Criteria for the analysis of a language game. Research work "Analysis of the language game in the epigrams of A.S.

Quantitative data

Lexical

9 (0,4)

Stylistic

6 (0,3)

Synthetic

5 (0,2)

Word-building

2(0,1)

Total

22(1,0)

As the table shows, in which quantitative data are presented in decreasing order, the most common means of creating a language joke in epigrams

AS Pushkin are lexical and stylistic (0.4 and 0.3). In addition, the author often uses a combination of lexical and stylistic means (0,2). The smallest share in our material was made by word-formation means of creating a comic effect (0.1).

list of used literature

1. Bally, S. French stylistics / S. Bally. - M, 1961.

Budagov, R. A. Introduction to the science of language / R. A. Budagov. -M, 1965.

Bulakhovsky, L.A. Introduction to linguistics / L. A. Bulakhovsky. - M., 1953.

Vinogradov, V.V. Poetics of Russian Literature / V.V. Vinogradov // Selected Works. - M., 1976.

Vinokur, G.O. About the language of fiction / G.O. Vinokur. - M., 1991.

Volskaya, N.N. Language game in the autobiographical prose of M. Tsvetaeva / NN Volskaya // Russian speech. - 2006. - No. 4. -S. 30-33.

Gridina, T.A. Language game: stereotype and creativity / T. A. Gridina. - Yekaterinburg, 1996.

8. Dzemidok, B. About the comic / B. Dzemidok. - M., 1974.

9. Dolgushev, V. G. The paradox and means of the comic in V. You-
Sotsky / V. G. Dolgushev // Russian speech. - 2006. - No. 1. - S. 49-51.

Zemskaya, E.A. Speech techniques of the comic in Soviet literature / E. A. Zemskaya // Research on the language of Soviet writers. - M., 1959.

Kasatkin, L. L. Russian language / ed. L. L. Kasatkina. - M., 2001.

Kovalev, G.F. Onomastic puns of A.S. Pushkin / G.F.Kovalev // Russian speech. - 2006. - No. 1. - S. 3-8.

Kostomarov, V.G. Language taste of the era / V. G. Kostomarov. - M., 1994.

Novikov, L.A. Semantics of the Russian language / L.A. Noviko Pankov, A. V. Bakhtin's Solution / A. V. Pankov. - M., 1995.

16. Pokrovskaya, E.V. Language game in newspaper text /
E. V. Pokrovskaya // Russian speech. - 2006. - No. 6. - S. 58-62.

17. Russian colloquial speech. - M., 1983.

Sannikov, V. 3. Russian language in the mirror of a language game / V. 3. Sannikov. - M., 2002.

Sannikov, V. 3. Linguistic experiment and language game / V. 3. Sannikov // Bulletin of Moscow State University. Ser. 9. Philology. - 1994. - No. 6.

Sannikov, V. 3. Pun as a semantic phenomenon / V. 3. Sannikov // Questions of linguistics. - 1995. - No. 3. - S. 56-69.

Fomina, M. I. Modern Russian language. Lexicology / M. I. Fomina. - M, 1973.

Fomina, M. I. Modern Russian language. Lexicology / M. I. Fomina. - M, 2001.

Khodakova, E.P. A pun in Russian literature of the 18th century. / E. P. Khodakova // Russian literary speech in the 18th century: Phraseology. Neologisms. Puns. - M., 1968.

Shmelev, D.N. Problems of semantic analysis of vocabulary (based on the Russian language) / D.N.Shmelev. - M., 1973.

sources, dictionaries and accepted abbreviations

Pushkin, A.S. Complete collection cit .: in 20 volumes - M., 1999-2000

(PSS).

Explanatory dictionary of the Russian language / ed.D. N. Ushakova: v4t.-M., 1996 (TSU).

Dictionary language of A.S. Pushkin: in 4 volumes - M., 1956-1961.

The term "language game" belongs to the Austrian philosopher and logician, Ludwig Wittgenstein. Before considering the concept of "language game", Ludwig Wittgenstein thinks about the very concept of play. He writes: “Consider, for example, the processes we call“ games. ”I mean card games, ball games, wrestling, etc. What do they all have in common?<. >... looking at them, you do not see something in common, inherent in all of them, but you notice similarities, kinship, and, moreover, a number of such common features.<. >... we could iterate over many, many kinds of games, watching the similarities between them come and go.<. >... we see a complex network of similarities overlapping and intertwining with each other. "The philosopher calls such similarities" family "-" And I will say that "games" form a family. " general characteristics and properties of the game as a whole; what is inherent in one game does not at all fit the description of another: victory and defeat do not take place in the ordinary throwing of the ball, and dexterity and luck are not inherent in the game of chess. accurately described all the games in general. "You, in essence, do not know what you mean by the word game," - says Wittgenstein.

According to Wittgenstein, the "language game" implies more than just entertainment. So, L. Wittgenstein noticed that people communicate not only in narrative sentences, they ask, thank, give orders, ask, curse, joke and so on. Thus, he comes to the conclusion that there are countless types of sentences, and all of this is included in the human language: ". The types of use of all that we call" signs "," words "," sentences "are infinitely varied. does not represent something stable, once and for all given, on the contrary, new types of language arise, or, one might say, new language games, while others become obsolete and forgotten.<. >The term "language game" is intended to emphasize that speaking a language is a component of an activity or a form of life. "

Thus, according to L. Wittgenstein, all human life is a set of language games: “Language game” I will also call a single whole: language and actions with which it is intertwined. ”According to this conclusion, the term“ language game ”acquires a broader , philosophical meaning (as opposed to a narrow linguistic) .Wittgenstein believed that philosophy finds its roots in the complex labyrinths of language and is a "listening", "peering" into his work, that in linguistic realities there is an abyss of human problems. L. Wittgenstein compares human language with the city: "Our language can be viewed as an ancient city: a labyrinth of small streets and squares, old and new houses, houses with extensions of different eras; and all this is surrounded by many new districts with straight streets of regular planning and standard houses. ”And further:“ To imagine a language means to imagine a certain form of life. ”Thus, reality itself, perceived through the prism of language, is a set of language games Thus, many of the initial actions of a person can be called a game, for example, traditional ceremonies and magic rituals are playful in nature. Also, a game is communication between people, which can occur in three versions:

1. Play within the framework of non-verbal (non-verbal) communication, for example, sports games;

2. Playing within the framework of verbal (verbal) communication, for example, language games like crosswords and puzzles;

3. A game that combines verbal and non-verbal communication, such as a dramatic performance.

The principle of functioning of a word game can be described in the words of I. Hazinga: "While playing, the speaking spirit now and then jumps from the realm to the realm of thought. Any abstract expression is a speech image, any speech image is nothing but a play on words." And further: “We would not like to delve into the lengthy question of the extent to which the means at our disposal are basically the rules of the game. Is it always in logic in general and in syllogisms in particular that some tacit agreement comes into play that the validity of terms and concepts is recognized here in the same way as it is for chess pieces and chessboard fields? " ... According to Huizinga's understanding, any abstract word, or a combination of such words, can be called a word game, since the game still exists at the level of speech creation. That is, it was laid down in the process of creating a linguistic form.

According to V.Z. Sannikov, a language game is some (comic) deviation from the norm, something unusual. The author also draws attention to the fact that this deviation from the norm should be clearly recognized and deliberately allowed by the speaker (writer); the listener (reader), in turn, must understand that "it was said so on purpose" so as not to evaluate the corresponding expression as a mistake, thereby accepting this game and trying to reveal the author's deep intention. In other words, a language game is the deliberate use of the tropical and figurative possibilities of language.

But it is also necessary to draw a clear line between the concept of a "language game" and a "language joke", which is a "verbal form of the comic". Undoubtedly, a language game is mainly aimed at achieving a comic effect, but a statement acquires a comic coloring only if it does not evoke other, stronger emotions that prevent the creation of a comic effect. In our opinion, one can quite definitely speak of a language joke as a kind of a language game aimed exclusively at creating a comic effect. While a language game is a kind of manipulation of language, achieving a comic is far from the only goal of such manipulation. From the same book by V.Z. Sannikov, we will give an example when a language game is used not with the aim of making fun, but with the installation to convince the judges of a person's innocence, thereby saving him:

"One Petersburg lawyer (FN Plevako?) spoke in the case of the murder of a boy. The murderer (a 25-year-old hunchback) admitted that he had killed the boy who was teasing him. And the lawyer got the murderer to acquit him! He built his speech like this." Gentlemen! Gentlemen! Gentlemen! Gentlemen! "- and so on for several minutes. And the reaction of the audience changed - at first a slight bewilderment, then laughter, then indignation, shouts:" This is a mockery! Get out! "And then the lawyer finished his speech:" So, gentlemen. You were furious that I repeated the polite address to you. And my client for 25 years listened to how he was shouted "Hunchback", endlessly reminding him of his misfortune "

Here, in our opinion, we are talking about a language game, but not about a language joke. Thus, we can come to the conclusion that different expression (form) of thoughts leads to different results. Any speaking in a language, in which more or less attention is paid to the form of speech, will be a language game, only the goals of this game can be very different, and depending on the specific task of speaking, you can determine the type of language game. It should be noted that for an adequate understanding of the language game by the addressee, the author must take into account the presence of certain knowledge of the recipient, as well as the cultural space in which communication takes place.

It should also be noted that one of the main characteristics of a language game is the pluralism of word meanings. Indeed, the main, most widespread type of language game - pun is built on playing around with lexical ambiguity or homonymy. For a language game, resources of all language levels are used (albeit not equally):

Phonetics, graphics, spelling. Parodist Yevgeny Vensky, parodying Andrei Bely, uses phonetic means - the repetition of one sound:

Skinny as you are powerful.

Skinny, kaschey those in the cabbage soup! Like a mother-in-law, lean power.

You are the futility of beauty.

A comic impression is made by A. Chekhov's humorous and hysterical address in a letter to his brother Alexander: "Bratt!" Funny signatures are also curious, for example, the signature of one of the Poltoratskys, combining letters and numbers: 1/2, or the signature of the translator Fyodor Fedorovich Fidler - F.F. F. or: F3 (ff in cube).

Morphology. Sometimes linguistic jokes play up (and thereby emphasize) the "inviolability" of a word (word form). Only as a joke can it be cut into pieces:

Write me something about Karamzin, oh, oh (A. Pushkin).

[From anecdotes about the absent-minded professor Kablukov]: Leaving the audience, the professor says: "The next lecture will take place on Tuesday," and then shouts at the door: "Nick!"

N.S. Leskov in the story of Midniters: Nikolai Ivanovich was simpler to the people, but what a painful affliction: he is constantly in three unrest, and everything is in a hurry everywhere deciding to make a question.

Boris Pilnyak uses this technique successfully in his novel Naked Year. In Moscow, during the years of the Civil War, a person, reading in warehouses the store's sign: "Commutators, accumulators", understands it in the spirit of revolutionary irreconcilability ("To whom - tators, and to whom - lyatory") and is indignant at the inequality: "See, and here they are deceiving just people! "

Sometimes the absence of this or that member of the paradigm is played up. On the difficulty of the formation of the form will give birth. case pl. the number of the word poker (poker? stoker? poker?) M. Zoshchenko built, as you know, a whole story (recall that authoritative reference manuals by A.A. Zaliznyak, N.A. however, on its difficulty).

Often, the ignorant understanding of foreign proper names in - a, - i as denoting female persons is played out:

Just think, Spinoza was found!

Senechka. Maria Sergeevna, I loved you without impudence, politely, like Dante his Petrarch (V. Shkvarkin).

The comic effect is produced by the formation of a shameful or superlative degree from words that do not have it: Let you devil. Yes, our devils / All devils / A hundred times devils (A. Tvardovsky. Vasily Terkin).

[Kids Talk]:

Dad told me himself.

Mom herself told me.

But dad is like mom. Dad is much more self (K. Chukovsky. From two to five).

Playing on the category of the person of the verb is to use one person instead of another. A. Chekhov liked to use this technique. Here are examples from his letters to his wife, O.L. Knipper-Chekhova, where he jokingly speaks of himself in the third person: I kiss you hard. Don't forget your husband. He's angry, he's fighting; Do not forget your husband, remember him at least once a day. I hug you, my drunkard. Your husband is wearing shabby trousers, but not drinking.

Another example is playing around the category of the perfect form of verbs indicating a short duration of action:

Why are you all blowing the trumpet, young man?

You'd better lie in a coffin, young man (O. Mandelstam).

In "normal" usage, if, for example, you can lie in bed and lie in it, then you can only lie in a coffin.

Word formation. A language game can consist, in particular, in breaking the restrictions on the formation of possessive adjectives. Wed: His [Kerensky's] eyes are bonaparte and the color of a protective jacket (V. Mayakovsky).

Another widespread phenomenon is the non-standard use of augmentation and diminutive suffixes. M.E. was very fond of this technique. Saltykov-Shchedrin to discredit his heroes. Wed: But now he becomes an official. Is it not a worthy vessel, is it not despicable? sorry, little vessel !. with what trepidation he takes a piece of paper in his hand, sharpens a feather with a knife, how his miniature imagination works, how his tiny thought works, inventing<. >every expression of an intricate relationship. Here are some more examples from the works of Saltykov-Shchedrin: Designers; poets and poetics; minx; playful; chatterbox.

The use of Russian word-formative prefixes and suffixes in foreign proper names and geographical names has a similar effect. Here's a joke - a grim political prophecy for the year 2000: New York Times headline: Texas, Michigan, and Primissippia Farmers Exceed Spring Sowing Plan.

Syntax. Some syntactic constructions can be understood in two ways, and this allows them to be used in a language game:

"What are you there, Manichka, you read so loudly !?" - "History, mom". - "So read to yourself." - "Yes, in History, mommy, nothing has been written about me" ("Satyricon" magazine).

A gentleman, a participant in the funeral procession, turned to a neighbor: "Can you tell me who the deceased is?" - “I don’t know for sure. I think that it’s just the one that rides in the front carriage” (Jules Renard).

The adverbial turnover can indicate a simple simultaneity of unrelated events, but it can also contain a rationale for what is described in the first part of the sentence, cf.:

[Family scene]: "I was a fool to marry you!" - "Yes, but I was so carried away by you then that I did not notice it."

In some cases, the joke is based on a deliberate violation of the principles of word combination:

He left by train, returned by a donkey.

Today I am returning to my dear Odessa on an evening horse (the movie The Elusive Avengers).

The boy asks: Where is the mother from this girl? (modeled on: Where is the head from this doll?).

Introductory words and phrases like you see, understand, etc., it would seem, are appropriate for any address to you. There are, however, such specific conditions when their use leads to a comic effect, for example at a funeral:

Sleep well, dear comrade! The memory of you, you see, will remain in our hearts for a long time. Got it, no?

Some syntactic constructions assume the plural of the noun included in them, which can only be jokingly replaced by a single one:

Under Alexander I, in official court announcements, people of such and such ranks, as well as noble persons of both sexes, were invited to receptions. Zhukovsky did not have a specific rank in the service at court. He joked that on solemn holidays and days of court visits, he was a noble person of both sexes (Russian literary anecdote).

Verbs denoting the physical actions of specific creatures (run, walk, walk) are reluctantly combined with the designations of geographic units, and the larger the unit, the more unusualness is felt:

But daddy and mommy fell asleep in the evening

And Tanechka and Vanechka - running to Africa [.]

They walk along Africa

Figs-dates pluck (K. Chukovsky. Barmaley).

Stylistics. The comic impression is produced by the use of special terminology - sports, military, scientific and technical, etc. when describing ordinary everyday situations:

At the athlete's wedding, a woman addresses a young man:

Excuse me, are you the groom?

No, I was eliminated in the quarterfinals.

Hey, Slavs, that from the Kuban, / From the Don, from the Volga, from the Irtysh, / Occupy heights in the bath, / Fix yourself slowly! (A. Tvardovsky. Vasily Terkin)

[Declaration of love by a student of mathematics]: Natasha, dear, desired! / The triangle of passions has wounded me / Multifaceted love has stuck (M. Isakovsky. Formula of love).

The comic effect can be created by parodying the features of the style:

The hunter Chertteznaev returned to his native camp with rich booty. Imagine the surprise of the 60-year-old hunter when it turned out that the fur of the two foxes he killed was artificial! This is not the first case of shooting foxes with artificial fur in Yakutia (Literaturnaya Gazeta, page 13).

A great comic charge is contained in the so-called macaroni speech, where words and forms from different languages ​​are mixed, cf .:

Ardalyon Pankratyevich (beetroot nose, dull eyes) entered the room and (in a sour voice):

Mother, bring a glass.

Ardallion's maidens flushed, nodded their bodies, performed a politeness with a conversion:

Purqua, vater, do you whip vodka early in the morning? (A. Fleet, a parody of Peter I by A. Tolstoy).

The comic effect is created here by mixing three languages ​​- Russian (colloquial-archaic), German and French.

Many authors like to play not with single words or combinations of words, but with whole texts. A simple combination of two texts (completely neutral or even poetically sublime!) Can lead to ambiguity and produce a comic effect, as happens in N. Teffi's story, where lines from two of Pushkin's poems are combined:

Pushkin. was inspired by the nanny to his best works. Remember how Pushkin spoke of her: "My decrepit dove. My decrepit dove. My treasures are hidden at your bottom." “Pardon,” the young man interjected. - it's like an inkwell.

Pragmatics. There are general laws of communication, which should be guided by all speakers, no matter what language they speak. One of these postulates is the postulate of informativeness ("Communicate something new"). Pushkin, violating it, achieves a comic effect in the following (completely uninformative) address to Pavel Vyazemsky: My soul is Pavel, / Stick to my rules: / Love this and that, / Don't do that. / Seems clear. / Farewell, my lovely.

Another postulate is the postulate of truth or sincerity ("Tell the truth"). Violation of it is also unusual and can sometimes lead to misunderstandings. Let's recall the scene when Pinocchio with the cat Basilio and the fox Alice come to the tavern:

The owner of the tavern rushed out to meet the guests<. >

It would not hurt us to have a snack with a dry crust, ”said the fox.

At least a crust of bread would be treated, - repeated the cat<. >

Hey, master, - said Buratino importantly, - give us three crusts of bread.

Cheerful, witty Pinocchio is joking with you, master, - the fox giggled.

Meanwhile, Buratino was not joking, he strictly followed the postulate of truth (sincerity). He did not take into account that the Cat and the Fox (like all of us) tend to exaggerate (or underestimate), compare: I told you a million times .; Can I have you for a second? We are used to such inaccuracies, exaggerations, but Pinocchio is not yet.

Another example of a violation of the postulate of truth to create a comic effect: Gypsies run, dirty ones - it's scary to look. Take such a gypsy, wash him with soap, and he immediately dies, cannot stand the cleanliness (A. Tolstoy. The Adventure of Nevzorov, or Ibicus).

Often, a language game uses the features of different types of speech acts (such as statements, requests, questions, etc.). Sometimes one type of speech act is "disguised" as another: a request in the form of a question (could you give me salt?), Etc. Here is an anecdote that plays up this phenomenon:

Guide: "If the ladies were silent for a minute, we would hear the terrifying roar of Niagara Falls." The request to be silent (with elements of reproach) is presented in the form of an assumption.

The so-called communicative failures (the result of a different understanding of the purpose of the statement) can also be played up:

The doctor - to the patient: "Take off your clothes!" - "And you, doctor?"

A language game has many of the characteristics of a game in general. Like the category of play, word play creates a special, conditional model of reality. This is how mankind creates again and again its expression of being, a second, fictional world next to the natural world. In any text space, the conditional model manifests itself in a double linguistic code, which, thanks to the game of words, both the author and the recipient use, switching from an explicit way of expressing the perception of meaning to an implicit one and vice versa, which defines both as Homo ludens. In addition, a special beauty is also inherent in the language game, it has a kind of rhythm and harmony. The game of words lives according to certain rules, which are accepted by two playing parties: the author of the game and its recipient, who, in the process of guessing the meanings, becomes the co-author of this communicative process. But, as far as the rules for constructing a language game are concerned, they can be freely established or violated. Moreover, there is no less sense in the act of destroying a certain author's structure than in the act of creation, and the creative effect is even more significant. A language game, along with the concept of a game, often contains a certain secret, a secret. This postulate is reflected in the camouflage function performed by the language game. Indeed, according to 3. Freud, the language game, as it were, hides the indecent, forbidden, cynical, absurd. Finally, the language game is satisfying. The addressee receives aesthetic pleasure from solving the elements of word play, which R. Bart defines as pleasure from "the complexity of meaning." This increases the recipient's own self-esteem. At the same time, the player talks about the pleasure of playing, but in fact it is pleasure from oneself with the help of the game. And since a person is a tireless seeker of pleasure, this property most attracts the attention of the recipient to the phenomenon of a language game. Like the phenomenon of play itself, language play does not pursue specific practical goals other than pleasure and avoiding boredom. Moreover, it is this property that is called by the philosopher J. - F. Lyotard as one of the main ones. Confirmation of this is folk speech or literature, where the incessant invention of phrases, words and meanings brings great joy, while developing the language. Moreover, the pleasure from the game is received not only by the recipient, but also by the author himself, who, using the means of the language game, achieves the effect of the utmost sharpening and clarification of the meaning. The absence of a goal gives rise to the absence of a predetermined result planned by the goal, which gives the game dynamism, turning it into an endless process and concluding its meaning not in the end, but in the movement itself.

A language game, in addition to following certain goals, also implements specific functions. Among them:

the aesthetic function, which consists in a conscious desire to experience and evoke in recipients a sense of beauty by the very form of speech;

a gnostic function aimed at generating a new model of the world by re-creating already existing linguistic material;

hedonistic function, its essence - in the entertainment of the recipient with an unusual form of speech;

a pragmatic function aimed at drawing attention to the original form of speech;

the expressive function serves as a more figurative, and, accordingly, a more subtle transmission of thought;

the pictorial function helps to visually recreate the speaking situation, as well as in some way characterize the person whose words are transmitted;

occasionally researchers highlight the poetic function of the language game.

This is how the authors of a monograph devoted to the problems of Russian colloquial speech substantiate this position: “While playing, the speaker pays great attention to the form of speech, and the striving for communication as such is the most characteristic feature of the poetic function of language. Thus, the play function of language is one of the particular types of poetic function ";

a disguising function that puts on a "mask" of decency, prudence and logic on any obscene, cynical or even absurd text.

Many linguists consider the language game as "a special kind of speech-creative semiotic activity." Like any game, it is carried out according to the rules, which include:

1) the presence of participants in the game - the producer and recipient of the speech;

2) the presence of play material - language means used by the author and perceived by the recipient of speech;

3) the presence of the conditions of the game;

4) familiarization of the participants with these conditions;

5) the behavior of the participants in accordance with the terms and conditions.

"The condition of a language game concerning the behavior of its participants is understood as the obligatory use in the process of a language game of this type of mental activity, in which the producer of speech appeals to the recipient's presumptive knowledge and" pushes "him to establish a conclusion, the premises of which are the verbalized text and non-verbalized presuppositions - the fund of general knowledge of the producer and recipient of the speech. " At the same time, it should be noted that the rules or conditions of the language game are immutable; even the slightest deviation from them means an attempt to quit the game.

Introduction

2. Analysis of the use of various types of language games in speech activity

Conclusion

List of used literature

INTRODUCTION

The study of the language game has a long tradition dating back to antiquity. The mention of play on words, “funny verbal phrases” as a means of joking or “deceiving” the audience is contained in the “Rhetoric” of Aristotle (1; pp. 145-147).

In our era, the problem of the language game has acquired particular relevance in the 80s, the period of the most effective study of colloquial speech. The first systematized description of the phenomenon of a language game in Russian studies can be attributed to the publication of a collective monograph edited by EL. Zemskoy (14; p172-214).

The work of E. A Ageeva, T.V. Bulygina, I.N. Gorelova, T.A. Gridina, N.A. Nikolina, V.Z. Sannikov, K.S. Sedova, A.D. Shmelev (4; 7; 8; 13; 16).

A language game is a multidimensional phenomenon that has both a stylistic, psycholinguistic, pragmatic and aesthetic nature. The versatility of this phenomenon makes it difficult to consistently and comprehensively define a language game, not all aspects of which have been studied well enough.

The purpose of the work is to analyze and describe and classify independently selected factual material - various types of language games extracted from the speech stream.

A language game in speech arises in different ways. In one case, the addressee uses what he already knows, remembered and skillfully reproduces at the right time. As a rule, these are well-known formulas that have already become a cliché. We were interested in those situations when a language game (as the interaction of systemic and asystemic) was created directly at the moment of communication, and attention was paid to an insufficiently studied aspect of the problem - play at the text level. The foregoing determines the novelty and relevance of the topic.

Research methods: study of the degree of elaboration of various aspects of the problem in the specialized literature; observation; analysis of the use of various types of language games in speech practice (genres of spoken language); classification.

The results obtained: the most productive and some poorly studied methods of language play in speech communication were selected and described, the existing classification of the types of language play was supplemented.

The effectiveness of the research is determined by the novelty of the presented material; the data obtained can be used to demonstrate the aesthetic resources of the language, embedded at all levels of its organization and implemented in speech, which helps to more fully and versatile master the expressive capabilities of the Russian language.

The work on this problem was organized in this way.

First, theoretical sources on the research question were analyzed, for several months the collection of factual material was carried out (examples of language play in colloquial speech) 1, then the description of practical material was made, which in some cases was supplemented with examples from works of fiction, where language play serves as a marker of colloquiality.

The work consists of an introduction, a main part consisting of two chapters (theoretical and practical), a conclusion and a list of used literature.

1. Theoretical background of the research

Normativeness and expediency are elements of speech culture that together form speech mastery. The ability to use normative speech structures correctly and linguistically correctly, knowledge of linguistic norms is necessary when creating any utterance. Human speech activity is based on the use of mainly ready-made communicative units. When creating both a prepared and an unprepared statement, schemes and clichés are used. Communication stereotypes, in which linguistic units are linked to typical situations, are manifested at the level of genre forms.

Genre frames are characteristic of various speech forms (dialogical and monologic, prepared and unprepared, official and unofficial), implemented in various communicative situations:

In real communicative situations (mainly in colloquial speech), a deliberate violation of the linguistic stereotype often occurs, caused by the desire to draw the interlocutor's attention to the non-standardness of his own speech, as well as the ability to master the associative potential of linguistic units. In this case, it is permissible to talk about the aesthetic elements of everyday everyday communication. The peculiarity of live conversational communication lies precisely in the fact that, due to informality, spontaneity, ease, stencils and standards are combined in it with a clearly expressed attitude towards creativity.

In communication, creativity manifests itself primarily at the level of a language game. The personal experience of the creative nature of the language is greatly enhanced when the word becomes identical to the game. The playful function of the language is very important. It frees the subconscious, makes the process of comprehending the world free, direct and attractive. “Human culture has arisen and unfolds in the game, like a game ...” asserts I. Heizinga (19; p. 9),

From a systemic-linguistic point of view, a language game is viewed as an anomaly - “a phenomenon that violates any formulated rules or intuitively felt patterns”, (4; p. 437), “a deviation from the stereotype of perception, education and use of language units programmed by a language game "(9; p. 9).

As a phenomenon of the sphere of discourse, a language game, according to N.A. Nikolina E.A. Ageeva, “presupposes the systematic nature of language (and the systematic nature of its use) as a prerequisite for the implementation of various kinds of derivations, deviations from the“ correct ”(habitual, communicatively conditioned) construction of language and the functioning of speech units "(13; p. 552).

The main communicative task of a speaker using a language game is deliberate detachment from the word, verbal reflection both in the mind of the addressee and in the mind of the addressee of speech.

As the philosopher Th. Lipps, language play in speech gives us "contrast of representations", "meaning in nonsense", "confusion due to misunderstanding and sudden clarification." "The contrast arises, for example, due to the fact that we recognize a certain meaning behind words, which, however, we cannot then again recognize for them" (quoted from: 18; p.7).

To appreciate the funny, you need the ability to analyze, reason, compare.

The game presupposes an obligatory focus on a communicative situation that has signs of ease, informality. A language game serves as a marker of colloquiality, since the listed features “refer to the components of the communicative act that form spoken language. In other words, colloquial speech creates optimal preconditions for the emergence of a language game, however, the language game itself becomes ... a sign of a certain communicative situation - a situation of easy communication ”(13; p. 353).

Psychologists consider play to be one of the basic properties of human culture. The authors of the textbook "Fundamentals of Psycholinguistics" IN Gorelov and K.F. Sedov consider the game as a type of activity that does not pursue any clearly expressed specific practical goals: "The purpose of the game is to please the people who take part in it." Researchers propose the following definition of the phenomenon under consideration: "A language game is a phenomenon of verbal communication, the content of which is an orientation towards the form of speech, the desire to achieve in the expression effects similar to the effects of artistic literature" (7; p. 180). These kinds of effects are comic in nature.

The language game is set for a comic effect. In this context, the ideas about the unofficial nature of laughter, which creates a "familiar festive collective" opposed to any official "seriousness", are very indicative of the ideas present in Bakhtin's works. “Real laughter,” the researcher noted, “does not deny seriousness, but purifies and replenishes it. Cleans from dogmatism, one-sidedness, ossification, from fanaticism and categoricalness, from elements of fear or intimidation, from didactism, from naivety and illusions, from bad one-sidedness and unambiguity ... ”(3; p. 17).

The mechanism of the comic can be manifested in the implementation of illocutionary components: jokes, witticisms, jokes, puns, ridicule, irony. The comic effect shortens the distance in interpersonal communication, helps to decipher the hidden irony, the perception of a joke.

The comic is certainly based on some kind of contradiction, the unification of several representations into one whole, which are alien to each other in their inner content. In this regard, the philosopher Th. Visher and the poet Jean Paul remarked figuratively: "Wit is a priest in disguise who crowns every couple ... He most willingly crowns the couple whose connection the relatives are intolerant of" (18; p. 7). The game of language does not contain logical necessity, but it liberates and unravels the thought process.

The discoveries that the participants in a communicative situation make, push the limits of imagination, encourage creative search, educate the ability to listen and hear, and develop quick response to a word. The effect of suddenness and unexpectedness in the made linguistic discoveries enhances their impact on the addressee, and the humorous coloring, the desire to play makes them understandable and accessible.

A language game develops a linguistic flair, the ability to think logically, listen and hear, freedom in handling concepts, ease and joy of communication.

For all stylistic figures of speech in the book, the technique of graphic selection in the text is used - all expressions built on the language game are highlighted in capital letters. "HE just became NOT YOURSELF." "I always have FREE ENTRANCE!"

The most common playful technique in this text is the materialization of a metaphor or phraseological unit. A stable expression is broken into parts and an abstract concept is personified or reified. For example, in the second chapter, the appetite goes hungry, with a lost look, no one needs. He can be put on a chain, made to guard the house. “There's a draft here,” Esquire remarked. - What do you, my friend, you imagined, there is no one here but the two of us! Peng reassured him. " “From this conversation, we see that the draft is mistaken for Mr. Pan for an animate being.

“Such a thought came to his mind, or maybe it didn’t even come, but flew in, because it happened in a strong draft, when ...” - the first thing the author does is to insert the phraseological unit “the thought came” into the text. Then the author breaks it down and the abstract concept of thought becomes an actor that can come or fly, and even an external object that is born not in the head, but somewhere outside it.

"I'm losing my head ... Day of Loss!" - the collocation “to lose your head” is dismembered and the word head becomes a lost object, if we consider that the speaker is Mr. Peng works in the lost property office, then a comic appears, the language game becomes a language joke. "The mountain fell off my shoulders ... - How many times have I asked you not to carry heavy loads." The mountain seems to be a kind of object, which is carried, carried from place to place, because it is put on a par with "weights", in the word gravity we see furniture, heavy bags, that is, these are heavy things, heavy objects, load Big Explanatory Dictionary ... http://www.gramota.ru/slovari/dic/?word=%D1%82%D1%8F%D0%B6%D0%B5%D1%81%D1%82%D1%8C&all=x, which are enough compacts, no one will see in the word gravity a locomotive or a house, and even more so a mountain. But in D. Rubina's text, the mountain, like the head, becomes a literal object, defamiliarisation occurs. (V. Shklovsky. Art as a device, in his book. On the theory of prose. M., Federation, 1929, 11-12)

Sometimes the game can be based on an unnamed phraseological unit. "Dead silence" is absent in the text, we immediately read in the dialogue the phrase "Just a minute ago the silence was alive, but now it has died from fear." As in the previously given examples, the phraseological unit was broken into parts and each of the words began to be perceived literally, with the word "silence" there was an impersonation.

A literalized phraseological unit or metaphor can be combined with other fixed expressions or their parts. In the third chapter, after classifying the concept of "vocation" as an object and returning it back to the category of abstract quantities, Esq. With a sigh says that "you have to SEARCH, then YOU WILL FIND YOUR VERSION", and you will be able to say that "FOUND your CALLING."

The position of stable expression in context also plays an important role. Sometimes only with the help of a few sentences is the meaning of one or another path revealed. For example, "it is difficult to find your calling", thanks to the meaning of the previous sentences, takes on a literal meaning. “While I was wandering through the marshes looking for that idiot Mr. Boole, I suddenly realized ... there is and cannot be any calling away from strawberry pudding. .. So, sir, I tell you - it is very difficult to find your calling. " Indeed, while Benjamin Smith was looking for a vocation (as a subject), he overcame many difficulties: he wandered through the swamps, was left without strawberry pudding. Esquire was really hard. On another occasion, the author writes: “… the trip over the tiles left an indelible mark on the trousers of Trikitaka. That is, no matter how much Aunt Trotty tried to smooth out the accordion on his pants with a hot iron, the mark remained indelible. " Thus, if in the first use of the word "indelible" we see an abstract meaning, then the next sentence dispels this impression, making the meaning of the word "indelible" literal.

The author also endows rhetorical statements with the literalness of the dictum: "I cannot live without him (appetite - N.K.)!" - exclaims Mr. Pan, and this is absolutely true. A person without appetite stops eating, and without food he dies after a while, that is, it is impossible to live without appetite. The author returns the postulate of sincerity to phraseological units. The same thing happens in the dialogue between Pan and Smith: Mr. Boole will share his experience, "... do you think he is not greedy?" Experience acts as something that can be divided into parts.

In addition to dividing expressions and playing with words obtained as a result of this dividing, the author often plays with parts of one word - at the same time they become independent words; In a word game, words are often used that are not related to independent words derived from parts of a split word: “announcement - we will declare a phenomenon”, “horizon” becomes a sentence with a verb in the imperative mood and an appeal to the umbrella “Gori-Umbrella”. In search of a hobby, Peng intends to take up "astronomy", but Esquire dissuades a friend, claiming that "asters are whimsical."

New words are created "he landed, or rather COVERED", from the word offends appears "offensive acid".

The qualities of homonymy and antonymy give rise to another way of playing with words. “Why don't we take care of the environment? "But today is Thursday!" The word Wednesday in the first sentence has a meaning - the place of residence, in the second sentence - the day of the week. And in contrast to the previously given example, we see in the text the following type of language game - "the note read ... no, she was silent ...". The verb read has two meanings, see the Big Explanatory Dictionary. http://www.gramota.ru/slovari/dic/?lop=x&bts=x&zar=x&ag=x&ab=x&sin=x&lv=x&az=x&pe=x&word=%D0%B3%D0%BB%D0%B0%D1% 81% D0% B8% D1% 82% D1% 8C, one of which the opposite of the verb was silent, is played out.

As one of the methods of a language game, the ambiguity of words is actively used, which is enhanced with the help of syntax. Such groups of sentences are widespread, where sentences follow each other as follows: “… it is midnight. She stepped right on the Trikitaka house. " First of all, the author uses the ambiguity of the word "has come", and then the syntactic feature - homonyms follow one after another, in sentences that continue each other.

There are many examples in the text when linguistic patterns established by the author himself may be violated. For example, as we wrote earlier, “he landed, no, or rather, he took cover, because he was on the roof”, a new word is created (the condition for creation is the place where the main character turned out to be, the need to create this new word is spelled out in the next sentence COVERED changes the semantics, "covered up on a weathervane." Not only the logic of creating an expression is violated, but also the expectations of the reader. Such transformations can occur with a word denoting an abstract concept. Also, from the earlier examples, we saw that the word "vocation" initially sounds like an abstract concept, then materializes, then again turns into abstraction (by prescribing a definition by the author) and finally, for the third time, it transitions into the world of objects, and as such, it already exists until the end of the chapter.

Stylization for an English literary work is organically reflected throughout the tale, especially clearly manifested in individual episodes. Pen Tricitaka's first meeting with Aunt Trotty's dog Lady Emmy Suite is similar to an English novel. A high syllable is used.

"He stood in front of the booth ... and thought about how best to let people know about himself .. The lady was silent" (the author achieves the effect of impersonation by shortening the dog's name). Then events develop rapidly: interrupted, rang with a chain (it seems that this is a chain of the order), but the illusion breaks - dragging the chain, the dog climbed out of the booth, the bulldog jerked.

Separately, it should be said about the games based on phonetics. The sound shell of the word is used to describe and emphasize the character of the characters. Starting with a name that sounds emphatic. For example, TeTya TroTTi. "T-t-t-t-t" - like the crackle of a machine gun, or as an imitation of the sound of a fast conversation. This is also the character of the aunt: she is talkative, she is straightforward, she always says everything "head on".

The author finds another opportunity to use phonetics in the phrase often repeated by Benjamin Smith: "The thing must be done." And even one of the chapters is called that. The author plays with the sounds "D-d-d-t" - it is like a measured blow of a hammer, beat loudly, loudly, loudly and achieved his goal, therefore he still slightly tapped "t". This is Benjamin Scott's model of behavior.

Appetite is consonant with the phrase "this type", offensive acid offends, here we see a paronymic attraction, when in the process of speech ascorbic acid turned into offensive.

As you can see from the list, the writer uses a variety of wordplay techniques. Phonetics, syntax, morphology, graphics, semantics - at all these levels of the language, the author creates more and more examples of the language game.

Identify the main means and techniques of a language game used in the speech of a strong language personality; characterize a weak, average and strong linguistic personality; to determine the main criteria and properties, types and methods of a language game; explore the basic functions of a language game ...

If this work did not suit you at the bottom of the page there is a list of similar works. You can also use the search button