Stylistic use of various types of simple sentences. Generalized personal sentences

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The study of the stylistic use of various types of sentences highlights the functional-stylistic aspect. For a stylistic assessment of a particular type of sentence, it is important to determine its usage in different styles of speech. Functional styles are characterized by the selectivity of the use of simple and complex, one-part and two-part sentences. For example, for the scientific style, the predominance of two-part personal sentences is indicative (their frequency is 88.3% of the number of all simple sentences), generalized and indefinitely personal (5.7%) prevail among single-part sentences, impersonal ones are used less often (4.8%) and as an exception there are infinitive and nominative, together they make up 1%. Such selectivity in the use of various sentences reflects the specificity of the scientific style: its accuracy, emphasized logic, abstract generalized character.

In the stylistic analysis of different types of sentences, it is also important to show their expressive possibilities, on which the appeal to a particular construction in a certain speech situation depends. Russian syntax provides many options for expressing the same thought. For example, with an appropriate intonation, the stylistic device of a tautological combination gives the statement a teacher must teach a certain expressiveness. However, it can be strengthened by choosing more emotional syntactic constructions:

1. The duty of a teacher is to teach ...

2. The teacher must be u-chi-te-lem.

3. The teacher must teach.

4. You are a teacher - and be a teacher.

5. You are a teacher - you teach!

6. What should a teacher do, how not to teach!

7. Who should teach if not a teacher?!

All of them express subjective-modal meanings, i.e. all those meanings in which the attitude of the speaker to what he reports is concluded. The degree of their intensity from the first sentence to the next increases, which affects their use in speech. Examples 1 - 3 can be used in book styles (the 1st tends to be official business), in the 2nd and 3rd book coloring consistently decreases. In the 4th - 7th sentences, a vivid expression stands out, giving them an emphatically colloquial and colloquial character. So subjective-modal meanings complement the functional-stylistic aspect in the stylistic assessment of the types of sentences. Based on this, let's move on to the analysis of specific syntactic units.

The Russian language is characterized by the synonymy of one-part and two-part sentences. We will show this on experimental examples of two-part sentences correlative with one-part sentences.

One-part sentences Two-part sentences

1. I know that in the evening you will go beyond the ring of roads, we will sit in fresh shocks - I know you will go out ...

2. What's new in the newspapers? (Shol.) - What's new in newspapers?

3. I lived joyfully, like a child - you wake up in the morning and sing (Ch.). - ... I used to wake up in the morning and sing ...

4. I decided to pick this burdock (L.T.) - I decided to pick this burdock.

5. All I see is Pavlovsk hilly (Ahm.) - All I see is Pavlovsk hilly.

6. I can't live without Russia (Pr.). - I can't live without Russia.

7. This blue notebook with my children's poems (Es.) - Here in front of me lies this blue notebook with my children's poems (Ahm.).

8. I can’t sleep, nanny ... (P.). - I can not sleep.

Often, different types of one-component sentences are also synonymized, for example, definitely-personal - impersonal: Breathe the last freedom (Ahm.). - We must breathe the last freedom; Don't torture me anymore (Ahm.). - No need to torment me anymore; indefinitely personal - impersonal: Relatives are told the truth. - Relatives decided to tell the truth; generalized-personal - impersonal: Speak, but do not talk too much (last). - You can talk, but you don’t need to talk; You will go wild in such a life (M. G.). - You can go wild in such a life; ... Purposely climbs under the wheels, and you answer for him (Vost.). - ... And you have to answer for him; nominative - impersonal: Silence. - Quiet; Chills, fever. - Chills, feverish; infinitive - impersonal: Do not catch up with you crazy three (N.). - It is impossible to catch up with you crazy three. The richness of variants creates ample opportunities for stylistic selection of syntactic constructions. Moreover, syntactic synonyms (as it was easy to see from our examples) are far from equivalent in stylistic terms. Let's consider one-component sentences.

Definitely personal sentences in comparison with two-part sentences give speech conciseness, dynamism; it is no coincidence that this type of one-component sentences is appreciated by poets: I love you, Peter's creation! (P.); Like him [Byron], I seek peace in vain, we drive everywhere with one thought. I look back - the past is terrible, I look forward - there is no soul there! (L.); Everywhere I recognize my dear Russia (N.); I stand alone in the middle of a naked valley (Ec.).

Definitely personal proposals give expression to newspaper headlines: "Do not believe your eyes" (about advertising); “Hello, kind person” (about old-timers); “We expect a big effect” (on the development of business contacts).

Definitely personal sentences with a predicate expressed in the form of the 1st person plural are also used in a scientific style: Let's draw a straight line and mark a point on it; Let's describe the arc; Let us denote the points of intersection of the lines; calculate the mean square error. In such sentences, attention is focused on the action regardless of its producer; this brings them closer to indefinitely personal sentences. The personal form of the predicate activates the reader's perception: the author, as it were, involves the reader in solving the problem, attaches him to the reasoning in the proof of the theorem; cf. impersonal constructions: if you draw a straight line...

Linguists have repeatedly noted the advantage of definite-personal one-part sentences over synonymous two-part sentences: the indication of a person in the latter gives speech only a calmer tone, makes it “more lethargic, diluted”, in the words of A.M. Peshkovsky. However, in such cases, not one-part sentences of this type are still used, but two-part sentences with a subject, expressed pronoun. Appeal to them is dictated by stylistic considerations. First, we use two-part sentences if it is necessary to emphasize the meaning of the 1st or 2nd person as the carrier of the action: You live in a huge house; Well, in the midst of grief and trouble, I spend my days on straw (P.); And this one you say!; We will listen, and you try to convince us. In such cases, subject pronouns are emphasized in oral speech. Secondly, two-part sentences are used when expressing motivation with a touch of exhortation: You are not in a hurry, I will wait; Yes, don't worry! At the same time, word order has stylistic significance: in such constructions, the subject-pronoun precedes the predicate. With a different sequence and appropriate intonation, two-part (incentive sentences with the subject-pronoun of the 2nd person (often singular) express disdain, sound harsh, rude: Shut up!; Get away from me!; Wait a minute!

Indefinitely personal sentences do not have special expressive qualities that would distinguish them from other one-component sentences. The main area of use of indefinite personal constructions is colloquial speech: Knock!; Sell strawberries; They say, they say ... - Well, let them talk!, From where they easily turn into artistic speech, giving it lively intonations: ... And they sweep and clean the room ... (Gr.); Goes. They bring him a horse (P.); Here they are dragging people by the legs and calling loudly for doctors (L.). Such one-part sentences are stylistically neutral and can be used in any style. For example, here are sentences from a popular science book: Milk is called "light food"; We produce especially a lot of sour-milk drinks, from the monograph: Iron is obtained by reducing it from oxides, which are part of iron ores; Carbon monoxide is used as a reducing agent; from the newspaper: The Rhine has been poisoned with industrial waste more than once. But such a blow to the river has not yet been dealt. These examples convincingly show that there are no functional and style restrictions for indefinitely personal sentences.

Indefinitely personal sentences are stylistically interesting in that they emphasize the action: The defendants were taken out somewhere and just brought back (L.T.); Now they will come for you (Sim.); Pancakes, of course, will not be met ... They will be pulled up again ... They burn and hang the people (Bub.). The use of such sentences allows you to focus on the verb-predicate, while the subject of the action is relegated to the background, regardless of whether he is known to the speaker or not. Particularly expressive in the semantic-stylistic sense are such indefinite-personal sentences in which the bearer of the action is presented as an indefinite person: - And tomorrow they invite me to the cinema. - Who is it? asked the mother. - Yes, Victor, - answered Lusha (Lid.).

The emphasized verbality of indefinitely personal sentences gives them dynamism, creates favorable conditions for use in a journalistic style: They report from Kiev ...; From Damascus they transmit ... The use of vaguely personal sentences as headlines of newspaper materials is especially effective: “Cashing in on duty-free importation of cigarettes”; “Backing Back” (about international politics); "The undesirables are removed"; "Where money is laundered."

In the scientific style, the use of indefinite personal sentences is dictated by the author's desire to pay attention to the nature of the action, for example, when describing experiments: The mixture is shaken and heated. Then they add to the vessel ... The resulting mass is cooled.

In a formal business style, vaguely personal sentences are used along with impersonal ones: We don't smoke. - Smoking is prohibited; as well as with infinitives: Do not smoke!; Silence is requested. - Keep quiet! When comparing such constructions, it is obvious that indefinitely personal sentences represent a more polite form of prohibition, therefore, under certain conditions, they turn out to be preferable for ethical reasons.

In certain genres of official business speech, vaguely personal sentences are firmly entrenched, expressing motivation in a softened, emphatically polite form, for example, in announcements (especially when they are broadcast on the radio): Comrade Petrov is asked to go to the information desk; Passengers are invited to board.

Generalized-personal sentences stand out from all one-component personal sentences with their expression: You can’t command the heart; Naked sheep are not sheared; What we have, we do not store, having lost, we cry. The most characteristic form of the predicate for these sentences - the form of the 2nd person singular, which receives a generalized meaning - is also the most expressive: What you follow, you will find; Hurry - make people laugh; While there is life there is hope. The aphorism and brightness of such statements puts them in a number of highly artistic miniature works of Russian folklore.

The verb-predicate of the 1st and 3rd person in generalized personal sentences indicates an action that can apply to any person: In someone else's eye - we see a twig, but in our own we don’t notice a log; For one beaten they give two unbeaten.

Lines from works of art in which writers resort to generalized personal sentences acquire a folk-poetic shade: You look and you don’t know whether his majestic width is coming or not (G.); Do you look into yourself? - there is not even a trace of the past ... (L.) The expressiveness of such constructions is partly achieved by the figurative use of face forms: the 2-person of the verb indicates the speaker himself. In other cases, the effectiveness of speech is enhanced by the use of the form of the past tense: Eh, it used to be that you would break your hat and put your horse in the shafts ... (Ec.)

The bright expressiveness of such constructions limits their functioning. In addition to colloquial and artistic speech, a journalistic style is open to them. In critical articles, journalism, generalized-personal sentences give greater objectivity to judgments: On what scales will you weigh, measure, for example, this little poem ...; Write what you think (from the gas.).

The least expressive among generalized personal sentences are constructions with a predicate in the form of the 3rd person plural: It's raining. Two sons sleep in the dacha, as soon as they sleep in early childhood (Past.). In structure and semantics, such sentences are close to indefinitely personal, but, unlike them, they indicate an action that can belong to anyone (everyone sleeps, everyone sleeps like that in childhood). This block diagram of one-part sentences also finds application in the scientific style.

Impersonal sentences are distinguished by a special variety of constructions and their stylistic application in speech. Among them there are those that are typical for colloquial speech: I want to eat; Hurt!; Can't sleep; Freezes; Not a soul; No money; Time to go home; It is a shame to say, and those that are distinguished by clerical coloring: It is forbidden without the consent of the adoptive parents ... to issue extracts from the books of registration of acts of civil status; The preservation of legal relations with one of the parents ... must be indicated in the adoption decision. There are lyrical in emotional coloring, constructions beloved by poets: Both boring and sad, and there is no one to give a hand (L.); Everything is remembered, and it seems, and it seems that the autumn of past years was not so sad (Bl.); It is easy to wake up and see clearly, shake out the verbal rubbish from the heart and live without being clogged in the future (Past.); It was bequeathed to me to be your joyful sister (Ahm.), and there are sentences used in journalistic speech intended for ordinary information: Builders have to build a luge-bobsleigh complex; The answer should be sought by all interested organizations. True, journalists draw from the composition of impersonal constructions and emotional ones that are necessary to enhance the effectiveness of speech: The fans of the champion greeted standing, and there was no end to the enthusiasm; It would be necessary to look for a replacement for him [the athlete], but there are no worthy candidates in the national team; It is beyond his strength to fight on equal terms; It's always nice to win, but wouldn't it be wiser to take a break from today and look a little further?

Separate groups of impersonal sentences are constantly used in a scientific style: It is known that ...; We have to admit that...; The experiment should begin with the infusion of the least concentrated solution and move on to more concentrated ones; For one experiment, it is recommended to use no more than 7-10 irritations with acid. The impersonal principle of presentation that distinguishes this functional style determines the relatively frequent use of impersonal sentences with predicates expressing various shades of obligation, necessity: When establishing the initial functional state of the organism, one should pay attention to objective physiological data; Such ambiguity is encountered in all direct methods for solving structures. It is also possible to use here impersonal predicative words as predicates: You can notice the following pattern...; One sample is not enough to characterize the pegmalite field.

In the stylistic assessment of impersonal sentences, it is important to take into account, on the one hand, the possibility of replacing them with other constructions, which creates competition for these synonyms, and, on the other hand, the complete absence of such a possibility, which removes the problem of stylistic choice.

Let's explain this idea. It is impossible to offer any replacements for impersonal sentences of this type: And Tatyana (P.) suddenly became scared; Ah, it really dawned (Gr.); He was pleased with this thought (M. G.); Not a cloud in the sky (Ch.); Leg breaks; Lucky people!; There are no letters. Other impersonal sentences can be easily transformed into two-part or one-part indefinitely or definitely personal sentences; cf .: Today it is melting. - Snow melts; The tracks were covered with snow. - Traces covered with snow; Sweeps. - Blizzard sweeps; Want to eat. - I want to eat; Where were you? - Where have you been?; You should give way to the elders. - Give way to elders; It is supposed to take medicine. - Take medicine; Tushin's battery was forgotten. - They forgot about the Tushin battery; It was decided to launch the attack at dawn. - They decided to start the attack at dawn; I was not there. - I was not there.

With the possibility of a dual expression of thought, it should be taken into account that “personal constructions contain an element of activity, manifestation of the will of the actor, confidence in the performance of an action, while impersonal turns have a shade of passivity, inertia”. In addition, in certain types of impersonal sentences, functional and stylistic coloring is noticeable, although sometimes weak. So, emphatically colloquial sentences: Where were you?; Lucky people!; There is not a soul in the house. The book coloring is as follows: You should give in ...; It is supposed to accept ...; Decided to start...

Infinitive sentences provide significant opportunities for emotional and aphoristic expression of thought: What will be, will not be avoided (last); Whom to love, whom to trust? (L.); Keep it up!; Do not escape fate; Be a bull on a string! Therefore, they are used in proverbs, in artistic speech, this construction is acceptable even for slogans: Work without marriage! However, the main area of their functioning is the conversational style: I would like to say this right away!; Shouldn't we return? No coast to be seen. The last construction (common by the addition with the value of the object) has a colloquial coloring.

Artists of the word turn to infinitive sentences as a means of creating a casually conversational coloring of speech: Well, where do you mess with your wife and babysit the kids? (P.)

Expressive coloring prevents the use of infinitive constructions in book styles. In artistic and journalistic speech, these sentences are introduced into dialogues and monologues saturated with emotions: Serve fresh gauntlets! (L. T.); Kill the old witch! - said Pugachev (P.). These designs are appreciated by poets: February. Get ink and cry! Write sobbing about February ... (Past.); Shine always, shine everywhere, until the last days of the bottom, shine - and no nails! (Mayak.) With the appropriate intonational design, infinitive sentences carry a huge expressive charge and stand out with particular tension.

Nominative sentences are essentially created for description: they contain great pictorial abilities. Naming objects, coloring them with definitions, writers draw pictures of nature, the situation, describe the state of the hero, assess the world around them: Confusion, fainting, haste, anger, fear! (Gr.); Cold gold of the moon, the smell of oleander and levkoy ... (Es.); Black wind, white snow (Bl.); Here it is, stupid happiness with white windows to the garden (Ec.). However, such descriptions do not reflect the dynamics of events, since nominative sentences indicate the static existence of an object, even if the nominatives are verbal nouns and with their help a vivid picture is drawn: drumming, cliques, rattle, thunder of cannons, stomping, neighing, moaning ... ( P.) Here, as in a photograph, one moment, one frame is captured, since a linear description of events by nominative sentences is impossible: they fix only the present time. In the context, it can take on the meaning of the present historical, but the grammatical expression of the forms of the past or future tense translates the sentence into a two-part one, cf .: Fight. - There was a fight. - There will be a fight.

The use of nominative sentences in speech is varied. They also perform a purely "technical" function, designating the place and time of action in the plays, calling the scenery of the production: Scenery of the first act. Eight o'clock in the evening. Call (Ch.). But even in dramaturgy, the artistic significance of nominative sentences can increase if the remarks indicate the behavior of the characters, their state of mind: Pause. Laugh. Murmur and hiss (Ch.). In the new genre of dramaturgy - screenplays - nominative sentences have become a strong means of artistic descriptions: The open space of a large airport flooded with sun. A grandiose perspective of aircraft lined up for the parade. Lively groups of military pilots. Chkalov walks at a leisurely pace along the line of planes.

Nominative sentences can also sound with great tension, performing an expressive function with the appropriate intonational design. This applies primarily to evaluative-existential and desirable-existential sentences that stand out as part of the nominative ones: What a night! I can't... (Es.); If only strength!; If not for confidence!

The visually descriptive function of nominative sentences was demonstrated by writers in the last century. Let us recall the famous lines of A. Fet that struck contemporaries: Whispers, timid breathing, the trills of a nightingale, silver and the swaying of a sleepy stream ... - the whole poem consists of some nominatives, which elevates their stylistic application to the principle. It is possible to name the poets of modern times, who had a special propensity for nominative sentences. So, many poems by A. Akhmatova open the nominatives: Transparent glass of empty skies; Twenty first. Night. Monday. The outlines of the capital in the mist; Cast iron fence, pine bed. How sweet that I don't need to be jealous anymore; Here is the shore of the northern sea, here is the border of our troubles and glory ... In B. Pasternak, entire stanzas consist of similar constructions:

Autumn, fairy tale,

All open for viewing.

clearings of forest roads,

Looking into the lakes

Like in an art exhibition:

Halls, halls, halls, halls

Elm, ash, aspen

Unprecedented in gilding.

Linden hoop gold,

Like a crown on a newlywed.

The face of a birch under a veil

Wedding and transparent.

For many poets, the stylistic use of nominative sentences has become an important artistic device.

It is interesting to compare different editions of works, indicating that in the process of auto-editing the poet sometimes refuses two-part sentences, preferring nominative ones, for example, A.T. Tvardovsky:

Draft

To whom is life, to whom is death, to whom is glory.

The crossing began at dawn.

That shore was like a stove, steep,

And, sullen, jagged,

The forest was black high above the water,

The forest is alien, unfinished.

And under us lay the right bank, -

Snow rolled, trampled into the mud,

Level with the edge of the ice.

Crossing

Started at six o'clock.

final edition

Crossing, crossing...

Left bank, right bank,

The snow is rough, the edge of the ice ...

To whom is memory, to whom is glory,

To whom the water is dark, -

No sign, no trace...

As we can see, the nominative sentences create dynamism, grabbing the main strokes from the unfolding panorama, the details of the situation, capable of reflecting the tragedy of events. A more common description, built from two-part sentences, loses when compared, it seems stretched, burdened with insignificant details. Thus, in such cases, nominative sentences are clearly preferable.

Today, nominative sentences also attract the attention of journalists, who see them as a means of concise and figurative descriptions of a generalizing nature:

Taiga, dissected by concrete tracks. Moss and lichen torn off by caterpillars. Rotten black puddles with a film of the most delicate spectrum. Raw flowers of fireweed on the burned areas. The lightest, like balloons, silver tanks. Open turf under the foot and a short bend of the pipe with a trembling pressure gauge, as if the eye of the earth had looked.

Such lengthy descriptions, saturated with nominatives, are typical primarily for essays, but this does not limit the stylistic framework for using this construction. It is addressed by the authors of popular science books.

The stylistic possibilities of Russian syntax are also expanding due to the fact that incomplete sentences with a clear functional-stylistic fixation and bright expressive coloring can successfully compete with the complete sentences considered by us. Their stylistic use in speech is determined by extralinguistic factors and grammatical nature.

Incomplete sentences that form dialogic units are created directly in the process of live communication: - When will you come? - Tomorrow. - Alone or with Victor? - Of course, with Victor. From colloquial speech, they penetrate into artistic and journalistic as a characteristic feature of the dialogue: - What news? the officer asked. - Good! (L. T.); “Beautiful evening,” he began, “so warm! Have you been walking for a long time? - No, recently (T.). Journalists use incomplete sentences most often in interviews: - But, like in any other country, you obviously have problems too. What are they? - The most urgent of them is the turning point in our economy. However, access to contextually incomplete sentences, which are replicas and answers at the moment of a conversation, is very limited in a journalistic style, and almost impossible in other book styles. Here, even with the dialogization of style, full sentences are used, which are characteristic of the syntax of written speech.

Incomplete sentences, which are parts of complex and complex sentences, are used in book styles, and above all in scientific ones: It was believed that geometry studies complex (continuous) quantities, and arithmetic - discrete numbers. Appeal to them is dictated by the desire to avoid repetition of structures of the same type.

Other motives determine the preference for elliptical sentences - they act as a strong means of speech emotionality. The main scope of their application is colloquial speech, but they invariably attract word artists as well. Elliptical constructions give the descriptions a special dynamism: Grigory Alexandrovich squealed no worse than any Chechen, a gun from a case - and there; I follow him ... And sometimes, we decide to tease him, so our eyes will bleed, and now for a dagger (L.); I go to her, and he shoots me with a pistol (Ostr.); Aksinya - to the shop! (M. G.); To the barrier! (Ch.); Back, home, home ... (A. T.) Correlative with such elliptical sentences are complete, having predicates with the meaning of movement, motivation, desire, being, perception, speech, etc., are significantly inferior to them in expression.

For poets, the synonymy of elliptical constructions and full sentences opens up the possibility of choosing a variant convenient for versification:

Winter has passed. I am sick.

I'm back in the corner, among the books.

He seems to be pleased

My doppelgänger.

Yes, I have no leisure

Talk about all sorts of nonsense.

Did we understand each other?

Well, lock the doors.

(A.A. Blok)

The use of the predicate in the highlighted sentences would lengthen the term, which is unacceptable in poetic speech.

Sentences with the omission of words that are not informative in terms of value have become widespread in newspaper language: “To your table”; "Only for women"; "Shop - on the couch"; "Technical teaching aids - in classes"; "Computer technology - in the classroom"; "All power to the government" - these are the typical headlines of newspaper articles. In such incomplete sentences, only the target words of this statement are indicated, everything else is filled in by the text, the speech situation. A variety of ellipses used in titles have now become a syntactic norm in their structure. They formulate an idea in an extremely concise form, have a functional, stylistic and expressive coloring, which stops the reader's attention. However, the fascination with such incomplete sentences is also fraught with danger: ambiguity and aesthetic inferiority may arise in them.

Golub I.B. Stylistics of the Russian language - M., 1997

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ASYNDETON(asyndeton) - intentional omission of unions between homogeneous members of a sentence or parts of a compound sentence.

For instance:
The day is getting dark, the sky is empty,
The hum of the thresher is heard on the threshing floor...
I see, I hear, I am happy. Everything in me(I. A. Bunin);

Russia will rise - all disputes will be judged ...
Russia will rise - the nationalities will be crowded ...
And the West will no longer have
Take a sprout from a worthless culture.(I. Severyanin)

There was typhus, and ice, and hunger, and blockade.
It was all over: cartridges, coal, bread.
Mad city turned into a crypt
Where the cannonade resounded(Sheng.).

As noted by D.E. Rosenthal, The absence of unions gives the statement swiftness, richness of impressions.».

Let's remember Pushkin's lines:
Flickering past the booth, women,
Boys, benches, lanterns,
Palaces, gardens, monasteries,
Bukharians, sleighs, vegetable gardens,
Merchants, shacks, men,
Boulevards, towers, Cossacks,
Pharmacies, fashion stores,
Balconies, lions on the gates
And flocks of jackdaws on crosses.(A. S. Pushkin)

This excerpt from Eugene Onegin» draws a quick change of pictures, objects truly flicker! But the possibilities of non-union and multi-alliance are diverse, these techniques were used by the poet, describing the dynamics of the Poltava battle:

Swede, Russian - stabs, cuts, cuts,
Drum beat, clicks, rattle,
The thunder of cannons, the clatter, the neighing, the groan,
And death, and hell from all sides.(A. S. Pushkin)

Asyndeton as a stylistic device used to enhance the figurativeness of speech, as well as in order to strengthen the semantic opposition of the components of the statement and increase the expressiveness of the text.

The first of these functions is characteristic of non-union in the artistic style of speech, the second - for non-union in a journalistic style.

The skillful combination of non-union and multi-union in one text creates a special stylistic effect.

For instance:
Their conversation is prudent
About haymaking, about wine,
About the kennel, about my family,
Of course, did not shine with any feeling,
No poetic fire
Neither sharpness nor intelligence,
No hostel art...
(A. Pushkin)

Non-union and multi-union as expressive means are used in artistic, journalistic and colloquial styles of speech.

Stylistic use of different types of simple sentence

Russian syntax provides many options for expressing the same thought. For example, with an appropriate intonation, the stylistic device of a tautological combination gives expressiveness to the statement " The teacher must teach". However, it can be strengthened by choosing more emotional syntactic constructions:

1. The duty of a teacher is to teach.

2. A teacher must be a teacher.

3. The teacher must teach.

4. You are a teacher - and be a teacher!

5. You are a teacher - you teach!

6. What should a teacher do, how not to teach!

7. Who should teach if not a teacher?

The degree of intensity from the first sentence to the next increases, which affects their use in speech. Examples 1-3 can be used in book styles (the first design tends to be formal business style). In 4-7 sentences, a vivid expression stands out, giving them an emphatically colloquial and colloquial character.

The Russian language is characterized by the synonymy of one-part and two-part sentences.

For instance: Here is this blue notebook with my children's poems. Here in front of me lies this blue notebook with my children's poems.

Often synonymous with different types of one-part sentences:

Definitely personal –impersonal: Torment me no more; No need to torment me any more;
Vaguely personal –impersonal: Close ones are told the truth; close it is customary to say the truth;
Generalized-personal –impersonal: Speak. Yes don't talk; You can talk yes no need to talk I am ;
Nominative - impersonal: Do not catch up with you crazy troika; Can't catch up you crazy three.

The richness of variants creates ample opportunities for stylistic selection of syntactic constructions. Syntactic synonyms are not equivalent in stylistic terms.

Definitely personal (single-piece) suggestions in comparison with two-part ones, they give speech laconicism, dynamism. It is no coincidence that this type of one-component sentences is valued by poets.

Definitely personal sentences give expression to newspaper headlines, for example: « Don't believe your eyes!» .

do not have special expressive qualities that would distinguish them from other single-component sentences. The main area of use of indefinite personal constructions is colloquial speech (for example, “ sell strawberries”), from where they easily turn into artistic speech, giving it lively intonations.

For instance: " Goes. They bring him a horse"(A.S. Pushkin).

Such one-part sentences are stylistically neutral and can be used in any style.

For example, a sentence from a popular science book: " The Rhine has been poisoned with industrial waste more than once».

There are no functional and stylistic restrictions for the use of indefinite personal sentences.

Indefinitely personal sentences stylistically interesting in that they emphasize the action, for example: “ Now they will come for you».

The use of such sentences allows you to focus on the verb-predicate, while the subject of the action is relegated to the background, regardless of whether he is known to the speaker or not. Particularly expressive in the semantic-stylistic sense are such indefinite-personal sentences in which the carrier of the action is presented as an indefinite person, for example: “ I was invited to the cinema».

Generalized personal sentences stand out from all one-component personal sentences by their expression.

For instance: Lawless Heart . What we have - we do not store, having lost - we cry.

Lines from works of art, in which writers resort to generalized personal sentences, acquire a folk-poetic hue.

The most characteristic form of the predicate in such constructions, which gives brightness and expressiveness to statements, is the form of the second person singular.

For instance: Hurry up and make people laugh.

The aphorism and brightness of such statements puts them in a number of highly artistic works - miniatures of Russian folklore. The effectiveness of speech is enhanced by the use of the form of the past tense: “ Oh, it used to be, you would break your hat, but you would lay a horse in the shafts ..."(S. Yesenin).

The vivid expressiveness of generalized-personal constructions limits their functioning. Such constructions are most typical for colloquial and artistic speech.

impersonal proposals are distinguished by a special variety of constructions and their stylistic application in speech.

Among them are constructions characteristic of oral speech: I want to eat!”, “It hurts!". There are lyrical in emotional coloring, constructions beloved by poets: “ And boring, and sad, and there is no one to give a hand"(M.Yu. Lermontov).

There are sentences used in journalistic speech: " Builders to build a new housing complex».

Separate types of impersonal sentences are constantly used in a scientific style: " It is known that…», « I have to admit, what…».

Infinitive sentences provide significant opportunities for emotional and aphoristic expression of thought: “ Do not escape fate», « Be a bull on a string!».

Therefore, they are used in proverbs, artistic speech, this construction is also acceptable for slogans: “ Work without marriage!».

However, the main sphere of functioning of such constructions is the conversational style: “ Shouldn't we return?», « No shore to be seen».

Artists of the word turn to infinitive sentences as a means of creating a casually colloquial coloring of speech: “ Well, how can you compete with me!».

Expressive coloring prevents the use of infinitive constructions in book styles.

In artistic and journalistic speech, these sentences are introduced into dialogues and monologues saturated with emotions: “ Shine always, shine everywhere!"(V.V. Mayakovsky).

With the appropriate intonational design, infinitive sentences carry a huge expressive charge and stand out with particular tension.

Nominative (naming) sentences in their essence, as it were, created for description: they contain great pictorial possibilities. Naming objects, coloring them with definitions, writers draw pictures of nature, the situation, describe the state of the hero, and evaluate the world around them.

For instance: Cold gold of the moon, the smell of oleander and levkoy ...(S. Yesenin).

Such descriptions do not reflect the dynamics of events, since nominative sentences indicate the static existence of an object.

Nominative sentences reflect one moment: " Drum beat, clicks, rattle, thunder of cannons, trampling, neighing, groaning... "(A.S. Pushkin).

A linear description of events by nominative sentences is impossible: they fix only the present time.

Nominative proposals can sound with great tension, performing an expressive function with the appropriate intonation design: “ What a night!».

The use of nominative sentences has become an important artistic device. Nominative sentences perfectly convey dynamism, grabbing the main touches from the unfolding panorama, details of the situation that can reflect the tragedy of events: “ Crossing, crossing ... Left bank, right bank, Rough snow, ice edge ..."(A.T. Tvardovsky).

A description built from two-part sentences will seem stretched out, burdened with insignificant details. In such cases, nominative sentences are clearly preferable.

Nominative sentences are also used by journalists, who see them as a means of concise and figurative descriptions of a generalizing nature: “ Taiga, dissected by concrete tracks. Moss and lichen torn off by caterpillars. Open turf under foot».

Such lengthy descriptions, saturated with nominatives, are typical primarily for essays, but this is not limited to the stylistic framework for the use of these constructions. Authors of popular science books also turn to her.

Nominative sentences are used in such a stylistic figure as a nominative topic (an isolated nominative), which names the topic of the subsequent phrase and is designed to arouse special interest in the subject of the statement, to enhance its sound, as a rule, comes first.

For instance:
My grinder...
Oh, this miller!
He drives me crazy.
Made a bagpipe, loafer,
And runs like a postman(Es.).

Moscow ! How much in this sound
Merged for the Russian heart
How much resonated in it!(P.)

With such a peculiar emotional presentation of thought, it is separated by an emphatic pause; as noted by A.M. Peshkovsky, " ... first an isolated object is put on display, and the listeners only know that something will be said about this object now and that for the time being this object must be observed; in the next moment the thought itself is expressed».

NOMINATIVE TOPICS- this is a stylistic figure, which is a structure divided into two parts, in which the first part denotes a concept relevant to the speaker or writer (the topic of the message), and the second part contains some statement about this concept. The first part of the nominative topic can be represented by a word, a combination of words, a sentence, or even several sentences.

For instance:
Moscow ! On the maps of the world there is no similar word for us, filled with such content.(L. M. Leonov);

Fourth symphony, our symphony, my symphony, where is she?(Yu. M. Nagibin);

Night, street, lamp, pharmacy,
A meaningless and dim light.
Live at least a quarter of a century -
Everything will be like this. There is no exit.(A. A. Blok)

The expressive functions of the nominative theme are associated with its ability to highlight the most significant parts of the text, draw the attention of the reader or listener to them, and also give speech a special pathos and expressiveness.

The nominative theme is widely used in fiction and journalistic texts, in colloquial speech, as well as in popular science works.

The stylistic possibilities of Russian syntax are also expanding due to the fact that incomplete sentences with a clear functional-stylistic fixation and bright expressive coloring can successfully compete with complete sentences. Incomplete sentences, which are replicas and answers at the time of the conversation, are characteristic only of the syntax of oral speech.

Incomplete sentences , forming dialogic units, are created directly in the process of live communication.

For instance:
- Are you going alone?
- With Father.
- When?
- Tomorrow.

However, the appeal to contextually incomplete sentences in a journalistic style is very limited, and in other book styles it is almost impossible. Here, even with dialogization, full sentences are used, which are characteristic of the syntax of written speech.

Elliptical proposals are a means of conveying the emotionality of speech.

ELLIPSIS(in translation from Greek - lack, shortage) is a stylistic figure consisting in the intentional omission of any member of the sentence, which is implied from the context.

For instance:
- Here I am with a broadsword! - shouted a courier with a mustache in arshin, galloping towards(N. V. Gogol);

And in a minute the captain, Chang and the artist are already on a dark street where the wind with snow blows out the lanterns.(I. A. Bunin)

We sat down - in ashes, hailstones - in dust, in swords - sickles and plows. (Bug.).

I'm for a candle - a candle in the stove.
I'm for a book - she run ... (K. Chukovsky)

The deliberate omission of the predicate in such sentences creates a special dynamism of speech, so that the "restoration" of the omitted verbs would be unjustified (compare: I took up the candle, the candle rushed into the stove).

With ellipsis, the verb-predicate is most often omitted, which gives the text special expressiveness and dynamism, emphasizes the swiftness of the action, the tension of the mental state of the hero.
Ellipsis can also be expressed in the omission of other members of the sentence, including the entire predicative stem.

For instance:
And if the poet gets too much
Moscow, plague, the nineteenth year,
Well, we will live without bread!
Not long after all from the roof - to the sky (M. I. Tsvetaeva)

An engine roar, a hoarse howl that takes out the soul - a waterfall from the skies ... And the unshakably strong earth shakes, breaks, crumbles ... Face, chest, belly, knees in unreliable ground. (V. F. Tendryakov)

In addition to creating a special expressiveness of the text, ellipsis can perform other stylistic features:

a) to give the beginning of the text (beginning) an intriguing character.

For instance: After dinner, we left the brightly and hotly lit dining room on deck and stopped at the rail. (I. A. Bunin);

For instance: And then you think: on our global spaceship, where some also live like this, and others like that (this applies to individuals, and entire states, and entire nations), in the face of an impending ecological catastrophe, we will all be equal: and the president with the last "hard worker", the billionaire with the last beggar ... in the end, the chances will be equal to zero. Comforts. (V. A. Soloukhin)

Elliptical constructions give the descriptions a special dynamism: “ Back, home, home... "(A.N. Tolstoy)," I go to her, and he shoots me with a pistol "(A.N. Ostrovsky).

Complete sentences that have predicates with the meaning of movement, motivation, desire, perception, being, etc. are significantly inferior to them in expression.

The default should be distinguished from the ellipse.

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generalized-personal one-part sentences are called, the main member of which is expressed by the verb in the form of the 2nd person unit. numbers of the present and future tense (less often - in other personal forms), and the action denoted by the verb in such sentences equally applies to any person, i.e. the actor is conceived in a generalized way. Do you love ride– love to carry sleds(last); I burn with tearscan't help (last).

A.M. Peshkovsky wrote: “In these cases, the generalized form of the combination acquires a deep vital and literary significance. It is the bridge that connects the personal with the general, the subjective with the objective. And the more intimate any experience, the more difficult it is for the speaker to put it on display in front of everyone, the more willingly he clothes it in the form of a generalization that transfers this experience to everyone, including the listener, who, because of this, is more captured by the narrative than in a personal form." In Russian studies, there is no unambiguous attitude to the status of generalized personal sentences. In the 30s of the twentieth century, generalized-personal sentences, along with indefinite-personal ones, were recognized by A.M. Peshkovsky as a special type, occupying an intermediate position between personal and impersonal sentences. A.A. Shakhmatov considered this type of sentence as part of indefinitely personal sentences and did not single out a special type of one-component sentences.

In modern Russian syntax, the status of generalized personal sentences, as a rule, is not in doubt, although it is also not recognized by everyone. There is no unified view in the studies on the grammatical nature and specifics of one-part verbal-personal sentences, hence the differences in their classification, since the basis is mainly the semantic principle. The nature of a syntactic unit can first of all be explained from a grammatical point of view, without absolutizing the semantic criterion.

Some linguists distinguish three independent types among one-part verbal-personal sentences: definitely-personal, indefinitely-personal, generalized-personal (A.A. Yudin, E.M. Galkina-Fedoruk, V.V. Babaitseva, S.I. Syatkovsky , A.N. Gvozdev, A.G. Rudnev and others), others - two: definitely - and indefinitely personal (A.A. Shakhmatov, V.I. Borkovsky, L.V. Shcherba,
E.S. Istrina and others) or indefinitely and generalized personal (A.M. Peshkovsky, S.I. Abakumov, V.M. Berezin and others).

One-component verbal-personal sentences are classified according to the same principle in educational and methodological literature, but the authors (E.M. Galkina-Fedoruk, A.N. Gvozdev, A.G. Rudnev, N.S. Valgina, V.V. Babaitseva, A.F. Kulagin) define the range of grammatical structures in different ways for each of the three types of verbal-personal sentences. As for the teaching and methodological guides for schools and pedagogical colleges, they present two types of verbal-personal sentences. All this creates great difficulties in teaching practice: firstly, in distinguishing between indefinite-personal and generalized-personal sentences with homonymous forms of the predicate; secondly, the definition of varieties of definite-personal sentences. Yes, proposal We love pilots... (Twardowski). A.G. Rudnev cites as an example of indefinite-personal constructions, and A.K. Fedorov considers this sentence to be generalized-personal.

No less inconsistency exists in the qualification of sentences with a predicate-verb in the form of the 1st person plural. number and imperative mood. Yes, proposal Forgive me fever of youth and youthful fever and youthful delirium(A. Pushkin). Some scientists (A.N. Gvozdev, A.M. Finkel, N.M. Bazhenov) refer to definite personal sentences, and proverbs Let's wait - we'll see, but no, so we'll hear; Prepare a sleigh in summer and a cart in winter some refer to generalized personal sentences (E.M. Galkina-Fedoruk, A.G. Rudnev), A.M. Zemsky, N.S. Valgin, some of these constructions qualify as generalized personal sentences, while others ( Let's save the world) – as definitely personal suggestions.

According to the personal forms of the verbal predicate, it is possible to establish the producer of the action - this is the second person. However, this second person in such sentences is perceived as generalized: Childhood memories are irresistible in calm hours when stay alone with myself(Prev.).

Much less common are generalized personal sentences with a predicate in the form of other persons, since not all persons are equally capable of generalization.

The generalizing nature of people's activities, the obligatory and indisputable state of affairs determines the functioning of such sentences in proverbs and sayings due to their figurative meaning and aphoristic nature. V.V. Babaitseva suggests the term for such sentences indefinitely generalized, "since in form they coincide with indefinitely personal, and in semantics they are indefinitely generalized."

Basically, generalization in these faces is found in proverbs and sayings. For instance:

a) in the form of the 1st person singular. hours: Someone else's hand trouble
I'll scout, but I won't put my mind to it(last);

b) in the form of the 1st person plural. hours: What we have, we do not store, having lost crying.

c) in the form of the 3rd person pl. hours: Taking off your head, through your hair don't cry (last);

– also the form of the 3rd person receives a generalized meaning at the level of uncertainty: the action corresponds to any indefinite person, the action belongs to other, many, any persons: - What are you? - Klava asked ... - Or did she lose something? “I lost it,” Dasha said. I lost my ring, I lost my love. “They lose what they don’t keep,” Klava answered instructively.(Vl. Lidin). The speaker reports a fact of reality relating to indefinite persons, but includes himself (1st person) and the interlocutor (2nd person) among those to whom this generalized remark applies.

- If the main member is expressed in the future tense of the verb, the semantic structure of the sentence, as a rule, is overlaid with a modal shade of the possibility or impossibility of action: You don't like it, but after all you won't please (A. Chekhov).

- in generalized personal sentences, the modal meaning of necessity, inevitability, the form of the verb in the position of the main member, does not have the actual meaning of time: verb forms are characterized by timelessness, they mark an action that is not related to the moment of speech;

According to A.M. Peshkovsky, sentences, the main member of which is expressed in the form of the 2nd person, “represent a favorite form of personal generalization in Russian, and this is its important syntactic feature”: From the song of the word you won't throw out (last); Of myself you won't run out, Push you won't leave, you won't hide (Yu. Nagibin);

– The seme of generalization of the acting subject contributes to the expression of intimate thoughts, moods, deep personal experiences that form a special group of sentences in which the verb in the form of the 2nd person singular. h. the action of a specific person is represented, most often the speaker himself: experiencing something like shame feel unhappy in view of other misfortunes(A. Green).

- However, the verb can denote a generalized action in the form of the 3rd person plural. indicative numbers. For instance: In the forest of firewoodthey don't carry (last).

- Sometimes found in a generalized personal sentence and the form of the 1st person singular. and many others. indicative numbers. For instance: Whatwe have–do not store, lose– crying (last).

– Can be expressed as a verb in the form imperative mood: Live and learn(last); Don't hurry with your tongue - hurry up with your deeds(last) - A special position is occupied by sentences in which the form of the imperative mood is used in a figurative, non-imperative sense, naming the intended action, which will certainly cause another action: It seems that you move your hand and scare away the singers(V. Peskov). The seme of motivation in the content structure of generalized personal sentences imposes various semantic shades on the semantics of the sentence:

1) advice, exhortations, requests, wishes, relating not to one interlocutor, but to all people: Bread and salt eat, but the truth cut (last).

2) assumptions of the possibility or impossibility of action: I'm crazy! What am I afraid of? To this ghost blow- and there is none(A. Pushkin).

3) an action evaluated ironically: Tea is wrong. As I ordered... Rely on on you!(I. Turgenev);

4) actions of the inevitable, committed against the will: Now he will come out among the people, and raise his nose, that's what is insulting. And you crawl all your life(A. Ostrovsky).

Reporting on events in the past, the speaker pushes his personality into the background, emphasizing the pictures of the past. The belonging of the action to the speaker, the 1st person, is undeniable, since in such sentences the 2nd person can be freely replaced by the 1st. But such a replacement, although possible, is not adequate, since it deprives the verb, and with it the whole sentence of its generalized character: There is no sweeter fun for our girls than collecting lilies of the valley. You walk on solid lily-of-the-valley leaves, large, light green and cool. And there are few flowers: as if someone had just passed here and ripped everything off. But you get down on your knees, bend your head) lower, look from below and from the side, and you will see here, and there, and there - oh, at your very knees, at your very hand! - everywhere, everywhere, hidden under the leaves, lily-of-the-valley pearl balls glow! (Pan.). Here the speaker relates the action to himself, but he does not oppose himself to others, but unites with them, his action is presented as typical under similar circumstances for many or for all; this is the generalizing nature of this construction.

– Generalized personal sentences with a verb in the form of the 2nd person singular. parts of the imperative mood can be subordinate clauses in a complex sentence, where they sometimes take on the character of stable combinations with the generalized meaning of the person of the figure. For instance: You are a poet, just like me; and what don't say, poets are nice guys! (P.).

– The difference from other one-part sentences with the form of the 2nd person is that the generalization of the subject is created precisely by the form of the verb denoting untargeted action. Wed different meanings of this form in the following context: ... Here in a day somersault, Will you come home - there you are sitting (V. Vysotsky). In the first two sentences, the form of the 2nd person expresses an unaddressed action, it is primarily related to the speaker, but is abstracted from the specific subject and acquires the meaning of generalization. And in the third sentence, this form denotes the action of the addressee, is used in its direct meaning.

Generalized personal sentences exist in special contexts:

1) They convey the meaning of timelessness - in conditional constructions: If you visit these places at least once, you will always remember them.

2) In sentences with negation, a general judgment is conveyed with the meaning of the impossibility of action: Tears of sorrow will not help(can't help). Your question will not be answered immediately.(cannot be answered).

3) Used to convey events repeated in the past (with the verb particle “happened”): Sometimes you get up early and run to the river to swim.

4) Denote the actions of the speaker - in the removal from him: I read your "Foma Gordeev" in pieces: open and read the page ( A. Chekhov). In lyric poetry: If you look into yourself - there is no trace of the past ...(M. Lermontov).

The main purpose of generalized personal sentences is a figurative expression of general judgments, broad generalizations, which is why they are so widely represented:

– in descriptions when they help to paint a picture of a typical, regular course of an action or a manifestation of a state: You walk along the edge of the forest, you look after the dog, and meanwhile your favorite images, your favorite faces, dead and alive, come to mind.(T.);

– in critical articles, in journalism sentences help to make judgments more objective: Reading "A Writer's Notes" you realize with particular clarity the significance of such works as "Companions" and "Kruzhilikha" in the development of our post-war prose.(gas.);

– sometimes used and scientific style to indicate the regularity of an action: According to the angle of inclination, equatorial, polar and inclined orbits are distinguished;

– in fiction such sentences serve as a device to reflect the world of thoughts and feelings of the writer: In the smell of only bird cherry you connect with all the past(Shv.);

– in essay literature: You will not notice a hill, or a depression, or a hillock, or any other noticeable landmark.

The ability to present an action that applies to all persons of a given language community determines a fairly wide scope for the use of generalized personal sentences. They are widely used in oral speech, their stylistic properties create the conditions for widespread use in the texts of works of art and in journalistic speech. They help to give the statement the character of objectivity of judgment. Such statements are especially common in the essay literature: No hill, no hollow, no hillock, no other perceptible landmark. You go, you go and gradually you lose the feeling of movement. It seems that both the bus and you are in it - everything stands still, because nothing changes around(L. Yudasin).

Generalized personal sentences are used for stylistic purposes. This is a convenient form of conveying personal experiences, moods, memories, addressing the reader, expressing general judgments, wishes, advice.

Stylistic use of different types of simple sentence

1. The duty of a teacher is to teach ...

2. The teacher must be u-chi-te-lem.

3. The teacher must teach.

4. You are a teacher - and be a teacher.

5. You are a teacher - you teach!

6. What should a teacher do, how not to teach!

7. Who should teach if not a teacher?!

The Russian language is characterized by the synonymy of one-part and two-part sentences. We will show this on experimental examples of two-part sentences correlative with one-part sentences.

One-part sentences	Two-part sentences
1. I know that in the evening you will go beyond the ring of roads, we will sit in fresh shocks (Ec.)	1. I know you will come out ...
2. What's new in the newspapers? (Shol.)	2. What's new in newspapers?
3. I lived joyfully, like a child - you wake up in the morning and sing (Ch.).	3. ... I used to wake up in the morning and sing ...
4. I took it into my head to pick this burdock (L.T.)	4. I decided to pick this burdock.
5. Everything I see is Pavlovsk hilly (Ahm.)	5. All I see is hilly Pavlovsk.
6. I can't live without Russia (Pr.).	6. I can't live without Russia.
7. This blue notebook with my children's poems (Ahm.). 7. Here in front of me lies this blue notebook with my children's poems.
8. I can’t sleep, nanny ... (P.).	8. I can't sleep.

Artists of the word turn to infinitive sentences as a means of creating a casually conversational coloring of speech: Well, where do you mess with your wife and babysit the kids? (P.)

Autumn, fairy tale,

All open for viewing.

clearings of forest roads,

Looking into the lakes

Like in an art exhibition:

Halls, halls, halls, halls

Elm, ash, aspen

Unprecedented in gilding.

Linden hoop gold,

Like a crown on a newlywed.

The face of a birch under a veil

Wedding and transparent.

For many poets, the stylistic use of nominative sentences has become an important artistic device.

Draft

To whom is life, to whom is death, to whom is glory.

The crossing began at dawn.

That shore was like a stove, steep,

And, sullen, jagged,

The forest was black high above the water,

The forest is alien, unfinished.

And under us lay the right bank, -

Snow rolled, trampled into the mud,

Level with the edge of the ice.

Crossing

Started at six o'clock.

final edition

Crossing, crossing...

Left bank, right bank,

The snow is rough, the edge of the ice ...

To whom is memory, to whom is glory,

To whom the water is dark, -

No sign, no trace...

Today, nominative sentences also attract the attention of journalists, who see them as a means of concise and figurative descriptions of a generalizing nature:

For poets, the synonymy of elliptical constructions and full sentences opens up the possibility of choosing a variant convenient for versification:

Winter has passed. I am sick.

I'm back in the corner, among the books.

He seems to be pleased

My doppelgänger.

Yes, I have no leisure

Talk about all sorts of nonsense.

Did we understand each other?

Well, lock the doors.

(A.A. Blok)

The use of the predicate in the highlighted sentences would lengthen the term, which is unacceptable in poetic speech.

Control work on the chapterII

I option

I . Test

multicultural ?

A) bicultural B ) multicultural

B) multicultural D) intercultural

pluralism » ?

A) everything that is created as a result of human activity;

B) this is a kind of intercultural interaction, involving an active exchange of the content of cultures while maintaining its originality;

C) this is the occurrence of difficulties in understanding in real communication representatives of another people due to the language barrier, ignorance of the traditions, rules of etiquette of another people;

G ) it is the peaceful coexistence of different world cultures, the respectful attitude of representatives of different cultures to each other and the recognition of the cultural identity of each people.

intercultural communication… »

A) arises when learning a language, getting acquainted with books and films, traditions, customs of another people;

B) it is the sphere of people's spiritual life;

V ) involves the enrichment of one's own culture through the perception of ideas, values, traditions of other cultures;

D) these are objects and phenomena of culture, morality, morality

1.4. Specify matches

a) I want to be a scientist! 1) impersonal

B) Chickens are counted in the fall. 2) indefinitely personal

c) The room is cold. 3) definitely personal

D) winter. Frost and sun! 4) generalized-personal

D) They will arrive late. 5) denomination

A) touch ... succumb, s ... rya, lean ... c) month ... ny, pos..ny, sympathetic ...

B) show ... army, agree ... settle, room ... that D) consecrated ... for thousands ... years, t ... lay down

A) d ... go, under ... roar, under ... rock B) pr ... jam, pr ... change, pr ... fastidious

B) ra ... clear, un ... tasty, over ... chur D) once ... say, take ... mother, under ... to burn

On all the shelves, more beautiful (1) with white paint, there were (2) bunches of dry (3) raspberries hanging - a magnificent therefore (4) remedy.

ONE

A) At first, we THAT (SAME) did not understand each other, but IN (SUBSEQUENCE) we became very friends.

B) At night, a huge fire was lit (ON) ON THE TOP of the mountain, and I tried to explain to everyone FOR (WHAT) this had to be done.

C) (BY) WHAT the uncle said, it was not clear WHETHER he Kept his word.

D) ONE (TO) of the tourists goes (ON) THIS bank of the river, the rest are waiting for everyone on the other side.

1.9. Indicate a series in which all words are written with a hyphen

A) mini (skirt), (semi) fur coat, (half) teaspoon

D) (skirt) maxi, (vice) presidential, (st.) Petersburg

Elegant hive butterflies (1) fluttering easily (2) or basking in the sun (3) can be seen in nature (4) already in early spring.

II. Workshop

From communication with this person, I seem to gain strength, become even higher, stronger.

Of the 1,400 African languages, at least 250 are endangered.

Most class ( agreed / agreed) with my solution.

2.4. This sentence violates syntactic norms. Write down the correct version

III . Essay-miniature

Control work on the chapterII "Intercultural communication"

(program of A.D. Shmelev, 8th grade)

II option

I . Test

1.1. Which word is a synonym for the wordmulticultural ?

A) intercultural B ) bicultural

B) multicultural D) multicultural

1.2. What is the lexical meaning of the highlighted word in the phrase "culturalpluralism » ?

A) the emergence of difficulties in understanding in real communication of representatives of another people due to the language barrier, ignorance of the traditions, rules of etiquette of another people;

B) everything that is created as a result of human activity;

C) peaceful coexistence of different world cultures, respectful attitude of representatives of different cultures to each other and recognition of the cultural identity of each people;

G ) a kind of intercultural interaction, involving an active exchange of the content of cultures while maintaining its originality

1.3. Indicate the correct continuation of the definition of the concept "intercultural communication… »

A) involves the enrichment of one's own culture through the perception of ideas, values, traditions of other cultures

B) these are objects and phenomena of culture, morality, morality;

V ) it is the sphere of people's spiritual life;

D) arises when learning a language, getting acquainted with books and films, traditions, customs of another people

1.4. Specify matches

A) It will get a little warmer in the morning. 1) impersonal

b) Do not get into your sleigh. 2) indefinitely personal

c) Don't be afraid. 3) definitely personal

Moscow city! Moscow! .. 4) generalized-personal

D) They were not met at the airport. 5) denomination

1.5. Find a row in which the same letter is missing in all words. Write these words with the missing letter

A) The firemen...for a long time failed to eliminate the source of fire...in the bible...teke.

B) The committee ... takes away ... a license from unscrupulous suppliers of food products.

C) at the c..r..monii of the discovery of ol ... mpiads ... ignite ol ... mpian faculty ... l.

1.6. Find a row in which the same letter is missing in all words. Write these words with the missing letter

A) from (?) yang, hug (?) hugs, from (?) save, bul (?) he

B) ... burn, ra ... even, che ... mind, be ... valuable

C) pr ... polite, pr ... endure, pr .. speak, pr ... giver

1.7. Indicate all the numbers in the place of which it is writtenHH

On the bank of the once full-flowing river, the traveler saw a tree (1) house unseen (2) in these places of construction, the windows of which were curtained (3), in front of the house a well-groomed (4) front garden was laid out.

1.8. Determine the sentence in which both words are writtenONE . Open the brackets and write out these words

A) (WITHOUT) DOUBT, the names of scientists make up the glory of their people SO (SAME) as the names of artists, poets, musicians.

B) (C) FOLLOWING his master (THAT) HOUR, the faithful dog also ran swiftly.

C) Keep (B) in mind: he will still do everything (IN) HIS OWN.

1.9. Indicate the row in which all words are written together

B) Ivan (yes) Marya, middle (century), fish (cod)

B) (sour) salty, (maxi) skirt, (half) orange

D) children (garden), (steel) foundry, (sharp) nose

1.10. Place punctuation marks: indicate all the numbers in the place of which commas should be in the sentence

My dog sometimes runs into a spruce forest and (1) jumping out of its mysteriously light and dark jungle (2) freezes on a (3) brightly lit (4) road.

II . Workshop

2.1. Rearrange the sentence, giving it a generalized character

It rains or even snows, and I swim in the hot waters of the lake, forgetting everything.

2.2. Write down, write the numbers in words

About 3% of the world's population speaks 96% of all languages.

2.3. Choose the correct form of the predicate

Since the beginning of events passed / passed) twenty-one days.

2.4. Find an offer thatNOT DISTURBED lexical compatibility

B) At the plant, the release of new products was mastered on time.

III . Essay-miniature

Compose a text (description, narration, reasoning) using different types of single-component sentences. Underline the main member of a one-part sentence and determine its type.

Control work on the chapterII "Intercultural communication"

(program of A.D. Shmelev, 8th grade)

III option

I . Test

1.1. Which word is a synonym for the wordmulticultural ?

A) multicultural B ) multicultural

B) intercultural D) bicultural

1.2. Indicate the correct continuation of the definition of the concept "intercultural communication… »

A) these are objects and phenomena of culture, morality, morality;

B) involves the enrichment of one's own culture through the perception of ideas, values, traditions of other cultures;

V ) it is the sphere of spiritual life of people

1.3. Specify matches

A) Bushes with purple inflorescences. 1) impersonal

B) Good is not sought from good. 2) indefinitely personal

c) Dogs were trained here. 3) definitely personal

D) Come to us. 4) generalized-personal

D) The river is frozen over. 5) denomination

1.4. Determine the word in which the unstressed unchecked vowel of the root is missing. Write out this word by inserting the missing letter

Informative ... amusing, dedication to a poet, foundation ...

1.5. Find a row in which the same letter is missing in both words. Write these words with the missing letter

A) before ... history, after ... schu (place) D) week ... flock, r ... searched

B) be ... colored, ... bend D) happen ..., hug ...

C) pr ... util, pr ... cloned (age)

1.6. Indicate all the numbers in the place of which it is writtenH

Outside the window flickered fields covered with (1) wheat. The sun was going down to sunset, the tops of the forest were a flame (2) about lighting (3), the shadow of the car ran along a slope (4).

1.7. Determine the sentence in which both words are writtenONE . Open the brackets and write out these words

A) (AT) THE END the meeting took place, SO (THAT) all problems were solved.

B) He is a hard worker and (FOR) THIS is successful, (FOR) THAT he is ambitious beyond measure.

C) You are wrong, (FOR) AS you can not condemn a person only (FOR) THAT you do not share his beliefs.

1.8. Place punctuation marks: indicate all the numbers in the place of which commas should be in the sentence

One after another, horses approached the fire (1) slowly fading in the night (2) and motionlessly stopped (3) looking at us (4) with intelligent eyes.

II . Workshop

2.1. Rearrange the sentence, giving it a generalized character

I read Zoshchenko, Ilf and Petrov and feel pleasure only from how the words stand side by side, how insanely talented and witty it all is written.

No one ( did not receive / did not receive) of the highest score.

III . Essay-miniature

Compose a text (description, narration, reasoning) using different types of single-component sentences. Underline the main member of a one-part sentence and determine its type.

Control work on the chapterII "Intercultural communication"

(program of A.D. Shmelev, 8th grade)

IV option

I . Test

1.1. Which word is a synonym for the wordmulticultural ?

A) multicultural B ) intercultural

B) multicultural D) bicultural

1.2. Specify matches

a) They are waiting for you on Monday. 1) impersonal

b) They do not carry firewood into the forest. 2) indefinitely personal

C) Several notebooks in a line. 3) definitely personal

D) I work hard today. 4) generalized-personal

D) Oh, how sad! 5) denomination

1.3. Find a row in which the same letter is missing in both words. Write these words with the missing letter

A) do not ... do well, ... here D) by ... let go, pre ... faith (holiday)

B) pr ... follows, pr ... give (meaning) E) without ... language, in ... is

B) without .. minty, vz .. mother

1.4. Indicate all the numbers in the place of which it is writtenHH

We enter the old (1) house - a dark kitchenette, made (2) flasks podok (3) ik, more beautiful (4) with dark paint floor, on the walls of the image in a silver (5) oklad.

1.5. Determine the sentence in which both words are writtenONE . Open the brackets and write out these words

A) EVERYTHING (SAME) love, if it is real, remains in a person (FOR) ALWAYS.

B) Gleb (ON) was SO stunned by what he heard that he could not say anything and (FROM) THAT was silent.

C) (BY) WHAT the uncle said, it was not clear WHETHER he Kept his word.

1.6. Indicate a series in which all words are written with a hyphen

A) (skirt) mini, (semi) fur coat, (half) teaspoon

B) Ivan (yes) Marya, ancient (Russian), fish (saw)

C) (sour) salty, south (west), (half) apple

II . Workshop

2.1. Rearrange the sentence, giving it a generalized character

I sit on the railing of the balcony and watch the sailing ships moving quietly along the river.

2.2. Choose the correct form of the predicate

I have ( was/were) a thousand reasons not to come again.

2.3. Find an offer thatDISTURBED lexical compatibility

A) I don't feel like talking about it, for obvious reasons.

B) The puppy turned out to be quick-witted and docile.

C) It was unbearably cold outside.

III . Essay-miniature

Compose a text (description, narration, reasoning) using different types of single-component sentences. Underline the main member of a one-part sentence and determine its type.

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