaper publications, in magazines, booklets, and at rallies.

Publicism is designed for a wide audience, so special terms are rarely found here, and if they are, they are sought to be explained in the same text. It exists not only in oral and written speech - it is also found in photography, cinema, graphic and visual, theatrical and dramatic and verbal and musical forms.

The language has two main functions: informational and influencing. The task of the first is to convey facts to people. The second is to form the right impression, to influence the opinion about the events. The information function requires the reporting of reliable and accurate data that are of interest not only to the author, but also to the reader. The influence is realized through the personal opinion of the author, his calls to action, as well as the way the material is presented.

In addition to those specific to this particular style, there are also common features for the language as a whole: communicative, expressive and aesthetic.

Communicative function

Communication is the main and general task of the language, which manifests itself in all its forms and styles. Absolutely all styles of language and styles of speech have a communicative function. In journalism, texts and speeches are intended for a wide audience, feedback is realized through letters and calls from readers, public discussions, and polls. This requires that the text be readable and readable.

expressive function

Expression should not go beyond reasonable limits - it is necessary to observe the norms of speech culture, and the expression of emotions cannot be the only task.

aesthetic function

Of all the 5 styles of Russian speech, this function is present in only two. In literary texts, aesthetics plays an important role; in journalism, its role is much less. However, reading or listening to a well-designed, thoughtful, harmonious text is much more pleasant. Therefore, it is desirable to pay attention to aesthetic qualities in any of the genres.

Genres of journalism

Within the main style, there are quite a few actively used genres:

oratory;
pamphlet;
feature article;
reportage;
feuilleton;
interview;
article and others.

Each of them finds application in certain situations: a pamphlet as a kind of artistic and journalistic work is usually directed against a particular party, social phenomenon or political system as a whole, a reportage is a prompt and impartial report from the scene, an article is a genre with which the author analyzes certain phenomena, facts and gives them its own assessment and interpretation.

Art style

All styles of language and styles of speech find their expression through the artistic. It conveys the feelings and thoughts of the author, affects the reader's imagination. He uses all the means of other styles, all the diversity and richness of the language, is characterized by figurativeness, emotionality, and concreteness of speech. Used in fiction.

An important feature of this style is aesthetics - here, unlike journalism, it is an indispensable element.

There are four types of artistic style:

epic;
lyrical;
dramatic;
combined.

Each of these genera has its own approach to displaying events. If we talk about the epic, then the main thing here will be a detailed story about the subject or event, when the author himself or one of the characters will act as a narrator.

In lyrical narration, the emphasis is on the impression that the events left on the author. Here the main thing will be experiences, what happens in the inner world.

The dramatic approach depicts an object in action, shows it surrounded by other objects and events. The theory of these three genera belongs to V. G. Belinsky. In the "pure" form, each of the above is rare. AT recent times some authors distinguish another genus - combined.

In turn, epic, lyrical, dramatic approaches to describing events and objects are divided into genres: fairy tale, story, short story, novel, ode, drama, poem, comedy and others.

The artistic style of the language has its own characteristics:

a combination of language tools of other styles is used;
the form, structure, language tools are chosen in accordance with the intention and idea of the author;
the use of special figures of speech that give the text color and figurativeness;
aesthetic function is of great importance.

Tropes (allegory, metaphor, comparison, synecdoche) and (default, epithet, epiphora, hyperbole, metonymy) are widely used here.

Artistic image - style - language

The author of any work, not only literary, needs the means to contact the viewer or reader. Each art form has its own means of communication. This is where the trilogy appears - an artistic image, style, language.

The image is a generalized attitude to the world and life, expressed by the artist using the language he has chosen. This is a kind of universal category of creativity, a form of interpretation of the world through the creation of aesthetically active objects.

An artistic image is also called any phenomenon recreated by the author in a work. Its meaning is revealed only in interaction with the reader or viewer: what exactly a person will understand, see, depends on his goals, personality, emotional state, culture and values in which he was brought up.

The second element of the triad "image - style - language" is related to a special handwriting, characteristic only for this author or era of the totality of methods and techniques. In art, three different concepts are distinguished - the style of the era (covers a historical period of time, which was characterized by common features, for example, the Victorian era), national (it means features that are common to a particular people, nation, for example, and individual (we are talking about an artist whose work has special qualities that are not inherent in others, for example, Picasso).

Language in any kind of art is a system of visual means designed to serve the goals of the author when creating works, a tool for creating an artistic image. It enables communication between the creator and the audience, allows you to "draw" an image with those very unique style features.

Each type of creativity uses its own means for this: painting - color, sculpture - volume, music - intonation, sound. Together they form a trinity of categories - artistic image, style, language, help to get closer to the author and better understand what he created.

It must be understood that, despite the differences between them, styles do not form separate, purely closed systems. They are capable of and constantly interpenetrate each other: not only the artistic one uses the language means of other styles, but also the official business one has many mutual points with the scientific one (jurisdictional and legislative subspecies are close in their terminology to similar scientific disciplines).

Business vocabulary infiltrates and vice versa. Publicistic in oral and written form is closely intertwined with the sphere of colloquial and popular science styles.

Furthermore, state of the art language is by no means stable. It would be more accurate to say that it is in dynamic equilibrium. New concepts are constantly emerging, the Russian dictionary is replenished with expressions that come from other languages.

New forms of words are created with the help of existing ones. The rapid development of science and technology also actively contributes to the enrichment of the scientific style of speech. Many concepts from the field of artistic science fiction have migrated to the category of quite official terms that name certain processes and phenomena. And scientific concepts have entered everyday speech.

For modern interpersonal communication, the culture and expressiveness of the language of its participants are important. The shortcomings that appear in one of them do not always go unnoticed by others. Sufficiently educated people and young people are especially intolerant of them.

Revealing the linguistic shortcomings of one's speech and getting rid of them, one should not forget that some words die off, others are born, the third of the regional, professional and jargon become literary, and the meaning of the fourth is filled with new semantic content.

Language as a means of communication is diverse. It is characterized by various stylistic manifestations, determined primarily by the scope of their use. They differ from each other, first of all, by the set and use of certain words and phrases.

Certain types of communication, depending on the goals and characteristics of the persons participating in it, are characterized by the use of various language styles that differ not only in the composition of language means, but also in their functional purpose. Scientific, colloquial, newspaper and magazine, stationery, official business, non-printing, feminine, artistic, Odessa, Estonian and other styles stand out.

A feature of interpersonal communication in our time is that it often uses a mixture of linguistic means that are part of the arsenal of various styles, including often the one whose words and combinations are better not to hear.

The stylistic feature of modern verbal communication is the simplicity of constructing sentences, the admissibility of deviating from the grammatical norms of written speech, and the use of colloquial vocabulary.

This makes it possible to successfully participate in it not only to persons with a philological education. In addition, it gives speaking a special expressiveness, sincerity and accessibility.

Communicators need to proceed from the fact that the "language of literature" and "literary language" are not the same thing, although there is a lot in common between them. The “language of literature” is diverse, just as the reality surrounding us is diverse, including at lectures, and at receptions at a foreign consulate, and in a cell where violators of criminal norms “while away” their term.

But the "literary language" includes from the national speech only everything that is full-fledged, accurate, expressive. The laws of grammar are strictly observed in it, there is no place for expressions like “damn in the face” or “I saw you in a coffin in white slippers”.

It is better when the participants of communication profess "literary language". However, the "language of literature" is also often used. It is good when, in the second case, they exercise self-control over the words and phrases they use, especially those that are better not to use at all. Unfortunately, many people who communicate in this regard have something to control. This is especially true of obscene words and phrases beloved by many.

For verbal communication, first of all, a simple syntactic structure is inherent, which finds its manifestation in the features of the constructions of the sentences used by its participants.

Preferably short and simple sentences that are easier to hear. It so happens that short phrases are sometimes specially used to enliven speech, to give it drama.

Short phrases also create the illusion of movement in it, increase the emotional perception of listeners. Long sentences are also acceptable, but they should not be carried away.

It is also necessary to take into account the fact that speech that is too syntactically correct is not accepted by everyone approvingly, primarily by those who had difficulty moving from class to class at school.

In addition, it is believed that too correct speech contributes to the weakening of the attention of listeners, little affects their feelings. To avoid this, sometimes it is recommended to deliberately violate the rules of syntax.

As you know, brevity is the sister of talent, including communication, especially when it is limited in time. Nevertheless, the trouble of many of its participants is verbosity and idle talk.

The language tools used in the process of communication by its participants also include introductory words and introductory phrases. They are used in order to express their attitude towards their statements and to evoke a certain reaction and feelings from the interlocutors.

Verbosity can also manifest itself in the abuse of pleonasms, that is, phrases containing duplicate words. This is the case, for example, when the expressions "long and prolonged silence" or "in the month of January" are used.

Participants in communication should not use or use carefully those words whose meaning is known only to them or their closest ones. relatives. If they have doubts about their partners' knowledge about them, they should tactfully and without negative emotions explain an unfamiliar or unfamiliar word.

It is appropriate to use communicating paths and figures. Among them is the period during which the pause divides the statement into two parts.

The first of them is pronounced in a raised tone, and this enhances its tension, emotionality and emphasizes the logical meaning. And when pronouncing the second, there is an intonational decline, which creates the impression of semantic completeness of the statement.

It is useful to use segments in your speech, that is, such syntactic constructions in which something is emphasized in order to attract the attention of listeners to it. Often they are introduced with the words “as regards”, “about”, “relatively”, “about”.

It is also appropriate to use linking words and sentences. They are used to indicate the transition from one part to another. A special form of the imperative mood is also used for this (let's consider, let's move on) and final words and expressions (so, thus, in the end).

With the help of syntactic constructions, a participant in communication can, to a certain extent, direct the attention of listeners in the direction he needs, maintain contact with them. For this, constructions such as “it follows from this”, “export suggests itself”, “imagine” are used.

You can advise communicating to establish and maintain mutual understanding with partners to use in right moment personal pronoun "we" with the corresponding verb ("we see"). To do this, you should also appeal to their awareness (“as you know”, “as you know”).

Many people have “syntactic freedom” when communicating in speech. However, you should not get carried away with it and violate the generally accepted rules for coordinating and managing words in a sentence.

Often in communicative speech there are errors caused by the inability to correctly decline numerals. Learning to avoid Them is an urgent task for many.

A careful attitude to words and phrases is also necessary, each of which has a certain or several meanings, or may not be combined with all, but only with certain words. Errors of this kind, as well as mangling of words, occur quite widely.

A common lack of speech and tautology, in which there is an illegal use of a number of words with the same root, as well as the use of phrases in which one of the words duplicates the meaning of another ("one's own autobiography").

PRONUNCIATION

During interpersonal communication, its participants have the ability to effectively perceive the speech of others until something sharply affects their hearing. Often this occurs when the rules of orthoepy are violated.

Its essence is that it establishes certain norms for the pronunciation of words and forbids at the same time to engage in "amateur activities".

As soon as the speaker distorts the usual form of pronouncing a word, puts the stress in it incorrectly, the ears of sufficiently educated listeners begin to react to this.

Errors in the area of pronunciation not only distract attention, but also give rise to a negative or skeptical attitude towards the speaker. Therefore, he needs to identify and eliminate his mistakes in the field of pronunciation.

It is “harmless” for those who communicate to observe the orthoepic law of sound reduction. In accordance with it, vowel sounds in unstressed syllables during pronunciation should be reduced, that is, weakened. But according to the law of stunning, voiced consonants at the end of a word should be deafened (“report” should be pronounced as “report”).

Often people "stumble" when pronouncing some abbreviations. Therefore, inconveniently pronounced abbreviations are best deciphered or not used at all. Before applying a new abbreviation for yourself, you should use spelling dictionary or consult a knowledgeable person.

A negative impression on listeners is also made by a person who incorrectly pronounces names, surnames and geographical names. To avoid this, you need to "do not doze off."

When communicating, dialectisms can also be used, that is, words and phrases that are understandable only to local residents. In any case, you should not get carried away with them, unless you want to give your speech a certain flavor or humorous coloring.

Listeners sometimes begin to smile ironically when there are deviations from the traditional pronunciation of words ("of course" is pronounced as "of course"), when instead of "e" is pronounced "e" ("academy"), when they say reflexive verbs according to their spelling (it is necessary to “not shave”, but “brizza”), when they lose sounds (they say “heart attack” instead of “heart attack”).

Mistakes often occur when choosing the form of an adjective or pronoun referring to a noun of the general gender "comrade" if it is followed by a woman's name.

Communicators should not be carried away by “splitting”, when the predicate is not always successfully replaced by two words (instead of “characterize”, they say “give a characterization”).

It happens that shortcomings are allowed both when conjugating verbs (they say “lost” instead of “lost”), and when using reflexive pronouns.

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Stylistic features in speech contemporary politicians

Introduction

Definition of style

Stylistic features of speech

"Economy" Luzhkov

Conclusion

Introduction

What is the contact between a political leader and the people based on? Why does one, having started his career to deafening nationwide applause, quickly lose popularity, while the other, entering politics to the accompaniment of mocking press comments, gains an unprecedented rating in a matter of months, which then holds for years? Of course, the biblical “by their deeds you will know them” always remains in force, but for the mass consciousness, as a rule, the true meaning of what people in power are doing is closed. A man of the masses is not a political scientist, but on the other hand he is a great esthete and perceives the political chronicle as a "soap opera": he recognizes some characters as "his own" and then worries about them as relatives, and with some he decisively refuses his sympathy . The ideal democratic politician must renounce all personal passions and only "represent" the interests of those who elected him.

But those who take seriously the requirements of the democratic ideal never make bright, any noticeable politicians - except perhaps branch lobbyists. Already in order to be noticed and elected as a "representative", you need to be someone, and "the will of the people" (about which no one ever knew and does not know anything) you must first be able to formulate yourself, and then to convince your voters that this - what you drum into them at every rally - is their true will. And for this, one must possess a specific “artistry”, which is a derivative not only of individual talent and external human “texture”, but also of the political culture of the country where politics has happened to live and be educated. A significant, if not significant, role in this "artistry" belongs to the style used by politicians. What is the concept of stylistics, its significance, if it is able to win the minds and hearts of millions of voters, ordinary citizens of the country.

Definition of style

From the point of view of modern ideas about the structure of the science of language, stylistics could be included both in linguistic semantics (because it is associated with the expression of a certain class of meanings), and in linguistic pragmatics (since it involves the expression of a certain relation of the speaker to the statement; it is not without reason that some authors call pragmatic components expressive and/or stylistic meanings), and into the theory of speech influence (since stylistically determined choice is one of its tools), and into the general theory of linguistic variation. This, however, is not done due to the historical fact that stylistics is noticeably older than any of these disciplines: in the European philological tradition, ideas about language styles can be traced back to antiquity, and during the 18th century. they were formulated explicitly. Throughout the 19th century the idea of stylistics as an independent branch of linguistics was formed, which became generally accepted in the first third of the 20th century, after the works of S. Balli and representatives of the Prague Linguistic Circle.

Style is always an expression of the speaker's commitment to some formally expressible value. In the case of language stylistics, this is a commitment to such a value category as the appropriateness of the chosen form of expression in a given communication situation - taking into account its subject, social context and the mutual social status of communicants (in a pub they speak differently than from a university department, a message to the nation is built differently than a message to a beloved, they communicate with a representative of authority differently than with a dentist or subordinate, etc.). Language styles typify all this diversity and introduce into it some coarse, but also ordering articulation supported by tradition - which, in fact, is one of the functions of the language in general. It is significant that if the incorrectness of the statement is described as its falsity, and the incorrectness of the speech act as its failure (in the case of the speech act of the statement, expressing, in particular, in its falsity), then the stylistic incorrectness is described precisely as inappropriateness - such a style is inappropriate here, expressed, in particular, and in pragmatic failure.

A set of stylistically opposed variants of a linguistic expression is usually considered as describing the same extralinguistic content, but at the same time additionally reporting on the speaker’s attitude to the communicative situation, to the content of the statement, to the addressee, to himself (the practice of referring to the sphere of stylistics also the means of expression expressive components of meaning, see below), and finally, in the case of stylization of an utterance or, more often, a text to some value-colored tradition. At the same time, stylistic variants are considered in stylistics from the point of view of the mechanism of their formation, the scope of their use and the principles of selection, depending on the goals and conditions of speech communication.

Stylistic features

Stylistic roughness, inaccuracies, direct deviations from stylistic literary norms account for 20% to 25% of all cases recorded in our chronicle of errors. At first glance, it may seem that errors in style are not as linguistically gross as grammatical or lexical ones. Moreover, since they represent only a discrepancy between the functional-genre orientation of speech and do not directly affect the systemic laws of the language, they should be attributed more to violations of the canons of communication than to proper linguistic irregularities. Not without reason, when evaluating school essays they are not equated with grammatical errors, however, they have the same negative effect on listeners as the other types of errors we have considered. The fact is that stylistics covers the aesthetic and ethical qualities of speech, and they directly characterize the speaker. The thought that has become banal, but from this has not ceased to be true, “style is a person,” fully corresponds to our position in assessing stylistic slovenliness, which leaves the same impression as the dirt under the nails of an interlocutor.

Repetitions affect the aesthetic sense of the listener.

The linguo-psychological mechanism of their occurrence has an unconscious basis: as a rule, one of the repeated units turns out to be two-word and has signs of a stable turnover, which is used by the speaker as a single, integral formation, as a separate word; let's compare: to have a meaning, to express readiness, active struggle, historical digression, upon closer examination, according to rumors, the pursuit of happiness, etc., so the speaker does not always hear the repetition he himself allowed. Obscentisms and simply “strong words” are deliberately inserted into public speech and serve as a weapon prohibited by the social contract, directed against real and potential opponents of the speaker and destroying the ethical and aesthetic expectations of listeners. Thus, as a stylistic error, we can only qualify repetition, while the public use of the fecal-genital lexicon should be attributed to immoral acts.

Among other deviations from the stylistic norms of the literary language, the most noticeable is the use of various kinds of jargon. The reason for the appearance of defective statements can be not only the inclusion of stylistically reduced elements in speech, i.e. jargon and vernacular, but also erroneous, often completely unnecessary and generated only by “neurosis of originality”, the desire to “speak beautifully”, the use of “high” - bookish and poetic - vocabulary or “fashionable” foreign words.

Conciseness and tact of Putin

style political leader conciseness

Why did Putin succeed in what Yeltsin did not? After all, Boris Nikolayevich, without any doubt, is a gifted person in his own way, endowed with will and determination, but outwardly and much more "textural", much closer to the standard image of a "big politician". And he ruled, most importantly, very colorfully, so to speak, turning every turn of the winding historical plot into a spectacular performance. Here was a man-gesture, almost every appearance in public turned into an element of the show! What was there: a speech from a tank, and a pictorial signing of a decree on the banning of the Communist Party, and the dispersal of the Supreme Council, and an extravagant promise to lie on the rails, and all sorts of "castling".

In a word, Yeltsin worked in a shock, overstressed style of "storm and onslaught", and it is impossible to stay at the height of such pathos for a long time: the actor turned out to be not a titan of the spirit, and the audience's nerves were not iron. In addition, the audience had enough time left to notice: threats to enemies and, in general, everything destructive that Yeltsin planned were carried out, but with the promises of something good, things were different. And then, very soon, the hero’s fatigue began to affect: among the pathos gestures, comical ones appeared, and then completely shameful ones - like conducting an orchestra in Berlin. The heroic performance began to turn into a farce, and the audience got every right to boo the actor who could not stand the given level. AT last years During the presidency of Boris Nikolaevich there was a frank, unartistic disintegration of his heroic style: he endlessly parodied his former self, and this humiliated not only him, but all sound witnesses.

Watching the sad sunset of the patriarch from a close distance, Putin, apparently, understood one very important thing for himself: the political style of a leader in a country that is deadly tired of turmoil and disorder should not be emotionally overloaded. It may be worth starting on a high note, if only in order to be noticed at all (hence the famous “wet in the toilet” against Chechen fighters and the boyish flight in a fighter jet), but the basis of political behavior should be everyday methodicalness without any extravagance , so bored in the performance of Yeltsin. The people should constantly see their president in their right mind and memory - in the office, on trips, on vacation - but, seeing a familiar face on the screen, they should not tense up in anticipation of some next "castling" or an absurd thunderous phrase, the meaning of which is not even a super-professional press secretary can then explain. And in general - less theatrical pathos, props, heroic gestures, familiarity and other political bad taste.

However, so that methodicalness does not turn into monotony and does not lull observers, the even fabric of everyday life must be constantly, in a certain given rhythm, stitched through with restrained, but still effective gestures: words or deeds that no one expects.

It is true that in the first months of his rule, Putin scored a lot of points by contrasting his political style with Yeltsin's. But, it is also true that rather quickly he learned to work in contrast with himself. In any case, with the image of oneself, which at this particular moment is accepted by the media and their consumers as a certain standard. Here, for example, the usually dry, pedantic, concrete Putin answers a journalist's question at some economic forum about how he sees Russia in ten years. Instead of generalized optimistic forecasts, guesses and figures, which could be expected in the context of the conversation, he utters a single phrase that radically changes the entire style and inner meaning of the press conference.

He says: "We will be happy," and the amazed listeners laugh gratefully - without mockery, feeling some kind of psychological release.

This, of course, is a trifle, but much more serious gestures were made by Putin according to the same scenario: at least an unexpected call to President Bush on September 11 last year, which immediately changed the entire context of world politics. And the latest event of the same kind was the announcement by Putin of his plan for integration with Belarus: in his usual manner, in a calmly even voice, he uttered a text of truly revolutionary content, radically changing the usual situation of a long debate about a premature union, while completely knocking out of the saddle, the Belarusian president, who did not expect such a turn in the case. Circles from this small storm will diverge for a long time throughout the political space of both Russia and Belarus.

It seems that favorite word Putin - a plan, and in a special sense of the word. In most cases, he does not mean the step-by-step implementation of some actions in time, with specified deadlines and planned results (although this is true: we not only say, but also do exactly what we promise). With Putin, it is rather about the rules, the exact observance of which (without any connection with time) implies a positive result. In most of his statements and assessments, Putin emphasizes that they are not related to a specific case, but are of constant importance (this applies not only to regular statements that the actions and projects of the acting are not related to the presidential elections, but are oriented towards a perspective beyond depending on who turns out about). People who are rigidly guided by the rules, often, regardless of reality, are a special mental type, and there are many reasons to believe that Putin belongs to him. For example, the manner of conducting a conversation (dispute). First, Putin is inclined to correct "spelling errors" - inaccuracies in the wording of the interlocutor, to translate his statements into his own correct language (the second favorite word is intelligible). Secondly, he does not even mimic the point of view of the interlocutor, is not inclined to change the rhythm of the conversation, retreat and attack, tactically sidestep and return to the main topic, play with the interlocutor - conversations with Putin are smooth, consistent and linear with punctual clarification of roughness. His statements, with a rare (and therefore especially noticeable) exception, are boring and devoid of color. There is little personal in them, since the rules are, by definition, impersonal. Putin's penchant for public speaking does not seem to have manifested yet. At least, he is still annoyed by the need to repeat the same thing in different audiences and different correspondents. This in no way prevents him from making lengthy statements, but once - as is customary in the bureaucratic environment, where an instruction is followed by execution, and a repeated instruction implies dissatisfaction with a subordinate. Correlating with these is the love of emphasizing the connection of one's instructions with their substantive results. On the other hand, accentuated irritation indicates a weak adaptability, a lack of flexibility and a lack of ability to adapt to new people and circumstances. In the end, he, regardless of the interlocutor, begins to ask himself questions and answer them himself.

Besides, Putin is a secretive person. A lover of hints - hints himself and knows how to read the hints of others. For example, the change in foreign policy orientation from America to Europe was presented in a speech in one word. Such are Putin's jokes. If Lebed, according to Zhvanetsky, thinks in obscene language, which he translates into Russian, Putin, most likely, thinks in jokes and jokes (including cinema and fiction), which he translates into bureaucratic. Putin's strong quality is a good memory, especially a visual one. According to some stories, it can be assumed that it approaches eidetic. Sometimes he even flaunts it. Putin has always - both at school (from the 6th grade) and at the institute - been an excellent student. An excess of memory could lead to the development of quotation inner speech - for all occasions, Putin has quotes from books and films, which he sometimes voices, sometimes, grinning, says to himself. However, a precedent type of thinking usually correlates with a tendency to quote (and there is nothing funny about the fact that, having successfully inventoried foreign property in St. Petersburg, he is going to conduct an inventory on a national scale); in any case, Putin's logical thinking often suffers. Vladimir Vladimirovich, despite his status and prudence, also makes unexpected statements. Here are some of them:

"We have a country of great opportunities not only for criminals, but also for the state. ("Itogi", 1999, No. 50)

"The way the election campaign went, saved me from the main need - the need to mislead the masses of the population." (Aif, 2000, No. 14)

The President spoke particularly harshly towards Western journalists at the Russia-EU summit after their question about Chechen terrorists and "wrong" behavior Russian troops in this region. "They talk about the need to kill "infidels". If you are a Christian, you are in danger. If you reject religion and become an atheist, you are also in danger. If you decide to become a Muslim, even this will not save you, because traditional Islam does not answer them If you want to become a real radical Islamist and are ready to be circumcised, then I invite you to Moscow.

We have many different religions. We have experts in this area. I will recommend to them that they perform the operation so that nothing else grows in you."

Ambiguity and Flexibility of Chernomyrdin

Viktor Chernomyrdin was born on April 9, 1938 in the village of Cherny Ostrog, Saraktash District, Orenburg Region. In 1957 he came as a mechanic to the Orsk oil refinery, served in the army, continued to work. In 1966 he graduated from the Kuibyshev Polytechnic Institute. He headed the Orenburg gas processing plant, "Gdavtyumengazprom", since 1985 - Minister of the Oil and Gas Industry of the USSR. In 1989-1992 -- Chairman of the Board of the State Gas Concern "Gazprom". December 14, 1992 approved as Prime Minister of the Russian Federation. In April 1995, he organized and led the Our Home is Russia movement. On August 10, 1996, he was reapproved as Prime Minister of the Russian Federation. In 1999-2000 -- Chairman of the Board of Directors of OAO Gazprom. On December 19, 1999, he was elected to the State Duma. On May 21, 2001, by the decree of Vladimir Putin, he was appointed Ambassador Extraordinary and Plenipotentiary of the Russian Federation to Ukraine with the status of a special representative of the President of the Russian Federation for the development of trade and economic relations between the countries. His five-year record as prime minister has remained unbroken in all post-Soviet states. And although journalists continue to be ironic about the stylistic features of Chernomyrlin's speech, political scientists are seriously interested in his phenomenon: a "red director" who has mastered world macroeconomics and is able to speak frankly and harshly with his cabinet, in negotiations - softly diplomatically, with the population - jokingly in his own way, became a role model for many aspiring to power. Welcoming the arrival of Viktor Chernomyrdin in Kyiv and considering this as an important step towards strengthening Ukrainian-Russian relations, the Yabluko party highly appreciated Viktor Stepanovich's intention to learn the Ukrainian language. He made the corresponding statement at the Boryspil airport, answering a question from Vedomosti. The Yabluko party offered Chernomyrdin the services of a highly qualified teacher of Ukrainian language and literature, a member of their party, Galina Mikhailovna Sagach, doctor of pedagogical sciences, professor at the Kyiv National University, founder of the school of Ukrainian eloquence. It is curious that a few hours ago, flying out of the Moscow airport, Chernomyrdin made the exact opposite statement, arguing that there was no need to study the Ukrainian language. Such contradictory statements could have cost dearly to any other politician, but not to the "unsinkable" Chernomyrdin. As can be seen, Chernomyrdin's statements are characterized not only by openness, alternating with some obscene language, but also by inconsistency. Moreover, the nature of obscene language in Chernomyrdin's statements is often ambiguous, which can be easily seen by referring to his sayings.

"It is necessary to help the government, and we will deal with it, deal with it, deal with everything ... Moreover, we strive not only for deals, but also somewhere else" (1999);

Put you at least on the priest or in another position - it's still no use.

Forever we have in Russia is not what you need.

"Here, by the way, many have it. Well, let it lie. Here you have it? Well, then you don't need it, well, if there is no need to use it" (1998); "Russia should eventually become a European member" (1997);

"Who's itchy hands? Who's itchy, scratch somewhere else";

"Beautiful women I only have time to notice. And nothing more" (1996); "They didn't do this, they didn't satisfy this one, they didn't satisfy that one";

It should be noted that the numerous statements of the former prime minister and the current diplomat do not occur subconsciously, as is often the case. Viktor Stepanovich knows the feeling of what was said is inappropriate and the responsibility for it.

The deputies all spoke out for me to go. Elected, to be exact. I love power and I want power,” Chernomyrdin said in an interview. And he deciphered it: “I like to work, I know how to manage. Especially the ones I know." And yet, of course, Chernomyrdin is a trendsetter in the art of creating aphorisms and puns throughout the near abroad, which even led to the appearance of a hit parade of his sayings: "I would not link these issues so perpendicularly" (about the impact of business on politics , 1998); “Today they won’t like one, tomorrow another ... They either have black, then they have curly hair, then they have red, then they have gray ... Well, what kind of approach is this? "Two Jews fought. The whole country will watch this farce" (about the battle between two oligarchs B. Berezovsky and Yu. Gusinsky in the summer of 1999); "I can see it in your eyes: you're sick..." (1998); I am ready to invite everyone, everyone - whites, reds, and motleys to the Cabinet. If only they had ideas. But they only show their tongue and something else. People have a lot of money in stockings or socks. I don't know where - depends on the quantity. Here is Mikhail Mikhailovich - the new Minister of Finance. Please love and even love very much. Mikhail Mikhailovich is ready for love. We hope that we will not have constipation at the border.

"Economy" Luzhkov

Luzhkov Yuri Mikhailovich, 66 years old, Russian, was born in Moscow, in a working-class family; graduated from the Gubkin Moscow Institute of Oil and Gas and Chemical Industry, worked at the Research Institute of Plastics, various enterprises and organizations of the USSR Ministry of Chemical Industry, first deputy chairman, chairman of the Moscow City Executive Committee, vice mayor, prime minister of the Moscow government, and since 1992 - Moscow mayor; co-chairman of the supreme council of the United Russia party; married by a second marriage, two sons from the first marriage, two daughters from the second; preferences in art: A. Pushkin, S. Yesenin, P. Tchaikovsky, Z. Tsereteli, I. Kobzon, A. Pugacheva, O. Gazmanov and others; leisure: beekeeping, literary creativity, invention, football, fishing, winter swimming; habits: 30 years without drinking or smoking; favorite dish: millet porridge with milk; favorite sayings: “First you need to choose a goal, then a trajectory of movement to the goal and, finally, the speed of movement along the trajectory”, “If you did the work quickly, but badly, they will forget that it was fast, they will remember that it is bad.” Few people are more visible than he is. It seems that his whole busy life is public - from regular detours of the capital entrusted to him to honey collection in his personal apiary. He does not leave television screens and newspaper pages, publishes one book after another, and has already become the hero of a feature film.

But behind all this, oddly enough, it is not so easy to see a person. Here is the business executive he likes to introduce himself. Here is a politician as society perceives him. Here is a showman, an inventor, even a philosopher... And where is the man? With a difficult fate, character, losses, victories and suffering ... This is also Luzhkov, unexpected for many. Yuri Luzhkov is a tireless innovator.

First he improved the bee hive, then the internal combustion engine, then he set to work on large social mechanisms. In communication, Luzhkov is juicy, charming, for a short time - a good storyteller. Listens well to others. The motive dominating in his communication with new people is "love me like a monster". He begins communication tensely, a little gloomily, but when he feels that he is accepted, relaxes, thaws, it seems that the prince is emerging from a frog skin: from springy, slightly wrinkled, he becomes calm and smoothed, even the bow becomes flexible and funny jokes slip through. He becomes more elegant, graceful, seems taller, blooms with a charming smile, moves easier and feels the situation more accurately.

The car and important things are some kind of wrapper, a skin in which he needs to be. And if in the car he manages to keep silent and stay away from society, then the rest of the time he is in the “dense ring” of society, where a figure of such a high rank cannot do without statements and sayings. The permanent mayor of Moscow, the capital of the Russian Federation and one of largest metropolitan areas of the world sought the glory of a solid business executive capable of simultaneously solving many problems in various spheres of the social development of the capital.

However, such "thriftiness" is not always traced in his public statements. His stylistic features are as diverse as his social activities. They can relate to both his personal attributes (the famous cap, for example), and the activities of the president himself.

"Not noticing Fatherland is not noticing the beam in one's own eye." "The politician, I am convinced, until the very last days does not believe that people do not like him." "The cap protects some of the exposed parts of my body." "Yes, in addition to two cows, I also have a pig! And the President uses my milk, and it pleases me." "I don't want to cheat on my wife, or the President, or Muscovites." I think we should tell the truth, or at least say what we think. ... Mayors, peers ... and I just, as a cultured person, can't go on. Cabbage was a very, very difficult position for us in the spring. (about vegetables) ... And then every third-rate clerk of the Russian government strives to get the status of "blue". (about flashing lights on cars).

Unlike other political figures, Luzhkov's popularity among the people is characterized primarily by his economic activity, its positive results and, least of all, the stylistic features of his speech. Therefore, such puns are easily forgiven to him by the people, or rather, they are rarely noticed. However, in the case of Luzhkov's closer contact with politics, moreover, on an international scale, such forgiveness does not take place. It is well known that Luzhkov is also known for his frequent trips abroad to discuss very pressing problems with the national leaders of individual countries, and such participation is very negatively responded by the reaction of those countries whose interests are affected. In 2001, the Ukrainian Foreign Ministry demanded clarification from Moscow about another statement by Luzhkov that "Crimea is Russian land." Yuri Mikhailovich has been active on the peninsula for a long time and, having once again visited the coveted land, he could not restrain himself, saying that "Crimea has always been Russian and has never belonged to Ukraine."

The indignation of the official representative of the Ministry of Foreign Affairs of Ukraine, Sergei Borodenkov, who called Luzhkov's statements "damaging the climate of cooperation and trust that has recently been established in relations between Ukraine and Russia," is quite understandable. “Another attempt by the Mayor of Moscow to question the territorial integrity of Ukraine and the legitimacy of the existing border between two sovereign states - members of the UN and the OSCE is contrary to international legal principles,” he added, also ironically pointing out to the Mayor of Moscow his poor familiarity with modern historical geography.

Conclusion

The linguistic expressiveness of statements is created not only due to the expressive-stylistic and evaluative-stylistic components of meaning, but also due to the fact that words and their combinations can acquire figurative meanings, i.e. become tropes, or be part of stylistic figures that provoke the creation of figurative meaning. This emergence of figurative meaning is a very negative factor in the relationship between the people and politicians. Since not only the incorrect statement itself, but also the train of thought can discredit a politician in the eyes of society.

The stylistic features of politicians should be considered as a link between the people and politicians, as they are the very first and permanent, and most importantly effective measures of influence on the formation of the electorate's trust in the elected person, that is, a certain politician. But even if the trust of the electorate cannot play an effective role in relation to a politician, then his stylistic omissions can be marked by a structure or a controlled apparatus. In a word, the correct stylistic feature of a politician acts as a guarantor of his longevity in the political arena and, most importantly, as the basis for the formation of an effective image.

List of used literature

1. Altunyan A.G. "From Bulgarin to Zhirinovsky: An Ideological and Stylistic Analysis of Political Texts". Moscow: Russian State University for the Humanities, 1999.

2. Baranov A.N., Karaulov Yu.N. "Dictionary of Russian political metaphors" RAS. Institute of the Russian language. - M., 1994.

3. Ilyin M.V. “Words and Meanings. Experience in describing key political concepts. M., 1997.

4. Levi-Strauss K. "Structural Anthropology" Per. from fr. V.V. Ivanova. - M.: Publishing House of EX-MO-Press, 2001.

5. Meinhof W. "Discourse / Contexts of modernity-2" Reader. Comp. And ed. S.A. Erofeev. - Kazan: Publishing House of Kazan University, 2001.

6. Nazarov M.M. " mass communication in modern world. Analysis Methodology and Research Practice”. M., 2002.

7. From the first person. Conversations with Vladimir Putin. M., Vagrius, 2000.

8. Alexander Ageev "Sense of Rhythm" Magazine Profile No. 31 (301) dated 08/26/2002

9. V. Konovalov, M. Serdyukov “Yuri Luzhkov: Loneliness does not save me” Izvestia. 01/20/2004

10. "Teachers found Chernomyrdin" Kyiv Vedomosti, No. 116 (2337), 06/01/2001

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Stylistics

Stylistics (the word "style" comes from the name of the needle, or stylet with which the ancient Greeks wrote on waxed tablets) is a branch of the science of language that studies the styles of the literary language (functional styles of speech), the patterns of the functioning of the language in different areas of use, the features of the use of language means depending on the situation, content and goals of the statement, the scope and condition of communication. [Ozhegov S. I. Electronic resource].

Stylistics introduces the stylistic system of the literary language at all its levels and stylistic organization (in compliance with the norms of the literary language), correct, accurate, logical and expressive speech. Stylistics teaches the conscious and expedient use of the laws of language and the use of linguistic means in speech.

There are two directions in linguistic stylistics:

1) the style of the language;

2) style of speech (functional style).

Language stylistics explores the stylistic structure of the language, describes the stylistic means of vocabulary, phraseology and grammar.

Functional style

Functional stylistics studies, first of all, different types of speech, their conditionality by different goals of the utterance. M.N. Kozhina gives the following definition:

“Functional stylistics is a linguistic science that studies the features and patterns of the functioning of the language in various types of speech corresponding to certain areas human activity and communication, as well as the speech structure of the emerging functional styles and the “norms” of selection and combination of language means in them” [Kozhina M.N. Electronic resource].

At its core, style should be consistently functional. It should reveal the connection of different types of speech with the subject, the purpose of the statement, with the conditions of communication, the addressee of the speech, the attitude of the author to the subject of the speech.

Functional stylistics (linguistic stylistics) studies the elements of language in terms of their ability to express and evoke emotions, additional associations and evaluation.

Linguistics is also divided into levels:

1) lexical;

2) grammar;

3) phonetic style.

In this scientific work it is important to trace what effect the presence or absence of the article in sentences has and how the meaning and expressive coloring change from this. Therefore, we should stop at the lexical level.

Lexical style

Lexical stylistics studies the stylistic functions of vocabulary and considers the interaction of direct and figurative meanings. Lexical stylistics studies the different components of the contextual meanings of words, their expressive, emotional and evaluative potential and their relation to different functional and stylistic layers, i.e. the language is studied from the point of view of interaction with different contextual conditions. To determine what kind of expressive coloring this or that way of using parts of speech gives, there are some means, and one of them is the stylistic function.

The stylistic function is the role that language tool plays in the transmission of expressive information:

Creation of artistic expressiveness;

Creation of pathos;

Creating a comic effect;

Hyperbola;

May be descriptive;

To create a speech characteristic of the hero.

And the main thing to remember is that the stylistic function belongs to the text, and studies the features within it, while the functional-stylistic coloring belongs to the language.

Conclusions on chapter 2

In the daily bustle, a person is faced with various situations in which he must be able to correctly put his speech and choose the style of communication. For comfortable communication in society, anyone needs basic knowledge of style.

Like any branch of the science of language, stylistics has a kind of classification, which is divided into stylistics of language and stylistics of speech.

In this work, we focus on functional stylistics, as it studies the elements of language that help to betray our speech. emotional coloring and make communication more expressive.

Oral public speech is a functional variety of the literary language, related to the sphere of book speech. Its texts are consolidated, combined into a special functional variety, due, on the one hand, to the fact that group communication finds its verbal embodiment in them, which involves verbal communication within unstable social groups. In such groups, native speakers are united by some occupation, common work, transient interests, circumstances.

On the other hand, all the texts of this functional variety are oral. In UPR, the same tasks and goals of social communication are implemented that are inherent in written styles - journalistic, scientific, official business. Accordingly, within the framework of the UPR, fragments are distinguished: political eloquence; academic eloquence; administrative and legal eloquence.

Obviously, these fragments of the UPR are correlated with journalistic, scientific, official business styles:

* according to the main functional parameters - the tasks and goals of social communication;
* according to the main linguo-stylistic categories and phenomena, principles and methods of combining, combining, using speech means, specific to the speech structure of each of the "written" styles.

Meanwhile, UPR is considered as an independent functional and stylistic formation, since, on the one hand, speech communication is carried out in its texts in the conditions of group communication. They are not read, but pronounced, finally created in the process of pronunciation.

Syntax of oral public speech

Simple sentences, as the study of the UNR syntax shows, make up 41.6% of the total representation of syntactic structures in oral scientific speech. Simple sentences are characterized by the actual use of the verb tense. If in written scientific speech the forms of the 2nd person and the pronoun you are practically not used, you as the most specific, a very small percentage of the forms of the 1st person singular, the forms of the 3rd person and the pronouns he, she, it are mainly used as the most abstract in meaning, then in the UNR all these forms (with the exception of the forms of the 2nd person singular and the pronoun you) are actively used. Forms of the 1st person in the position of the subject make up 53%.

SSP. Among the sentences of an open structure (that is, those that allow the connection of more than two predicative units), sentences with a closing conjunction and or a predominate.

Among the SSP of a closed structure in the UNR, the attention is drawn to the compositional-distributive sentences with the union and. The second part of such sentences serves to disseminate the content of the first.

SPP. In the UNR, sentences with attributive and explanatory clauses are most widely used. These two types of clauses make up 73.69% of all clauses.

In the UNR, there is a tendency to redundancy of speech in a complex sentence, which manifests itself in the repetition in the main and subordinate clauses of the subject expressed by the pronoun. Duplication of the same word is also observed in both parts of the SSP.

The dismemberment of syntactic constructions is associated with the desire to “feed” an irreversible oral speech stream in “portions” in order to facilitate both its formation and, most importantly, perception.

Along with intonational division, statements resort to some lexical means, for example to the particle here.

The desire to facilitate the perception of the phrase, the text as a whole explains the limitations in the UPR of constructions with verbal nouns, which cannot be dispensed with in the UPR, and in the texts of administrative-legal eloquence, and often in political speech.

The UNR is characterized by a general tendency to reduce the volume of syntactic constructions in comparison with written speech.

Vocabulary of oral public speech

The UPR presents the main composition of lexical units and compound names (primarily terminological and nomenclature), relevant for the corresponding "written" styles.

Unlike written scientific and official business texts, the texts of the UPR (within the framework of oral scientific speech and especially political speech) widely involve emotionally colored lexical and phraseological units from both book and colloquial speech.

The use in UPR, including in oral scientific speech, of stylistically reduced, colloquial and at the same time bookish expressively colored lexico-phraseological units is explained by the factor of addressing the speaker's speech (he addresses a specific audience) and the function of influence, i.e. the desire of the speaker to give his speech maximum intelligibility to the audience and persuasiveness.

Among the expressive means used in oral texts, including the texts of the UNR, expressing an emotional-subjective assessment, there are lexical and phraseological units expressing a positive and negative assessment.

These lexical units can equally belong to both book and colloquial speech.

The texts of the UNR also practice the metaphorical use of words.

The presence of speech metaphors and phraseological units, arising from the tendencies of oral communication towards a freer way of expression, sharply distinguishes the UNR from its book and written counterparts.

This use of words and metaphor in general is extremely relevant in the sphere of political eloquence.

cold war parade of sovereignties

So, the oral form determines the main functional and stylistic characteristics of the UPR, the features of the use of speech means in its texts, clearly correlated with the speech structure of "written" styles.