A complex syntactic whole is a unit of text, therefore, when constructing it, two main characteristics of the text should be taken into account: thematic and connectedness. Ignoring this provision leads to the appearance of stylistic errors and shortcomings.
1. Displacement of the plan of presentation lies in the fact that, having started writing on one topic, about one subject of speech, then, when constructing a complex syntactic whole (prose stanza), the author deviates from the topic and jumps to another. For instance: Lyrics... How difficult it is to define it! What does the poem mean? Perhaps no other literary genre has such a vague definition. The lyrics were constantly called into question. Poets themselves often think about the meaning and purpose of lyrics and why they write poetry. The reasons turn out to be as different as the poetry itself. Some write a message, for others “the purpose of the verse is the reader”, others admit that they write only for themselves, while others unshakably believe in the impact of lyrics, believing that it helps to reduce evil and increase the amount of good(From newspapers). At the beginning of the stanza, the question is posed: what is lyricism? Starting with the fourth sentence, the author explains why poets write poetry.
In order to correct such or a similar stanza, the author needs to determine for himself the topic (micro-theme) that he wants to develop and bring his thought to its logical conclusion. In the part of the stanza where he moves on to another topic, it is recommended to draw up a paragraph (red line).
2. Skipping logical links between the sentences included in the stanza, leads to the absence of a causal relationship between them. For instance: An old elk swam along Sakmara, cutting through the muddy water with his mighty chest. Having climbed out onto the deserted steppe shore, he dusted himself off, threw up his proud head and sensitively moved his big ears. Not catching suspicious rustles (and moose, as you know, are blind-sighted), slowly walked to the forest belt(From newspapers). There is no connection between the fact that the moose did not catch suspicious rustles (hearing) and the fact that moose are blind (vision). It is required to restore the missing logical link: ... and moose, as you know, have sensitive hearing, compensating for their natural short-sightedness.
3. Incorrect paragraph division of the text significantly complicates the perception of prose stanzas. Compositional division makes it easier to perceive the content, correctly place logical accents, and follow the development of the author's thought. The following text can be divided into paragraphs in different ways, depending on the selection of prose stanzas. But without such a division, its perception is much more difficult. For Vysotsky there are no forbidden topics, he fearlessly, with the envy of many boldness, wrote and sang about everything that worried him. But this is freedom, which is provided morally, by an exact attitude to an object or phenomenon. ZThe lyrical hero of Vysotsky is morally significant and attractive also because you can rely on someone like him - this one will not let you down, you will not be lost with him. Morality is provided by the male character - a phenomenon, you see, is not the most common in our time. Z Vysotsky not only captures, transmits, reflects the drama of life. He is dramatic himself, by the nature of his objectivity, individuality, talent. All that he did, and all that he succeeded, was out of restlessness, from a feeling of anxiety that did not leave him. Z The dramatic, according to Pushkin, is associated with "passions and outpourings of the human soul." In full accordance with this exact observation, Vysotsky, at a time when a half-whisper dominated, on the one hand, and pop noise, on the other, began to speak and sing in an “open voice”, passionately, hysterically, sometimes turning into a cry. The way people sing at home, in a free, relaxed environment not constrained by strict rules(V. Tolstykh). Special badge Z paragraph division of the text is indicated.
L. FIGURES
Shapes based on repetition
Figures built on changes in the arrangement of parts of syntactic constructions
Figures associated with a change in the volume of an utterance
Rhetorical figures
Figure(translated from Latin “shape, appearance, turn of speech”) is a syntactic construction designed to influence the listener and reader. If tropes are forms of thought (see ch. XXXV), then figures are forms of speech. The function of the figures is to highlight, emphasize, strengthen this or that part of the statement, the figures "serve as an expression of emotional movement in the speaker and a means of conveying the tone and degree of his mood to the listener" (A. Gornfeld). To the greatest extent, the figures are activated in artistic speech, especially poetic, but many of their varieties are quite active in various genres of journalism.
Depending on the syntactic structure and the function performed, the whole variety of figures can be reduced to several groups.
text norm
1) Historically established, accepted in society, stable rules of textual activity, on the basis of which reference texts are created for a certain area of communication;
2) a system of communicative-pragmatic, genre-stylistic, compositional-speech and other norms corresponding to a certain type of text, reflecting its versatility, communicative essence, linguistic nature and extralinguistic orientation;
3) harmonious organization of all elements of the text structure in accordance with the author's intention and orientation towards the addressee (N.S. Bolotnova).
Text - a complete informational and structural whole, characterized by semantic completeness.
From the term it is necessary to distinguish the terms adjacent to it:
Context - such a colored language unit that affects its meaning (linguistic guess, taken out of context - distort the meaning)
Overtext = psychological context - the situation, creation and perception of the text.
subtext - the hidden meaning of the text. Not in any text.
Text properties:
So, the main features of the text are its integrity, coherence, articulation, thematic, logical, temporal, local, evaluative, composition.
Wholeness(semantic) - the meaningful unity of the text, the text is the result of speech activity, since this is speech activity, it, like any human activity, has a goal and a motive.
The motive and purpose determine the subject of speech, and the unity of the subject of speech is the topic of the utterance, the next text category.
Text is a statement on a specific topic.
The text reflects the intention of the speaker
You can add a heading to the text
Text - complete (autonomous) statement
Text has a beginning and an end (i.e. discrete)
Articulation- category of form, structural property. The text consists of several sentences. Please note that one sentence, even a very common one, is not a text, it is certainly a speech work, but not a text, since its parts are combined according to the laws of syntax, and the text can be divided into independent sentences. So, you need to remember the text consists of two or more sentences.
Connectivity is a structural property. The text is a complex object, consisting of several sentences related by meaning and formally, into special groups (Peshkovsky, Losev, Galnerin, etc.)
The basis of connectivity is "communicative continuity", i.e., each sentence is built on the basis of the previous one.
This is an extralinguistic factor that enters the core of the text and determines its structure.
Topic - the subject of speech, which acts as the subject of the thesis of the text. Theme is the sphere of reality, the general problem (subject) within which the text is created. The topic can be determined by answering the question, What is the text about. The theme is formulated with the help of nominal sentences (two - three sentences).
The theme is expressed in thematic groups that constitute the thematic field of thematic unity.
The main thesis (main idea) is the author's point of view on this topic, the subject of the content and its main feature. To formulate the thesis it is necessary to answer two questions: what is said in the text and what is said about this subject.
The thesis is expressed directly in texts with a pronounced influencing function. In some cases, the thesis is "dissolved" in the text, then it is reconstructed by compressing the text. Often one text contains several theses, which are arranged sequentially, logically building the content. Key words - basic words and phrases that carry the main semantic load, reflect the logic of presentation, are repeated in the text.
Logic. The general meaning of the text is constantly being clarified on the basis of filling and analyzing the information of its minimal semantic parts of microtexts, i.e. the text itself is a reflection of the process of meaning formation.
The informational role of a fragment depends on the composition itself and the sequence of location.
The logic of presentation and the logic of reasoning do not always coincide.
Logic has no special language means of expression.
Key text, or emotionally expressive content; - this is a text category, which reflects the psychological attitude of the author of the text. The field of tonality contains the psychological self-disclosure of the author, which has the effect of enhanced impact on the addressee of the text.
Appraisal delimited from emotionally expressive content - this is due only to a different (intellectual) assessment.
The assessment reflects the author's idea of the positive or negative content of the phenomenon and the attitude towards the addressee of the speech based on the logical dichotomy "good - bad". In the language, the field includes a lexical pair and its variant: Very good, not so good, excellent, etc.
“The mother was waiting for the letter, but she didn’t wait (Hidden author’s conclusion condemnation of children).
Temporality text (text time)
Time and space are the universal properties of everything material, it is a necessary condition for the world of phenomena. The text as a reflection defines a fragment of reality.
Objective time is a relatively adequate reflection of real time (historical, calendar).
Conceptual time is “a reflection of ideal entities that are derived on the basis” of the analysis of the reality of concepts and concepts. The distinction between these is temporary at the point of reference. The starting point is a kind of conditional “now”, “now”, from which you can push off and build a temporal perspective of the text. Language means are words and phrases that convey the meaning of time: yesterday, tomorrow, in the future, during the war, seasons: summer, winter.
locality text (text space), which is closely related to temporality.
Objective space, which represents the reflected likeness of the real world, it is passed through reproduction.
Other types of spaces: conceptual, psychological, social.
The starting point in the local coordinate system is some point "here" as applied to speech.
In combination with a similar point of temporality "now", the starting point of the textual chronotope is formed: "I - here - now." Basic linguistic units are means of spatial action, words whose semantics is an abstraction of the relationship of certain parts, sides of the object to the text itself: bottom, top, side, surface.
Composition the text is the unity of the internal structure of the content, its external division into parts and these parts themselves (their totality).
The structural integrity of the text is expressed in the presence of structural and semantic parts:
Introductions (introduction, opening, exposition), main part and ending.
The heading reflects the topic or main idea
The introduction concretizes it and sets the spatio-temporal development of the semantic blocks of the main part,
The main part, which consists of several semantic parts, contains the development of the topic, defines subtopics, details, arguments
Conclusion - folding the information of the whole text, the ending completes the text.
The text is never modeled by one text category, but always by their combination. The whole text is a communicative system, the text category is one of the communicative lines of this system, which materialized by linguistic means. Thus, we understand the text as a communicative speech realization of the author's intention.
Text types:
1. Non-fiction and fiction texts
2. Written and oral texts (written is always prepared, but oral may not be)
3. Relaxed (logically deployed, well structured, without skipping semantic links. Perhaps with the inclusion of a sufficient amount of repeated information) and intense (vice versa)
Typical mistakes in text construction
1. Violation of the logic of presentation
2. Distortion of factual information
3. Inconsistency with the title / subtitle of the text
4. Unmotivated repetition / omission of information
5. Inconsistency with the volume of the compositional parts (no conclusion, there is no conclusion in the conclusion, wow)
6. Semantic discrepancy, language poverty
7. Incorrect font and color selection.
Russian language (grade 9)
Russian literature lesson
Topic: Complex syntactic integer. Language analysis of the text (to the formulation of the problem)
Goals: to repeat and summarize the information about the text known to students, its structure, to improve the ability to conduct language analysis of the text, to work on the development of students' communicative abilities, to improve their language skills, to introduce the concept of STS (microtext) using the example of excerpts from the works of A.S. Pushkin, M. Yu. Lermontov, N. V. Gogol; using elements of creative reading, to educate in students an attentive, thoughtful reader, able to capture, perceive the peculiarities of the writer's style; continue to work on the culture of speech of students.
Equipment: textbook "Russian language: Textbook for grade 9. with the Russian language of instruction” /E.P. Goloborodko and others / - K .: Osvita, 2002 .; textbook of literature edited by Teplinsky (grade 9), notes on the blackboard, tables "Language and Speech", "Text", "Structural Means of the SSC".
Lesson type: a lesson in the formation of students' communicative skills with elements of generalizing repetition.
The language of verbal art is a peculiar system of verbal and artistic forms…, their meanings and functions, and the categories reflected in them; in fiction, this system arises on the basis of the synthesis of the communicative function of the literary and colloquial language with the expressive and pictorial function.
V. V. Vinogradov
During the classes:
I. Organizing time.
II. Introduction by the teacher.
Today in the lesson, on the one hand, we are summing up the results of a long, two-year-long conversation about the syntax of the Russian language. On the other hand, we will try to ascend to a higher level of your intellectual development. Let's get acquainted with a new generalizing concept - a complex syntactic whole, we will introduce it into your everyday life.
/ Recording the date, topic, epigraphs of the lesson in a notebook /
The first step towards this will be vocabulary and semantic work.
III. Vocabulary and semantic work
Text, topic, main idea of the statement, complex syntactic whole (STS), serial connection, parallel connection, methods of constructing a text, language means.
IV. Message topics, objectives of the lesson.
Why do we need to expand knowledge in this area? What is the practical significance of the material offered to you in today's lesson? We will try to answer these questions at the end of the lesson. In the meantime, let's think about how we communicate with each other. Sounds? Words? Phrases? No. And not even offers.
/ Appeal to the III part of the table "Language and speech" /
People create statements and communicate with texts (micro and macro texts, monologues, dialogues and polylogues). And the concept of STS, which is new to you, is nothing more than a microtext. A statement, microtext is a small, capacious information.
You get information in different fields of knowledge thanks to texts. Their volume and direction are constantly changing. You will leave school into adulthood not only with a certain amount of knowledge, but also with the ability to work with a book, a text. We will continue to learn this skill.
V. Text. Repetition.
1. Let's remember what text is.
/Student answers./
Let's compare your ideas about the text with the scientific interpretation of this term.
2. Working with the "Text" table. / "RYAL in secondary educational institutions of Ukraine", No. 2, 1988, p. 36/
/ The work of students in groups: drawing up a monologue statement by each study group; performance of 1-2 groups of students; additions of other groups /
3. Generalization of the teacher.
The text is a detailed statement consisting of interconnected sentences. In modern linguistics, the text is considered as a communicative unit, the main features of which are semantic integrity and coherence. The SSC also speaks about this. 
VI. Complex syntactic integer. Concept definition.
A complex syntactic whole is a combination of several sentences that are closely related in meaning and syntactically. STS is nothing more than a microtext. The organization of the microtext is stable, it depends on the content, style, and author's manner.
This means that in order to be spoken of as a knowledgeable, pleasant interlocutor, so that you own the correct written language, you need to learn how to value your statements, you need to learn how to read texts logically correctly. And it's easier to start doing it with the SCS.
VII. Working with deformed text.
1. Listen to an example. Try to determine what you will hear: text or a set of sentences.
/ Reading the deformed text by the teacher (Teplinskiy. "Literature. Grade 9" /
And now, in the 9th grade, we will talk (and perhaps even argue) about the fate of Pushkin's heroes Eugene Onegin and Tatyana Larina ... Pushkin enters our consciousness from early childhood, from fairy tales that we know by heart, not thinking about the fact that someone composed them: it seemed that they have always existed, that they are just part of our world, and it has no beginning and no end. I would like to believe that Pushkin will forever remain with you, because he is inexhaustible, just as life itself is inexhaustible. And then wonderful Pushkin's lines about nature appear in our lives, his poems about love begin to interest and excite him ...
2. Try to recover the text and write it down in a notebook.
/ The work of students to restore the text. Write text in a notebook.
Individual task. Retelling of the restored text. /1 – 2 students/
3. Did you recognize the text? And where is it taken from?
The name of Pushkin is well known to every person who speaks Russian. It is also familiar to you from the biography of Pushkin read for the literature lesson, from the prose and poetry read in high school. What Pushkin's works are familiar to you? And what lines of Pushkin's poetry became your favorite? Can you read them by heart?
/ Reading by heart the poems of A. S. Pushkin,
teacher's assessment of expressive reading of students /
We will continue talking about Pushkin and his work at literature lessons. Now let's go back to the text. We have restored the text, and we will analyze it.
VIII. Holistic text analysis.
1. Familiarization with the plan for a holistic analysis of the text.
Holistic text analysis plan
Style and type of speech.
Semantic connection of sentences in STS.
Figurative means of language used by the writer to express his thoughts.
Morphological means of communication in the SCS (the predominance of which parts of speech do you observe and what is their semantic load).
intonation of the utterance.
2. Distribution of tasks between study groups of students.
Our time is limited, so we will try to present the drawing of the text in its holistic analysis in fragments:
Fragment 1. Theme, the main idea of the microtext.
Fragment 2 . Style and type of speech. Semantic connection of sentences. / Use the hint tables of the textbook “Russian language: Textbook for grade 9. with the Russian language of instruction” /E.P. Goloborodko and others/
Fragment 3. figurative means of language used by the writer to express his thoughts; morphological means of communication in the SCS.
Fragment 4. Syntactic analysis of microtext.
Individual task. Syntactic analysis of the sentence specified by the teacher from the restored text.
Fragment 5. Spelling analysis of the text (pay attention to spellings, compose a dictionary work on the text, comment on spellings).
Vocabulary example:
WITH O knowledge, with nn his childhood, (not) wondering who - then, h at de sn s P Ushkin's lines; P ushkin, int e R e With ova T b, cla ss, X O body would, n aw always, (n e) exhaust, well and zn.
3. Collective work in groups - collective compilation of a holistic analysis of the text.
4. Conversation - text analysis.
/Each group reports on the work done./
IX. Independent work on text analysis.
You have already completed one part of the work in the lesson. And it seems to me that you can try to take independent steps in the research work on text analysis. Use the table "Structural means of the STS" for this.
"Structural means of the SSC"
_____________________________________________________________
Lexical: Morphological: Syntactic: Rhythmic-melodic
/intonation/
Repetition - correlation of species - - word order and pre-
individual words; temporary forms of verbs;
Synonyms, including catch-predicates. - unions in join-
number contextual meaning;
nye; - particles;
Personal and pointer- - use of circumstance-
new pronouns; activities (predominantly
pronominal but place and time);
adverbs, etc. - introductory words and
suggestions;
Parallelism
proposals;
Incompleteness of individual
offers.
1. Working with microtext.
My mother's family tree is even more curious. Her grandfather was a negro, the son of a sovereign prince. The Russian envoy in Constantinople somehow got him out of the seraglio, where he was kept by the amanat, and sent him to Peter the Great along with two other Arapchats. The sovereign baptized little Ibrahim in Vilna, in 1707, with the Polish queen, the wife of August, and gave him the surname Hannibal.
/Each group presents their analysis of the text/
Individual work.
● Formulate questions to the text (5 - 7 questions). Give answers to them.
/The task is performed by 2-3 students of primary and secondary levels of competence./
● Compose a dialogue (6 - 10 replicas) - an exchange of opinions about the text - proof that this microtext is STS. /1 – 2 couples./
2. Checking the completion of an individual task:
Reading the compiled questions according to the text / 1 - 2 students read out the questions, the rest show the completion of the task in the notebook /;
Holistic analysis of the text / comments are given by 1 - 2 study groups, other groups supplement /;
Reading, acting out dialogues /1 - 2 pairs/.
X. Generalization of the studied.
How do you understand what SSC is?
Are microtext and STS the same thing?
Will today's lesson help you recognize Pushkin's works, even in separate passages, by their style and structure? Try to find out.
2. Work with fragments of texts by A. S. Pushkin, M. Yu. Lermontov, N. V. Gogol.
● He was a nice fellow, I dare to assure you; just a little weird. After all, for example, in the rain, in the cold all day hunting; everyone will get cold, tired - but nothing to him. And another time he sits in his room, the wind smells, he assures that he has caught a cold; the shutter will knock, he will shudder and turn pale; and with me he went to the boar one on one; it used to be that you couldn’t get a word for whole hours, but sometimes, as soon as he starts talking, you’ll tear your tummies with laughter ... Yes, sir, he was strange with big people, and he must be a rich man: how many different expensive little things he had !. .
● Only one person belonged to our society, not being a military man. He was about thirty-five years old, and for that we revered him as an old man. Experience gave him many advantages over us; besides, his usual sullenness, tough temper and wicked tongue had a strong influence on our young minds. Some mystery surrounded his fate; he seemed Russian, but bore a foreign name. Once he served in the hussars, and even happily; no one knew the reason that prompted him to retire and settle in a poor place where he lived both poorly and prodigally: he always walked, in a worn-out black frock coat, and kept an open table for all the officers of our regiment.
● In the britzka sat a gentleman, not handsome, but not bad-looking either, neither too fat nor too thin; one cannot say that he is old, but it is not so that he is too young either. His entry made absolutely no noise in the city and was not accompanied by anything special; only two Russian peasants, standing at the door of the tavern opposite the hotel, made some remarks, which, however, referred more to the carriage than to the person sitting in it.
Do you agree that knowledge of the SCS will help the attentive reader to understand the text he has read? Let's check it out in literature class.
XI. Lesson results. Assessment of knowledge and skills of students.
Homework: write out a complex sentence with different types of connection from A. S. Pushkin's poem "Monument" or "To Chaadaev" and perform a complete syntactic analysis of the written sentence.
A complex syntactic whole is a single unit of the text, therefore, when constructing it, two main characteristics of the text must be taken into account: thematic and coherent. Ignoring this provision leads to the appearance of stylistic errors and shortcomings.
1. The shift in the plan of presentation lies in the fact that, having started writing on one topic, about one subject of speech, then, when constructing a complex syntactic whole (prose stanza), the author deviates from the topic and. jumps to another. For example: Lyrics... How difficult it is to define it! What does the poem mean? Perhaps no other literary genre has such a vague definition. The lyrics were constantly called into question. Poets themselves often think about the meaning and purpose of lyrics and why they write poetry. The reasons turn out to be as different as the poetry itself. Some write a message, for others the purpose of the verse is the reader "> the third admit that they write only for themselves, the fourth unshakably believe in the influence of the lyrics, believing that it helps to reduce evil and increase the amount of good (From the newspapers). At the beginning of the stanza, the question is posed: what is lyricism? Starting with the fourth sentence, the author explains why poets write poetry.
In order to correct such or a similar stanza, the author needs to determine for himself the topic (micro-theme) that he wants to develop and bring his thought to its logical conclusion. In the part of the stanza where he moves on to another topic, it is recommended to draw up a paragraph (red line). 2.
The omission of logical connections between the sentences included in the stanza leads to the absence of a causal relationship between them. For example: An old elk swam along Sakmara, cutting through the muddy water with his mighty chest. Having climbed out onto the deserted steppe shore, he dusted himself off, threw up his proud head and sensitively moved his big ears. Not catching suspicious rustles (and moose, as you know, are blind), he leisurely walked towards the forest belt (From the newspapers). There is no connection between the fact that the moose did not catch suspicious rustles (hearing) and the fact that moose are blind (vision). It is required to restore the missing logical link: ... and moose, as you know, have sensitive hearing, compensating for their natural short-sightedness. 3.
Incorrect paragraph division of the text greatly complicates the perception of prose stanzas. Compositional division makes it easier to perceive the content, correctly place logical accents, and follow the development of the author's thought. The following text can be divided into paragraphs in different ways, depending on the selection of prose stanzas. But without such articulation, its perception becomes much more difficult. For Vysotsky there are no forbidden topics, he fearlessly, with the envy of many boldness, wrote and sang about everything that worried him. But this is freedom, which is morally secured; exact relation to an object or decay. Z The lyrical hero of Vysotsky is morally significant. And also attractive, because you can rely on someone like him, this one will not let you down, you will not be lost with him. Morality is provided by the male character, a phenomenon, you see, is not the most common in our time. Z Vysotsky not only captures, transmits, reflects the drama of life. He is dramatic himself, by nature, his objectivity, individuality, talent. All that he did, and all that he succeeded, was out of restlessness, from a feeling of anxiety that did not leave him. Z Dramatic, according to Pushkin, is associated with passions and outpourings of the human soul. In full accordance with this exact observation, Vysotsky, at a time when half-whispers dominated, on the one hand, and pop noise, on the other, began to speak and sing in an “open voice”, passionately, hysterically, sometimes turning into a cry. The way people sing at home, in a free, relaxed environment, not constrained by strict rules (V. Tolstykh). The special sign Z indicates paragraph division of the text.
Home > DocumentTicket 28. A complex syntactic whole as a unit of language. Compositional-semantic structure of STS. Paragraph and STS.
Complex syntactic integer, or superphrasal unity, (prose stanza) is a combination of several sentences that are closely interconnected in meaning and syntactically, representing a more complete development of thought compared to a separate sentence. Complex syntactic integers are a means of expressing semantic and logical unities. semantic SSC is characterized the unity of the topic, thought, utterance, the close semantic cohesion of sentences.From the side syntactic SSC is characterized by:
specific syntactic means of communication between sentences (chain, parallel, connecting)
unity of subjective-modal coloring
rhythmic-intonational unity (pauses between Ps inside STS are less than pauses between STS). This is determined by the syntactic structure of the SCS, combinations of ops synth constructions
Compositional and semantic structure of the STS:
1. Beginning - the beginning of thought, formulates the theme of the STS. Structurally, the first sentence is built freely and quite independently. But all subsequent ones turn out to be structurally related (word order, aspectual-temporal forms of verbs, intonation and partly lexical composition are subordinate to the sentence-beginning).
2. The middle part - the development of thoughts, topics
3. Ending - sums up not only semantic, but also syntactically.
Structural features of complex syntactic integers Complex syntactic integers can be homogeneous and heterogeneous composition. Between homogeneous sentences in the composition of complex syntactic integers, a parallel connection is found, between heterogeneous - chain. When parallel connections, the content of sentences is listed, compared or contrasted, they usually have structural parallelism. The purpose of such complex syntactic integers is to describe a series of changing events, actions, states, and pictures. For instance: The storm raged over Petersburg like youth returned. Light rain lashed the windows. The Neva swelled before our eyes and shimmered over the granite. People ran along the houses holding their hats. The wind flapped black overcoats. A vague light, ominous and cold, now waned, then flared up, when the wind blew a canopy of clouds over the city.(Paust.).When chain connections (the most common) repeat parts of the previous sentence in the future or use their indicators - pronouns, pronominal adverbs, etc. The sentences, as it were, cling to one another, the next one picks up the previous one, and thus the unfolding of thought, its movement is carried out. For instance: The glass ships foamed the water. The wind blew in their gear. This sound imperceptibly turned into the chime of forest bells.(Paust.). Parallel and chain communication can be combined within one complex syntactic whole. For instance: The falling snow stopped and hung in the air to listen to the ringing that poured in streams from the house.ACinderella looked down at the floor smiling.Around her bare feetthere were glass slippers.Theyshuddered, colliding with each other, in response to chords coming from Grieg's room(Paust.). Between the first two sentences there is a parallel connection, and then the sentences are joined according to the chain connection method.Narrative: a series of changing events relating to the past. Parallel connection, the unity of the forms of the verbal predicate.
Descriptive: unity of species-temporal forms, parallelism of syntactic structure, nominative forms
- The paragraph forms the beginning of his thought and signals the end of the previous one.
The paragraph performs an expressive-selective function.
The most important function of a paragraph is graphic, punctuation highlighting, design of compositional and syntactic units of text - STS, fragments.
Paragraph division does not always coincide with its compositional-syntactic division. In this case, the function of the paragraph is the semantic and stylistic articulation, the complication of the comp-synth structure.
Ticket 29. The phenomenon of isolation in the structure of a simple sentence. Other ways to complicate a simple sentence.
Isolation- semantic and intonational allocation of secondary members in order to give them some independence in the sentence. Separate members of the sentence contain an element of an additional message, due to which they are logically emphasized and acquire greater syntactic weight and stylistic expressiveness in the sentence. Compare: a) The remaining bread on the vine burned and spilled out(J.I.T.); b) Frost woke up from a fractional horse stomp, suddenly escaping from behind a hillock(Fad.). Separation of the subject and the predicate is impossible (the main members serve to express the main, not the additional message), because they are the predicative center (core) of the sentence. The semantic allocation of isolated members of the sentence is achieved in oral speech their intonation: before a separate member (if it is not at the beginning of the sentence) there is a rise in voice, a pause is made, it has a phrasal stress characteristic of the intonation-semantic segments (syntagmas) into which the sentence is divided. In a sentence with isolated members, along with main message, which conveys predicative relations, there is and additional message, which conveys semi-predicative relations, as a result of which the isolated members, in their semantic load and in intonational design, approach subordinate clauses or separate predicates. Frost,fallen at dawn melted in the morning. Frostfell at dawn melted in the morning.It is customary to distinguish the following semantic types of isolated turns:- Turnovers, which are relatively independent message: express relationships attributive ( participial phrases, definitions, applications Masha, the first beauty in the village, fell ill.) and circumstantial(participle turnover, participial turnover with the meaning of the cause frightened by what he saw, he fell silent.)
Turnovers with value clarifications(narrow the information conveyed by the word being defined) - clarifying circumstances of the place (There, beyond the river, the forest rustled.) and time (Before the war, at 37, I was young.) clarifying definitions.
Turnovers with value specifications, explanations(identity, coincidence of concepts, not narrowing, but clarification). Unions namely, that is . They misunderstand you, that is, absolutely like a pig. If there is no union, then put dash. The most important thing was to steal the ax from the tower.
Differ are common and private segregation conditions. The first relate to all or most of the secondary members, the second - only to their individual types. The general conditions for segregation include the following:
1) word order,
2) the degree of prevalence of the sentence member,
3) clarifying the nature of one member of the proposal in relation to another,
4) the semantic load of a minor member of the sentence,
5) the morphological nature of the isolated word: syntactic incompatibility of words related in meaning (for example, personal pronouns and definitions), weak syntactic connection between the defined and defining words (weakly controlled nouns in the indirect case); neighborhood of other isolated groups, etc.
- Word order is important for isolating definitions, applications, circumstances.
- Member Prevalence the proposal is important for the isolation of definitions, applications, circumstances, additions.
- Clarifying the nature of one member of the proposal in relation to another matters for the isolation of definitions, applications, additions, circumstances. For instance: Thick, guards cloth, pants did not go either to the artisan or the farm laborer(Cat.); There were only two of us, Russians, and all the rest were Latvians(N. Ostr.); I want one thing - peace(Cupr.); Far away, somewhere in the thicket, the night bird groaned(M. G.); All night, until the cock's dawn, Chapaev measured the map and listened to the valiant snoring of the commanders(Furm.). the secondary member of the sentence is important for the isolation of definitions, applications, circumstances.