About pop stars

Many pop stars talk with particular pleasure about the scandalous fame they had during their school years. They annoyed teachers in class; their hairstyles shocked those around them. There were also those who were retained for the second year.

The problem of this text can be indicated as follows. People achieve fame by any means, including not always worthy ones. If only they (these people) were heard. After all, great fame, scandalous or laudatory, arouses interest in the “star”. Moreover, both to the man himself and to his work.

Commenting on this problem, we can say that fans of the performer, teenagers and young people, often take facts from the biography of the idol as an example to follow. And the phrase “to make life from someone” takes on a negative meaning if these examples are not the best. After all, the younger generation is people with little life experience, so it seems to them: if they start behaving defiantly, despise public opinion, go “against the grain,” success in life will come by itself.

What is the author's position? He critically evaluates those artists who have not developed the right guiding idea for themselves. An artist who can sing well is happy with fame and money. But in order to succeed as a creative person, this is not enough. A true artist is distinguished by the uniqueness and inimitability of his talent, which is unlike anyone else’s talent. And shocking statements about how “bad” he is, and therefore equal to the public, mere mortals - these statements will not elevate him, will not decorate him.

I agree with the author’s opinion and believe: a real artist, who respects himself and his work, will not make faces and slander himself in order to please the tastes of an undemanding public. The audience will believe the artist only if he, as an artist, is honest both in life and in his stage image. It also happens that idols “forget” about the heights they have achieved, and when they see those in need of help, they do everything in their power for them. Many years ago, Joseph Kobzon flew to Afghanistan seven times to speak there before the temporarily deployed contingent of Soviet troops. Immediately after the Chernobyl disaster, Alla Pugacheva found herself in the disaster area with a group of artists, where she performed in front of the liquidators of the accident. Chulpan Khamatova is the founder of the Help Children Foundation. Singer Alsou has cured more than one seriously ill child at her own expense. The team of “Buranovskie Babushki” uses the money they earn to build a temple in their village.

The second example is given from the tragedy of A.S. Pushkin "Mozart and Salieri". The main characters are antipodes: the brilliant and trusting Mozart and the gloomy Salieri, tormented by envy and malicious intent. The author of the tragedy based the plot on the legend of Mozart’s poisoning by his secret enemy. However, as facts testify, Salieri was the author of many operas and the teacher of Schubert, Liszt, and Beethoven. And although he “made craft... the foundation of art,” he reached heights in his work. Otherwise, Mozart would not have called him his friend and would not have glorified their “sincere union.” Perseverance and hard work elevated Salieri.

Nothing less than talent and activity will create glory for a person.

(1) For some reason, many modern pop stars talk with particular pleasure about how poorly they did at school. (2) Some were reprimanded for hooliganism, some were retained for the second year, some made teachers faint with their breathtaking hairstyles... (3) One can have different attitudes towards such revelations of our “stars”: these stories alone about their mischievous childhood makes them touch, others begin to grumpily complain that today the path to the stage is open only to mediocrities and ignoramuses.

Composition

A person changes every day, and the formation of his worldview can be influenced by a huge number of factors: family, friends, study, the Internet, mass media, and each of these categories is important in its own way. In this text, I. Gontsov raises the pressing problem of the influence of art on a person’s worldview.

We are introduced to the story of the narrator, the hero of which is a DJ, a typical obedient “servant of the crowd.” When the journalist asked him about what he wants to sow in the “gullible hearts” of young listeners, what he wants to achieve with his activities, what he wants to teach the audience and what role he plans to play in their lives, the “pop star” responded only with a bewildered snort. The publicist draws our attention to the civic immaturity of modern “artists”, to the irresponsibility of the entire media sphere, and leads the reader to the idea that, being idols of youth, such “stars” often do not even think about what information they bring to the masses and what they represent for the younger generation. From everywhere, from screens and radio stations, we can hear arrogant stories about the youthful “exploits” of modern “stars”, which a few years ago would not have been talked about publicly - most likely, the “idols” of the past would have been simply ashamed of it . Instead of stupid and corrupting stories, they would convey to their audience more useful information, which later, quite possibly, would become fundamental in the lives of one or even several generations of teenagers.

Art is a part of national culture, designed to educate people in all that is bright, pure and worthy, and therefore there is not and cannot be a place in it for irresponsible and immoral citizens. I. Gontsov believes that art plays a key role in shaping a person’s worldview, therefore representatives of this type of social activity must be aware of all the responsibility that falls on them and appear in the world not as helpful buffoons, but as experienced and wise educators. The moral and spiritual state of the entire society depends on how pure, sincere and correct the activities of modern artists and simply creative individuals are.

I cannot but agree with the author’s thought: indeed, people form their worldview based on what they see around them, on TV and on the Internet, and what they hear from their idols. People who have elevated themselves to the rank of “star” have a huge responsibility: to adequately influence the spiritual state of people and instill in them a desire for creation, and not for degradation. That is why all idols need to take doubly seriously the information they convey to listeners, and ordinary artists need to be as demanding as possible about their creativity.

In the story by A.I. Kuprin "Garnet Bracelet" the author introduces us to a real, highly spiritual artist who is faithful to his work. The main character, Zheltkov, saw in Beethoven’s sonata not just aesthetic pleasure, he found in it the response of his soul, because in the 19th century the so-called “idols”, extremely talented artists, were much more demanding of their creativity and invested everything in it. your soul. Therefore, Vera Nikolaevna could not hold back her tears: after listening to the work of the great composer, the woman, having passed through herself the whole gamut of emotions that Beethoven put into his brainchild, was unable to control her feelings - the sonata was so intense, so deeply it penetrated the human soul. Unfortunately, today few of the modern “stars” can boast of a similar effect - they are closer to empty pathos and playing to the public, and Beethoven’s sonatas, even centuries later, continue to change the inner world of people.

A.P. also wrote about how real art can influence a person’s worldview in his story “Rothschild’s Violin.” Chekhov. The author introduces us to the story of the life of a fallen soul, the undertaker Jacob: a stingy and evil man. This hero, it would seem, was completely incapable of goodness and love, and, most definitely, could not be an example for anyone. However, picking up a violin, the hero is spiritually transformed and rethinks his life. With the help of art, Bronze not only changes his worldview: his playing touched the most delicate strings of the soul, first of Rothschild, and then of crowds of ordinary listeners. Yakov put his entire soul, as it turned out, not spoiled by years and stinginess, into one melody, all the sad experience of his entire life, and after the death of the hero, his work permeated many people for a long time, because what Bronze put into the melody was close to everyone . Perhaps during his lifetime he was not able to set a good example, but with his creativity Yakov saved and transformed a large number of people, which means that his activities were directed in the right direction.

In conclusion, I would like to note once again that art shapes taste and character, attitude to life and the policy of achieving the goals of a maturing personality, and, in general, a person’s worldview, and therefore it is very important that this sphere of social activity has worthy representatives.

An example of writing an essay based on a text by I. Gontsov.

Essay based on the text by I. Gontsov.

Essay on I. Gontsov

Text according to I. Gontsov:

For some reason, many modern pop stars talk with particular pleasure about how poorly they did at school. Some were reprimanded for hooliganism, some were retained for the second year, some made teachers faint with their breathtaking hairstyles... You can have different attitudes towards such revelations of our “stars”: some of these stories about mischievous childhood lead in awe, others begin to grumpily complain that today the path to the stage is open only to mediocrities and ignoramuses. But most worrying is the reaction of teenagers. They have a strong belief that the shortest path to fame runs through the police nursery. They take everything at face value. They do not always understand that stories about a “crazy” childhood, when the future “star” amazed everyone around him with his exotic uniqueness, are just a stage legend, something like a concert costume that distinguishes an artist from an ordinary person. A teenager not only perceives information, he actively transforms it. This information becomes the basis for his life program, for developing ways and means of achieving his goal. That is why a person who broadcasts something to an audience of millions must have a high sense of responsibility. Is he actually expressing his thoughts or is he unconsciously continuing his stage act and saying what his fans expect from him? Look: I’m “one of my own”, just like everyone else. Hence the ironic and condescending attitude towards education, and the flirtatious mockery: “Learning is light, and ignorance is a pleasant twilight,” and arrogant narcissism. But the transfer ended. What remains in the souls of those who listened to the artist? What seeds did he sow in trusting hearts? Who did he make better? Who did he direct on the path of creative creation? When a young journalist asked these questions to one famous DJ, he simply snorted: screw you, that’s not what I’m here for... And in this bewildered indignation of the “pop star” civic immaturity and human “undereducation” are clearly manifested. And a person who has not yet built himself as an individual, has not realized his mission in society, becomes a humble servant of the crowd, its tastes and needs. He may be able to sing, but he doesn’t know why he sings. If art does not call to the light, if it, giggling and winking slyly, drags a person into a “pleasant twilight”, if it destroys unshakable values ​​with the poisonous acid of irony, then a reasonable question arises: is such “art” needed by society, is it worthy of it? to become part of the national culture? (According to I. Gontsov)

Essay based on the text by I. Gontsov

Personality formation occurs under the influence of various factors, one of which is the influence of authoritative people: parents, teachers, actors, pop stars. Their life experience and views, as I. Gontsov rightly notes, become the basis for the life program of many young people. And sometimes it is very important in what direction this influence is carried out. Reflecting on this issue, the author of the text touches on the problem of a person’s moral responsibility to society. It is impossible not to notice that many modern pop artists, in search of popularity, use various means, offering their fans very dubious information about themselves, which not only misleads people, but also negatively affects the lifestyle of the most gullible. This certainly causes concern in the author and a desire to make many people think about it. The author is alarmed by the fact that modern artists are less and less aware of their mission as cultural figures. According to N. Gontsov, art is designed to spiritually and aesthetically nourish and educate people, and not just entertain. It is difficult to disagree with the author’s position, because it is immoral and dangerous to build a stage image that neglects the unshakable values ​​of society. It is very difficult to determine the line where words, actions and even objects become vulgar and vulgarized. There must be a moral sense, which can be formed by art, in particular literature. The theme of philistinism and vulgarity was stated most strongly in Russian classics. Suffice it to recall the “majestic vulgar” Chichikov, a clever swindler and scoundrel from N.V. Gogol’s poem “Dead Souls”. Many people, following the lead of fashion and time, set the wrong goals for themselves, sometimes even breaking the law in order to achieve them. I. Bunin in the story “The Gentleman from San Francisco” showed the fate of a man who served false values. Wealth was his god, and this god he worshiped. But when the American millionaire died, it turned out that true happiness passed the man by: he died without ever knowing what life was. Each person influences others, and what he leaves in their souls is extremely important. People must understand that immorality and disregard for immutable values ​​cannot bring anything into our minds and souls that would help us develop as individuals!

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Which of the statements correspond to the content of the text? List the answer numbers in ascending order.

1) A good, high-quality education is the main condition for success in life.

2) A servant of art must be aware of his high responsibility to people.

3) Modern teenagers often believe stories about the childhood of their favorite artists.

4) Many pop stars modestly keep silent about the facts of their school failures.

5) In the modern world, the path to the stage is open only to mediocre people.

Explanation.

Sentences 2 and 3 do not distort the content of the text.

Answer: 23

Answer: 23

Relevance: 2016-2017

Difficulty: normal

Which of the following statements are true? List the answer numbers in ascending order.

1) Sentences 8-10 present the reasoning.

2) Sentence 23 contains the author’s emotional and evaluative judgment about what is expressed in 1-2 sentences of the text.

3) Sentence 5 explains the content of sentence 4.

4) Sentences 16-18 present the narrative.

5) The predominant type in the text is narrative.

Explanation.

In sentences 16-18 there is no narrative, but the main, predominant type is reasoning.

Therefore, those who remain are faithful.

Answer: 123

Answer: 123

Relevance: 2016-2017

Difficulty: normal

From sentence 6, write down the phraseological unit.

Explanation.

In sentence 6 “They take everything at face value” the phraseological unit “taken at face value” is used.

It is in the combination of these words that the general meaning is formed: they are deceived, they believe. Without the verb “accept” the meaning is lost.

Answer: take it at face value.

Answer: they accept a blank coin

Relevance: 2016-2017

Difficulty: normal

Indicate the method of forming the word FAME (sentence 5).

Explanation.

The noun “famous” is formed from the adjective “famous” using the suffix -ost-.

Answer: suffix

Among sentences 11-22, find one(s) that is related to the previous one using lexical repetitions. Write the number(s) of this sentence(s).

Sentences 16-18 repeat:

(16) What seeds He sowed in trusting hearts? (17) Whom He made it better? (18) Whom He set you on the path to creativity?

The 17th is connected with the 16th, the 18th with the 17th.

Answer: 1718

Answer: 1718

Relevance: Current academic year

Difficulty: hard

Codifier section: Means of communication of sentences in the text

Rule: Task 25. Means of communication of sentences in the text

COMMUNICATION MEANS PRE-LO-SAME IN TEXT

Several sentences, connected into a whole by theme and main idea, are called text (from the Latin textum - fabric , connection, connection).

It is obvious that all the proposals, separated by points, are not isolated from each other. There is a meaningful connection between two neighboring texts, and the connected ones can be not only -the same, located nearby, but also separated from each other by one or several of them before me. Meaningful relations between different sentences: the content of one sentence can to be pro-ti-to-sta-le-but with-holding another; the content of two or more propositions can be combined with one another; the content of the second sentence can reveal the meaning of the first one or clarify one of its members, and the content -the meaning of the third - the meaning of the second, etc. The goal of 23 is to determine the type of connection between the propositions.

The form for this could be like this:

Among the sentences 11-18, find one(s) that is connected with the previous one with the help of science -for-the-place-of-name, in-speech and one-co-words. Write the number(s) of the offer(s)

Or: Determine the type of connection between pre-lo-zhe-ni-i-mi 12 and 13.

Remember that the previous one is ONE HIGHER. Thus, if the interval 11-18 is indicated, then my proposal is in the pre-deeds, about - significant in the task, and answer 11 may be correct if this sentence is related to the 10th topic indicated -but in advance. There can be 1 or more origins. Point for successful completion of the work - 1.

Let's move on to the theoretical part.

Most often, we use this model for constructing text: each clause is linked to the next one -shim, this is called a chain connection. (We’ll talk about the parallel connection below). We speak and write, we combine our own pre-positions into the text according to simple rules. Here's the gist: in two adjacent clauses we should be talking about the same subject.

All types of communication are subject to lek-si-che-skie, mor-fo-lo-gi-che-skie and sin-tak-si-che-skie. As a rule, when combining sentences into a text, they can be used at one time, but several types of communication. This essentially makes it easier to search for the original proposition in the specified fragment. Let us remain in detail for each of the species.

23.1. Communication using lexical means.

1. Words of one te-ma-ti-che-skaya group.

Words of one particular group are words that have a common lexical meaning and designation -they are similar, but not the same.

Examples of words: 1) Forest, path-pin-ka, de-re-vya; 2) buildings, streets, sidewalks, squares; 3) water, fish, waves; pain, nurses, emergency room, pa-la-ta

Water was clean and transparent. Waves on-the-shore, slowly and silently.

2. Ro-do-vi-do-vye words.

Gender of words - words related to genus - species: genus - a broader concept, species - a narrower one.

Examples of words: Ro-mash-ka - flower; birch - de-re-vo; av-to-mo-bil - transport port and so on.

Examples of proposals: It was still growing under the window birch. How many memories I have in connection with this de-re-vom...

Left-handed ro-mash-ki becomes rare. But this is not a good idea flower.

3 Lek-si-che-sky in second

Lex-si-che-sky in a second way - a second time of the same word in the same word-form.

The closest connection between what you offer is primarily in the second place. The repetition of one or another member of a sentence is the main feature of a chain connection. For example, in sentences There was a forest behind the garden. The forest was deaf, forsaken the connection is built according to the model “under-le-zha-sche-s-be-under-le-zha-sche-schee”, that is, named at the end of the first pre-lo-zhe- the subject re-occurs in the beginning of the next; in pre-lo-zhe-ni-yah Physics is science. Science must use the dia-lec-ti-che-method- “model say-zu-e-mine - under-lying”; in example The boat came to the shore. The shore was strewn with small pebbles- model “situation - under-lying” and so on. But if in the first two examples the words forest and science stand in each of the nearby stands in the same pas-de-same, then the word shore has different forms. The Lex-si-che-second word in the Unified State Exam will be considered the second word in the same word-form, using -zo-van-ny for the purpose of enhancing the impact on chi-ta-te-la.

In the texts of artistic and pub- lic styles, the chain connection through the lexical second has often ex-press-siv-ny, emo-ci-o-nal character, especially when the second time is at the junction of the pre-lo- woman:

Here it is from the map of the Aral Fatherland sea.

Whole sea!

The second use is used here to enhance the impact on chi-ta-te-la.

Let's look at some examples. We do not yet take into account additional means of communication; we look only at the lexical language.

(36) I heard a very brave man who went through the war once say: “ It was scary, very scary." (37) He spoke the truth: he it was scary.

(15) As a teacher, I had the opportunity to meet young people yearning for a clear and precise answer to the question about higher values life. (16) 0 values, allowing you to distinguish good from evil and choose the best and most worthy.

Note: different forms of words refer to another type of connection. For more details about the differences, see the paragraph on word forms.

4 One-word words

One-root words are words with the same root and a common meaning.

Examples of words: Birth, birth, birth, birth; tear, break, tear apart

Examples of proposals: I'm lucky to be born healthy and strong. The story of my birth nothing to do with it.

Even though I have no idea what is needed tear apart, but couldn’t do it myself. This rupture would be very painful for both of us.

5 Si-no-ni-we

Si-no-ni-we are words of the same part of speech, close in meaning.

Examples of words: be bored, frown, be sad; ve-se-lie, joy, li-ko-va-nie

Examples of proposals: In parting, she said that will be missed. I knew that too I'll be sad according to our pro-hum-kam and once-go-vo-ram.

Joy grabbed me, grabbed me and carried me... Li-ko-va-niyu, ka-za-elk, there were no boundaries: Lina from-ve-ti-la, from-ve-ti-la to the end!

It is necessary to note that it is difficult for us to find a connection in the text if we need to look for a connection only with the help of si-no-ni -mov. But, as usual, along with this method of communication, others also use it. So, in example 1 there is a conjunction Same , this connection will be discussed below.

6 Contextual si-no-we

Contextual si-no-we are words of the same part of speech, which are brought together in meaning only in a given context. ste, insofar as it relates to one thing (sign, action).

Examples of words: kitten, be-do-la-ha, naughty; de-vush-ka, student-dent-ka, kra-sa-vi-tsa

Examples of proposals: Kitty lives with us not long ago. My husband took it off be-do-la-gu from the tree where he had gone to escape the dogs.

I guessed that she student. Young woman I had to remain silent, despite all the efforts on my part to talk her out.

It is even more difficult to find these words in the text: after all, the author makes them. But along with this method of communication, others also use it, which makes the search easier.

7 An-to-ni-we

An-to-ni-we are words of the same part of speech, pro-ti-in-false in meaning.

Examples of words: laughter, tears; hot Cold

Examples of proposals: I pretended that I liked this joke and you made something out of yourself laughter. But tears you breathed on me, and I quickly left the room.

Her words were hot and about-zhi-ga-li. Eyes le-de-ni-li ho-lo-house. It was as if I had fallen under a contrast shower...

8 Contextual an-to-ni-we

Contextual an-to-ni-we are words of the same part of speech, false in meaning only in the given context.

Examples of words: mouse - lion; house - work green - ripe

Examples of proposals: On work this man was gray mouse. At home there's a problem in it a lion.

Ripe the berries can be safely used for preparing var-re-nya. And here green It’s better not to put them in, they are usually bitter and can spoil the taste.

Pay attention to the non-random agreement of terms(si-no-ni-we, an-to-ni-us, including context-text ones) in this za-da-nii and za-da-ni-yah 22 and 24: this is one and the same le-si-che-phenomenon, but you can see it from a different angle. Lexical means may serve to connect two sentences standing next to each other, or they may not be a connecting link. At the same time, they will always be a means of creation, that is, they have every chance of being an object for 22 and 24. Therefore, advice: you -complete task 23, pay attention to these tasks. You will learn more about medicinal means from the pra-vi-la-reference book to task 24.

23.2. Communication using marine means

Along with the lek-si-che-ski-mi means of communication, they use-use and mor-fo-lo-gi-che-skie.

1. Location

A connection with the help of place-names is a connection in which ONE word or SEVERAL words from the previous sentence are used. I have no place. To see such a connection, you need to know what a place is, what kind of ranks there are in terms of meaning.

What you don't need to know:

Place-nouns are words that are used instead of a name (substantive-no-go, with-la-ga-tel- no-go, number-no-go), indicate faces, point-to-objects, signs of objects, to -what kind of things are there, without naming them specifically.

According to the meaning and grammatical special features, you have nine types of places:

1) personal (I, we; you, you; he, she, it; they);

2) return (yourself);

3) attractive(mine, yours, ours, yours, yours); as heavy-duty uses also forms of personal: him (pi-jack), her work),them (for the service).

4) demonstrative (this, that, such, such, this, so much);

5) definitions(himself, most, all, all, each, other);

6) from-no-si-tel-nye(who, what, which, which, which, how many, whose);

7) vo-pro-si-tel-nye(who? what? which? whose? which one? how much? where? when? where? from where? why? in what way? what?);

8) ot-ri-tsa-tel-nye(nobody, nothing, no one's);

9) undefined(someone, something, someone, whoever, anyone, someone).

Do not forget that place-names from-me-by-pas-de-jams, that’s why “you”, “me”, “about us”, “about them”, “no one”, “everyone” are forms of place-nouns.

As a rule, in the order there should be a place, but this is not obligatory -but, if there are no other places in the specified place, you will fill the role of SOCIAL elements- Comrade You need to clearly understand that NOT EVERY place that appears in the text is a connection - the main link.

Let's turn to examples and definitions of how propositions 1 and 2 are connected; 2 and 3.

1) Our school recently underwent renovations. 2) I finished it many years ago, but sometimes I went and wandered around the school floors. 3) Now they are somehow strangers, different, not mine....

In the second sentence there are two names, both personal, I And her. Which one is the one skre-poch-koy, which unites the first and second sentences? If this is the place I, what it is for-me-no-lo in sentence 1? Nothing. What kind of place is it? her? Word " school"from the first preposition. We conclude: communication with the help of a personal place her.

In the third clause there are three places: they are somehow mine. The second one is connected only by place They(=floors from the second proposal). Rest they don’t fit in any way with the words of the second sentence and don’t replace anything. Conclusion: the second clause is connected with the third clause They.

What is the practical importance of this method of communication? The fact that it is possible and necessary to use places of nouns instead of nouns, adjectives and numbers. Use, but not abuse, since the abundance of words “he”, “him”, “them” sometimes leads to mis-understanding and don't-be-ri-he.

2. Speech

Communication with the help of speech is a connection that is especially dependent on the meaning of speech.

To see such a connection, you need to know what a word is, what kind of digits there are in terms of meaning.

In-speech - these are not-from-me words, which denote a sign by action and are related to the verb. go-lu.

The following meanings can be used as a means of communication:

Time and space: below, on the left, next to, in-cha-le, from-dav-on and additional ones.

Examples of proposals: We arrived at work. At first it was hard: I couldn’t work in the co-mand, I had no ideas. After They got involved, felt their strength and even got excited.Note: Prepositions 2 and 3 are connected with preposition 1 when indicated in speech. This type of communication is called via parallel communication.

We climbed to the very top of the mountain. Around There were only the tops of the de-re-views of us. Near swim with us about-la-ka. An analogous example of a parallel connection: 2 and 3 are connected with 1 with the help of those indicated in speech.

Indicative words. (They are sometimes called places-of-names on-re-chi-ya-mi, since they do not name how or where the action takes place, but only point to it): there, here, there, then, from-there-yes, in some way, so and additional ones.

Examples of proposals: Last summer I was from-dy-ha-la in one of the sa-na-to-ri-ev Be-lo-rus-sia. From there It was practically impossible to make a call, not to mention working at the in-ter-ne. In the word “from there” it replaces a whole word.

Life went on as usual: I studied, my mother and father worked, my sister got married and left with her husband. So Three years have passed. The word “so” summarizes all the contents of the previous sentence.

It is possible to use and other sizes in speech, For example, from-ri-tsa-tel-nyh: IN school and university I’m not comfortable with my weight. Yes and nowhere not warehoused; however, I didn’t suffer from this, I had a family, I had brothers, they were my friends.

3. Union

Communication with the help of a call is the most common type of communication, thanks to something between the possibilities. There are no different personal relations associated with the meaning of the union.

Communication with the help of co-chi-ni-tel-nyh so-yu-call: but, and, and, but, also, or, however and others. The type of union may or may not be indicated in the assignment. That's why it's necessary to repeat ma-te-ri-al about so-yu-zakh.

In detail about so-chi-tel-nyh so-yu-zakhs ras-sk-za-za-but in a special time-de-le

Examples of proposals: By the end of the day we were unbelievably tired. But the construction was shocking! Communication with the help of the pro-ti-vi-tel-no union “but”.

This is how it has always been... Or this is how it seemed to me....Communication with the help of the division of the union “or”.

We draw attention to the fact that very rarely only one union participates in the formation of a connection: as a rule, at one time -men-but use lexical means of communication.

Communication with the help of sub-chi-tel-nyh so-y-u-call: because, so. This is a very unusual case, since sub-numerical conjunctions link pre-positions in a complex structure repaired. In our opinion, with such a connection, there is a deliberate break in the structure of a complex proposition.

Examples of proposals: I was completely ecstatic... For I didn’t know what to do, where to go and, most importantly, who to turn to for help. The union for it has meaning because, in fact, it indicates the reason for the hero’s condition.

I didn’t pass the test, I didn’t go to the institute, I couldn’t ask for help from my parents and I wouldn’t do it. . So there was only one thing left: to find a job. The conjunction “so” has significant consequences.

4. Parts

Communication using particles always accompanies other types of communication.

Parts after all, and only, here, there, only, even, same add additional details to the proposal.

Examples of proposals: Call us, talk to them. After all it's so simple and at the same time difficult - to love....

Everyone in the house was already asleep. AND only ba-bush-ka quietly bor-mo-ta-la: she always read-ta-la prayers before going to bed, you are the great-grandmother of the heavenly forces for the best share for us.

After my husband left, my soul felt empty and my house empty. Even the cat, usually hanging around the apartment, just yawns sleepily and keeps trying to climb into my arms. Here whose arms would I like to lean on...Observe your attention, the connecting parts are at the forefront of the presentation.

5. Word forms

Communication using word forms the point is that in nearby sentences the same word is used in different

• if this noun - number and pas-de-same
• If pri-la-ga-tel-noe - kind, number and pas-de-same
• If place-name - gender, number and pas-de-de-same in za-vi-si-mo-sti from the raz-rya-yes
• If gla-gol in person (gender), number, tense

Verbs and participles, verbs and de-partialities are counted with different words.

Examples of proposals: Noise in-step-pen-but-on-ras-tal. This makes it so much worse noise I felt uneasy.

I knew my son ka-pi-ta-na. With myself ka-pi-ta-nom fate didn’t lead me, but I knew that it was only a matter of time.

Note: in the task there may be no “forms of the word”, and then it is ONE word in different forms;

“forms of words” - and these are already two words, repeated in neighboring sentences.

There is a special complexity in the different forms of the word and the vocabulary of the second word.

Information for teachers.

We consider it in terms of the complexity of the 2016 Unified State Examination. Here is a complete fragment published on the FIPI website in the “Me-di-che-instructions for teachers” (2016)"

For-the-work-of-not-ex-for-me-well-e-my when you fail-for-yes 23 caused cases when the condition for-yes - the need to differentiate the form of the word and the second word as a means of connecting sentences in the text. In these cases, when analyzing the languages ​​of ma-te-ri-a-la, you should pay attention to the training that the lek-si-che-second is pre-la-ga-et the repeat of the lek-si-che-unit with a special sti-li-sti -what-for-yes-whose.

Let us assume condition 23 and a fragment of the text of one of the 2016 Unified State Examinations:

“Among the sentences 8–18, find something that is connected with the previous one with the help of a lexicon on the second. Write the number of this proposal.”

Below is the text, given for ana-li-za.

- (7) What kind of artist are you when you don’t love your native land, eccentric!

(8) Maybe that’s why Berg didn’t succeed in drinking. (9) He presented a portrait, a poster. (10) He tried to find the style of his time, but these attempts were full of failures and ambiguities.

(11) One day Berg received a letter from Khu-dozh-nik Yar-tse-va. (12) He called him to come to the Mu-rom forests, where he spent the summer.

(13) August was hot and windless. (14) Yartsev lived far from a deserted station, in the forest, on the shore of a deep lake with black water. (15) He rented a hut near the forest. (16) Berg was driven to the lake by the son of the forest, Vanya Zotov, a su-tu-ly and behind-the-wall boy. (17) Berg lived on Lake Berg for about a month. (18) He didn’t intend to work and didn’t take oil paints with him.

Proposition 15 in connection with the proposal 14 with the help personal place "He"(Yartsev).

Proposal 16 in connection with preposition 15 with help word forms "forester": pre-false form, control-la-e-my verb, and non-pre-false form, control-la-e-my noun -statement. These word-forms express different meanings: the meaning of an object and the meaning of ownership, and the use of ras-smat-ri-va-e-my word-forms does not carry a stylistic load.

Sentence 17 is connected with preposition 16 with the help word forms (“on the lake - to the lake”; "Berga - Berg").

Proposition 18 is connected with the previous one with the help personal place "he"(Berg).

The correct answer in question 23 given in va-ri-an-ta is 10. It is the sentence 10 of the text that is connected with the previous one (sentence 9) with the help lek-si-che-sko-go-on-the-second (the word “he”).

To summarize, pro-tsi-ti-ro-vav av-to-ra “Me-to-di-che-skom in-bii for teachers (2016)”, I.P. Tsy-bul-ko: “The Lex-si-che-second pre-la-ga-et the second le-si-che-unit with a special sti-li-sti-che-che- yes-whose.”

It’s not necessary to note that among the authors of different works there is no single opinion, what is considered le-si-che-skim in a second way - the same word in different pas-de-jas (persons, numbers) or in the same one. Authors of books from the da-tel-stva “Na-tsi-o-nal-noe ob-ra-zo-va-nie”, “Ek-za-men”, “Le-gi-on” ( authors Tsy-bul-ko I.P., Va-si-lye-vykh I.P., Go-ste-va Yu.N., Se-ni-na N.A.) are not used There is not a single example in which words in various forms would be considered a lexical second.

At the same time, there are very complex cases, in which the words that stand in different pas-de-jas coincide in form, are considered hud-sya in different ways. The author of the books Se-ni-na N.A sees in this the form of the word. I.P. Tsy-bul-ko (according to the ma-te-ri-a-lam book of 2017) sees the lek-si-che-sky second. So, in sentences like I saw the sea in a dream. The sea was calling me the word “sea” has different pas-de-zhi, but at the same time, no doubt, there is that very sti-li-sti-che-skaya for-da-cha, about which I writes .P. Tsy-bul-ko. Without delving into the linguistic solution to this question, let’s designate the RE-SHU-USE and give a re-commendation -yes-tion.

1. All obviously non-coincident forms are word forms, not lexical in the second place. Pay attention that we are talking about the same language phenomenon as in task 24. And in 24 lex-si-che - second words are only second words, in the same forms.

2. There will be no consistent forms in the questions on the RE-SHU-USE: if the linguist-specialists themselves cannot to figure this out, then you will not be able to let the school know.

3. If the ex-works are not going to be done with the additional difficulties, we look at those to the fullest extent. personal means of communication that can help determine your choice. After all, a group of KIMs may have their own, separate opinion. Unfortunately, it may be so.

23.3 Sin-so-si-che-che-s-stva.

Introductory words

Communication with the help of introductory words accompanies, complements any other connection, complementing the tens of meanings, ha-rak-ter-ny-mi for introductory words.

Of course, it’s not necessary to know which words are entered by us.

This is discussed in detail in the reference to assignment 17

He was hired at work. Unfortunately, Anton was too am-bi-ci-o-zen. On the one side, the company needed such personalities, on the other hand, he did not concede to anyone or anything, if there was anything, as he said, below its level.

Let us give examples of defining means of communication in a small amount of text.

(1) We met Masha a few months ago. (2) My family haven’t seen her yet, but they haven’t gotten to know her. (3) It seemed that she, too, did not strive for rapprochement, which made me somewhat upset.

Define how the propositions in this text are connected.

Sentence 2 is connected with preposition 1 with the help of a personal place her, which replaces the name Masha in sentence 1.

Preposition 3 is connected with preposition 2 using word forms she her: “she” is the form of the name-no-tel-no-go pas-de-ja, “her” is the form of the ro-di-tel-no-go pas-de-ja.

In addition, sentence 3 also has other means of communication: this is a union Same, introductory word ka-za-moose, rows of si-no-mich-structures not on acquaintance And did not strive for rapprochement.

Read an excerpt from the review. It examines the linguistic features of the text. Some terms used in the review are missing. Fill in the blanks with numbers corresponding to the number of the term from the list.

“The lines of the text indicate the author’s sincere concern for the problem posed. And clear evidence of this is the use of such lexical means of expression as (A)_____ (“mediocre and ignorant”), (B)_____ (“undereducated” in sentence 20). I. Gontsov’s excitement develops into genuine anxiety in the second part of the text, where such a syntactic means of expressiveness as (B) _____ (sentences 15-18) and such a trope as (D) _____ (“the acid of irony destroys unshakable values” in proposal 23)".

List of terms:

1) extended metaphor

2) dialectism

3) rhetorical appeal

7) a number of homogeneous members

8) interrogative sentences

9) emotional-evaluative words

Write down the numbers in your answer, arranging them in the order corresponding to the letters:

A	B	IN	G

Explanation (see also Rule below).

Let's fill in the blanks.

“The lines of the text indicate the author’s sincere concern for the problem posed. And a clear proof of this is the use of such lexical means of expression as emotional-evaluative words(“mediocre and ignorant”), individual author's word(in the 20th sentence the word “undereducation” was coined directly by the author of this text). I. Gontsov’s excitement develops into genuine anxiety in the second part of the text, where such a syntactic means of expressiveness is used as interrogative sentences(sentences 15-18), and trope like extended metaphor(an extended metaphor is an extended statement that contains a hidden comparison based on similarity. In sentence 23, irony is compared to acid).

Answer: 9681.

Answer: 9681

Rule: Task 26. Language means of expression

ANA-LYZ MEANS YOU-RA-ZI-TEL-NO-STI.

The purpose of this is to determine the means of expression used in reviewing by word of mouth -nov-le-tion of correspondence between the entries, denoted by letters in the text of the review, and numbers -mi with opre-de-le-ni-i-mi. You only need to write answers in the order in which the letters appear in the text. If you don’t know what is hidden under one or another letter, do not put “0” in place of this number. For your answer you can get from 1 to 4 points.

When you complete task 26, you should remember that you filled in the gaps in the review, i.e. . vo-sta-nav-li-va-e-te text, and with it semantic and grammatical connection. For this reason, analysis of the review itself can often serve as a complete clue: various features in that or in another way, co-gla-su-yu-schi-e-sya with pro-pus-ka-mi-say-e-my, etc. Ob-leg-read you-not-for-giving and dividing the list of terms into two groups: the first one includes terms -We are based on the meaning of the word, the second is the structure of the pre-position. You will be able to do this business, knowing that all funds are divided into TWO large groups: the first includes lek-si-che- ski (non-special means) and trails; in the second fi-gu-ry of speech (some of them are called sin-so-si-che-ski-mi).

26.1 TROP-WORD OR EXPRESSION WHICH IS REQUIRED IN THE PERIOD-NOSAL MEANING FOR THE CREATION OF AN ARTIST -GO-RA-ZA AND REACH-STI-SAME YOU-RA-Z-TEL-NO-STI. The tropes include such devices as epi-thet, comparison, oli-t-tvo-re-nie, me-ta-for-ra, me-th -ni-miya, sometimes gi-per-bo-ly and whether-you come to them.

Note: In the order, as a rule, it is indicated that these are TRAILS.

In the review, examples of tropes are indicated in brackets, like a word.

1.Epithet(in translation from Greek - appendix, addition) - this is a different definition, from a substantive a feature that is significant for a given context in the image of a phenomenon. From the simple definition of epi-tet from the hu-to-same expression and image but-styu. The epi-te-ta is based on a hidden comparison.

This includes all the “colorful” definitions that you most often find pri-la-ga-tel-ny-mi:

sad-but-si-ro-te-yu-shay land(F.I. Tyutchev), gray fog, lemon light, silent peace(I.A. Bunin).

Epi-te-you can also say:

-existence, you-stu-pa-yu-schi-mi in ka-che-stvo at-lo-zhe-nyh or say-e-my, yes-y-shchih about-different ha-rak-te- ri-sti-ku pre-me-ta: magic-no-winter; mother is the damp earth; The poet is the lyre, and not just the nanny of his soul(M. Gorky);

-na-re-chi-i-mi, you-stu-pa-yu-schi-mi in the role of conditions: It stands on the wild alone...(M. Yu. Ler-mont-tov); There were leaves na-straight-but you-you-well-you are in the wind (K. G. Pa-u-stov-sky);

-de-e-pri-cha-sti-i-mi: waves are not present rattling and sparkling;

-place-name-nor-i-mi, you-ra-zha-yu-schi-mi is a superior degree of this or that state of the human soul:

After all, there were fights, yes, they say, more which! (M. Yu. Ler-mont-tov);

-with-cha-sti-i-mi and with-part-ny-mi ob-ro-ta-mi: So-lo-vye word-in-word-wee gro-ho-chu-shim announce the forest pre-de-ly (B. L. Pa-ster-nak); Let me also admit... bor-zo-scribes who cannot tell where they were yesterday, and for some there are no other words in the language except words don't remember kinship(M. E. Sal-ty-kov-Shched-rin).

2. Comparison- this is an artistic technique, based on the combination of one phenomenon or understanding with another . Regardless of the meta-for-ry, the comparison is always two-term: in it both are called together. of our objects (phenomenon, sign, action).

The villages are burning, they have no defense.

You are the enemy of the sons of the fatherland,

And for-re-vo, like an eternal meteor,

Playing in ob-la-kah, it frightens the gaze. (M. Yu. Ler-mont-tov)

Comparisons between you and yours are different:

For-my creative-no-go pas-de-ja substantive:

So-lo-viem beyond the summer Youth about-le-te-la,

Wave in the out-of-year, joy from-shu-me-la (A.V. Koltsov)

For-my comparative degree at-la-ga-tel-no-go or in-re-chiya: These eyes greener seas and our ki-pa-ri-owls anyway(A. Ah-ma-to-va);

Compare the ob-ro-ta-mi with so-yu-behind-mi as, word-but, as if, as if, etc.:

Like a predatory beast, to the humble monastery

Vry-va-et-sya shti-ka-mi po-be-di-tel... (M. Yu. Ler-mont-tov);

With the help of words, similar, similar, this is:

On the eyes of a cautious cat

Similar your eyes (A. Ah-ma-to-va);

With the help of comparative statements:

The golden foliage was spinning

In the pink water on the pond,

Just a ba-bo-chek light flock

From beyond the world he flies to the star. (S. A. Yesenin)

3.Me-ta-fo-ra(in translation from Greek - trans-nose) - this is a word or expression that is used in the trans-nose sign. based on the similarity of two objects or phenomena according to some sign. Depending on the comparison, in which both that which is compared and that with which it is compared -That's it, the meta-for-ra contains only the second, which creates the compactness and specificity of the use of the word. Based on the meta-for-ry, there may be similarity of objects in shape, color, volume, meaning, feel -sche-ni-yam, etc.: falling stars, la-vi-on letters, wall of fire, bottomless grief, pearl-chu-zhi-na in-ez-zia, spark of love and etc.

All meta-fores are divided into two groups:

1) common languages(“erased”): golden hands, a storm in a hundred waters, mountains to move, strings of the soul, love has faded away;

2) hu-do-fe-stvennye(in-di-vi-du-al-no-av-tor-skie, po-e-ti-che-skie):

And the stars fade and there are no stars al-maz-ny trembling

IN pain-free cold dawn (M. Vo-lo-shin);

Empty skies transparent glass (A. Ah-ma-to-va);

AND blue eyes, bottomless

There is a flower here in the distance. (A. A. Blok)

Me-ta-for-ra would-va-et not just one night: it can develop in the text, forming whole chains of different expressions, in many cases - cover, as it were, the entire text. This once again, complex me-ta-for-ra, a whole artistic image.

4. Oli-tse-tre-re-nie- this is a different kind of me-ta-for-ry, based on the per-re-no-se signs of a living being in reality le-niya nature, objects and concepts. Most often, oli-tse-tvo-re-tions are used when describing nature:

Rolling through the sleepy valleys, the sleepy valleys lay down, And only the tramp of a horse, Sounding, disappears in the distance. The autumn day has gone out, pale, Rolling up the fragrant leaves, Tasting sleep without dreams Half-withered flowers. (M. Yu. Ler-mont-tov)

5. Me-to-ni-miya(in translation from Greek - re-name-no-va-nie) - this is the transfer of the name from one subject to another on the basis of but-va-nii their contiguity. Adjacency can be a manifestation of connection:

Between co-container and co-container: I three ta-rel-ki ate (I. A. Krylov);

Between the author and the pro-from-ve-de-ni-em: Bra-nil Go-mera, Fe-o-kri-ta, But I read Adam Smith(A. S. Pushkin);

Between action and the weapon of action: Their villages and fields for a violent raid He condemned him to swords and fires(A. S. Pushkin);

Between the object and the ma-te-ri-a-lom, the object is made from something: ... or something like silver, - I ate it like gold(A. S. Gribo-edov);

Between the place and the people who live in this place: The city was noisy, flags were crackling, wet roses were falling out of bowls of flowers... (Yu. K. Olesha)

6. Si-nek-do-ha(in translation from Greek - so-from-not-se-nie) - this is diversity of me-to-n-mies, based on the transfer of meaning from one phenomenon to another based on the number of there is a significant relationship between them. Most often, the transfer occurs:

From the smaller to the larger neck: Not even a bird flies to him, And the tiger is not a child... (A.S. Pushkin);

From part to whole: Bo-ro-yes, why are you still silent?(A.P. Chekhov)

7. Pe-ri-phrase, or pe-ri-phrase(in translation from Greek - descriptive expression), - this is a phrase that is used instead of something -some word or word. For example, St. Petersburg in verse

A. S. Push-ki-na - “Petra’s creation”, “Half-night beauty and wonder”, “The city of Pet-rov”; A. A. Blok in the poems of M. I. Tsve-ta-e-voy - “knight-king without a rebuke”, “blue-eyed snow-howling singer” , “snow swan”, “all-holder of my soul.”

8.Gi-per-bo-la(in translation from Greek - increase) - this is a different expression, containing an immeasurable increase -is there any sign of an object, phenomenon, action: A rare bird to-le-tit to the se-re-di-ny of the Dnieper(N.V. Go-gol)

And at the same minute, along the streets, couriers, couriers, couriers... you can imagine, thirty five thousands only couriers! (N.V. Go-gol).

9. Li-to-ta(translated from Greek - smallness, moderation) - this is a different expression that contains an immeasurable amount of decrease -a sign of something, a phenomenon, an action: What tiny cows! There is, right, less bu-la-voch-noy head.(I. A. Krylov)

And walking importantly, in calm order, Lo-shad-ku leads a man by the reins in big boots, in a sheepskin coat -nom, In big hands... and he himself with no-go-tok!(N.A. Ne-kra-sov)

10. Irony(in translation from Greek - creation) - this is the use of a word or expression in a false sense straight-up. Irony is a type of foreign-speaking, in which something is hidden behind an external assessment. -laugh: Where are you, smart one, are you delusional?(I. A. Krylov)

26.2 “NON-SPECIAL” LEXICAL IMAGES OF THE LANGUAGE

Note: In some cases it is indicated that this is a lexical remedy. Usually, in a review for 24, an example of a lexical device is given in brackets either in one word or in a word with-what-ta-ni-em, in which one of the words is you-de-le-but cur-si-vom. Pay attention: it is these means that are most often not-about-ho-di-mo find in task 22!

11. Si-no-ni-we, i.e. words of the same part of speech, different in sound, but the same or similar in lexical meaning and from each other or from the shadows of the meaning, or from the stylistic coloring ( brave - important, run - rush, eyes(neutral) - eyes(poet.)), they have a great creative power.

Si-no-n-we can be con-text-n-mi.

12. An-to-ni-we, i.e. words of the same part of speech, pro-ti-false in meaning ( is-ti-na - lie, good - evil, from-vra-ti-tel-but - for-me-cha-tel-but), also about more possibilities.

An-to-ni-we can be context-us, that is, sta-no-vit-sia an-to-ni-ma-mi only in a given context.

It would be a lie good or evil,

Seriously painful or merciless,

It would be a lie dexterous and awkward,

Inspecting and without looking back,

Hopeful and joyless.

13. Fra-zeo-lo-giz-we as a means of language you-ra-zi-tel-no-sti

Fra-zeo-lo-giz-we (fra-zeo-lo-gi-che-skie vy-ra-zhe-niya, go-o-we), i.e. re-pro-iz-vo-di- words and prepositions in the form of words, in which the whole meaning of the pre-mi-ni- ru-et-over-the-sign-of-my-composition-of-their-com-nents and is not a simple sum-of-my-such-significance- niy ( in vain, to be in the seventh heaven, just once), there are more possibilities for you. You-ra-zi-tel-ness of the phrase-zeo-lo-giz-mov def-de-la-et-sya:

1) their bright variety, including mi-fo-lo-gi-che-che-skaya ( the cat cried like a squirrel in a co-le-se, Ari-ad-na’s thread, yes-mo-klov’s sword, Akhil-le-so-va’s heel);

2) from many of them: a) to the number of you ( a voice in emptiness, sinking into oblivion) or taken down (speaking, simply spoken: like a fish in water, neither sleep nor breath, lead by the nose, pour on the neck, un-hang the ears); b) to a range of linguistic means with a real-life emotional coloring ( keep the thread as ze-ni-tsu oka - trade.) or with a ot-ri-tsa-tel-noy emo-tsi-o-nal-no-ex-press-siv-noy coloring (without the king in the head - disapproved, small fry - disdainful, worthless - despised.).

14. Sty-li-sti-che-ski colored lek-si-ka

To enhance the versatility in the text, all ranks of style can be used. no lek-si-ki:

1) emo-tsi-o-nal-no-ex-press-siv-naya (evaluated-night) lek-si-ka, including:

a) words with a positive emotional evaluation: solemn, lofty ( including old-ro-sla-vya-niz-we): inspiration, coming, fatherland, tea, blood, unshakable; lofty-high-but-po-e-ti-che-skie: be-less, luminous, enchantment, azure; approving: noble, you-y-y, amazing, from-important; las-ka-tel-nye: sol-nysh-ko, go-lub-chik, up to a lot

b) words with a positive emo-tsi-o-nal-but-ex-press-sive assessment: dis-approval: before we sat down, pre-pi-ra-tsa, oko-le-si-tsa; pre-not-careful: you-jump, de-la-ha; pre-visual: ball-demon, tooth-ri-la, pi-sa-ni-na; swear words/

2) functional-tsi-o-nal-no-sti-li-sti-che-ski colored le-si-ka, including:

a) book: scientific (terms: al-li-te-ra-tsiya, ko-si-nus, in-ter-fe-ren-tsiya); official-ci-al-no-de-lo-vaya: n-under-pi-sav-shi-e-sya, before-treasury; pub-li-qi-sti-che-skaya: re-port-age, inter-view; hu-do-same-stven-but-po-e-ti-che-skaya: la-zur-ny, eyes, la-ni-you

b) conversational (obi-move-but-would-be): dad, boy-chon-ka, hva-stu-nish-ka, healthy

15. Lex-si-ka restrict-ni-chen-no-go-re-requirement

To enhance the vy-ra-zi-tel-no-sti in the text, all ranks of lex-si-ki restrictions can also be used -th use-requirement, including:

Lex-si-ka dialect-naya (words that are used in the lives of any place: kochet - rooster, veksha - squirrel);

Lex-si-ka pro-sto-rech-naya (words with a bright-ra-feminine syn-feminine style coloring: fa-mi-lyar-noy, gru -fight, pre-not-re-living, abusive, on-the-border or beyond the pre-de-la-mi-li-te-ra -tour norm: go-lo-d-ra-nets, for-bul-dy-ga, for-tre-schi-na, tre-pach);

Lex-si-ka pro-fes-si-o-nal-naya (words that are used in pro-fes-si-o-nal speech and are not included They are in the system of the common language: galley - in the speech of sailors, duck - in the speech of journalists, window - in the speech of pre-da-va-te-ley);

Lex-si-ka hot-gon-naya (words characteristic of hot-go-to-us - mo-lo-de-no-mu: tu-owl, on-the-ro-you, cool; com-pew-ter-no-mu: brains - memory com-drink-te-ra, keyboard - cla-vi-a-tu-ra; soldier-dat-sko-mu: dem-bel, cher-pak, perfume; heat-ho-well, pre-step-ni-kov: brother-va, ma-li-na);

Lex-si-ka-usta-rev-shaya (is-to-riz-we - words that have come out of use in connection with the disappearance of the word the objects or phenomena they signify: bo-yarin, oprich-ni-na, horse-drawn; ar-ha-iz-we - outdated words, naming objects and concepts, for which new ones have appeared in the language on-name-no-va-niya: brow - forehead, wind-ri-lo - sail); - lek-si-ka new (neo-lo-giz-we - words that have recently entered the language and have not yet lost their novelty: blog, slogan, tee-nay-ger).

26.3 FI-GU-RA-MI (RI-TO-RI-CHE-SKI-MI FI-GU-RA-MI, STI-LI-STI-CHE-SKI-MI FI-GU-RA-MI, FI-GU -RA-MI SPEECH) NA-ZY-VA-YUT-XY STY-LI-ST-CH-SKY PRICES, based on special co-che-ta-ni-yah words that go beyond the usual practical usage, and have the goal of strengthening your -tel-no-sti and image-ra-zi-tel-no-sti text. To the main fi-gu-rams of speech from-no-syat-sya: ri-to-ri-che-question, ri-to-ri-che-scream-cry, ri-to-ri-che-ra-sche-nie, second, syn-so-si-che-sky par-ral-le-ism, many-so-yu-zie, bess- so-yu-zie, el-lip-sis, in-ver-sia, par-cel-la-tion, an-ti-te-za, grad-da-tion, ok-su-mor-ron. Regardless of lexical means, this is the level of a preposition or several prepositions.

Note: In the laws there is no clear form of definition, no indication of these means: they are -they call for syn-so-si-che-ski-mi means, and reception, and just a means of vy-ra-zi-tel-no-sti, and fi-gu -Roy. In task 24, the figure of the speech indicates the number of the sentence, given in brackets.

16.Ri-to-ri-che-sky question- this is a fi-gu-ra, in which a statement is kept in the form of a question. The ri-to-ri-che-question does not require from-ve-ta, it is used to enhance emo-tionality, you -ability of speech, to attract the attention of the reader to this or that phenomenon:

Why did he give his hand to slander the worthless, Why did he believe in false words and caresses, He, who understood people from a young age?.. (M. Yu. Ler-mont-tov);

17.Ri-to-ri-che-scream- this is a figure in which a statement is contained in the form of a cry. Ri-to-ri-che-c-c-c-c-lls intensify the expression of certain feelings in communication; they usually are not only distinguished by their special emotionality, but also by their solemnity and submissiveness. that is:

That was on the morning of our years - Oh happiness! oh tears! O forest! oh life! oh the light of the sun! O fresh spirit of birch. (A.K. Tolstoy);

Alas! The proud country bowed to the power of a stranger. (M. Yu. Ler-mont-tov)

18.Ri-to-ri-che-s-ra-schenie- this is a sti-li-sti-che-fi-gu-ra, with-standing in an under-stressed attitude towards someone or something- be to enhance your speech. It serves not so much for naming the ad-re-sa speech, but rather for expressing the attitude towards what it is about. appears in the text. Ri-to-ri-che-ra-s-tions can create solemnity and pa-the-ticism of speech, express joy, con- sting and other shades of structure and emotion:

My friends! Our union is beautiful. He, like the soul, is unstoppable and eternal (A.S. Pushkin);

Oh, deep night! Oh, cold autumn! Mute! (K. D. Balmont)

19. On-second (po-zi-tsi-on-no-lek-si-che-sky on-second, lek-si-che-sky on-second)- this is a sti-li-sti-che-fi-gu-ra, co-standing in the second part of a sentence (word) , parts of a sentence or a whole sentence, several sentences, stanzas in order to attract special attention to them -ma-nie.

Once again, they appear a second time ana-for-ra, epi-for-ra and under-grip.

Anaphora(in translation from Greek - ascent, rise), or unity, is the repetition of a word or group of words in the na- some lines, stanzas or prepositions:

Le-ni-in the hazy half-day breathes,

Le-ni-in the river is rolling.

And in the firmament, fiery and pure

Le-ni-vo melt about-la-ka (F.I. Tyut-chev);

Epiphora(in translation from Greek - add-on, final pre-position of re-ri-o-da) - this is the repetition of words or groups of words in at the end of lines, stanzas or prepositions:

Although man is not eternal,

That which is eternal - wow.

What is a day or an age?

Before what the hell?

Although man is not eternal,

That which is eternal - wow(A. A. Fet);

They got enough light bread - joy!

This is a good movie in the club - joy!

The two-volume nick of Pa-u-stov was brought to the bookstore joy!(A.I. Sol-zhe-ni-tsyn)

Under-grip- this is a repeat of something from a speech (pre-lo-z-niya, poet-ho-creative line) in the next-ch- the following correspondent from his speech:

He po-va-lil-sya on the cold snow,

On the cold snow, as if from September,

It’s like being in a damp forest (M. Yu. Ler-mont-tov);

20. Pa-ral-le-ism (sin-so-si-che-sky pa-ral-le-ism)(in translation from Greek - walking next to) - identical or similar structure of adjacent parts of the text: standing next to each other lo-same, poetic lines, stanzas, which, coming together, create a single image:

I look at the future with fear,

I look at the past with longing... (M. Yu. Ler-montov);

I was a ringing string for you,

I was the flower of spring for you,

But don't you want flowers?

And did you not hear the words? (K. D. Balmont)

Often with the use of an-ti-te-zy: What is he looking for in the country? What did he throw in his native land?(M. Ler-mont-tov); Not the country - for the business, but the business - for the country (from the newspaper).

21. In-ver-siya(in translation from Greek - re-sta-nov-ka, re-re-in-ra-chi-va-nie) - this is a change in the usual series- ka words in the sentence for the purpose of emphasizing the semantic meaning of some element of the text (words , pre-lo-zhe-niya), giving the phrase a special sti-li-sti-che-coloring: solemn, you what sound or, on-the-mouth, once-speaking, somewhat sni-female ha-rak-te-ri-sti-ki. In-ver-si-ro-van-ny-mi in the Russian language read the following associations:

The co-gla-so-van-noe definition comes after the definition of the word: I’m sitting behind bars in none the less raw(M. Yu. Ler-mont-tov); But no swells ran across this sea; the sultry air did not flow: in the future great thunderstorm(I.S. Tur-ge-nev);

Before completion and conditions, you-ra-wed beings stand in front of the word, to which- mu from-no-syat-xia: Hours one-on-one time(one-time strike of the clock);

22.Par-cel-la-tion(translated from French - part-sti-tsa) - a stylistic technique that is key in the division of a single syn- so-si-che-stru-tu-ry of pre-lo-zhe-niya on several in-the-tsi-on-but-sense-loving units - phrases. In place of the division of the pre-position, a dot, exclamatory and interrogative signs, and multiple signs can be used. -what-what. In the morning, bright as a splint. Scary. Dol-gim. Rat-nom. The rifle regiment was defeated. Our. In unequal battle(R. Rozhdestvensky); Why doesn't anyone bother? Education and health care! The most important areas of society's life! Don’t mention me in this matter at all(From newspapers); It is necessary for the state to remember the main thing: its citizens are not individuals. And people. (From newspapers)

23.Bes-so-yu-zee and many-go-so-yu-zee- sin-so-si-che-fi-gu-ry, os-no-van-nye on the na-me-ren-nom pro-pus-ke, or, on-o-bo-rot, co-knowing -tel-nom on the second-re-nii with-yu-call. In the first case, when the so-yu-call is omitted, speech becomes compressed, compact, di-na-mich-noy. The images of actions and events here quickly, instantly unfold, replace each other:

Swede, Russian - stabs, chops, cuts.

The banging, the clicks, the grinding.

The thunder of guns, stomping, neighing, groaning,

And death and hell on all sides. (A.S. Pushkin)

When many-go-so-yu-zia speech, on the contrary, slow, pauses and repeated conjunction you make words, ex-press-siv-but under- cher-ki-vaya their semantic significance:

But And grandson, And great-grandson, And great-great-grandson

It grows in me while I grow... (P.G. An-to-kol-sky)

24.Period– a long, multi-part sentence or a very widespread simple sentence, which comes from It is based on the finality, the unity of the theme and the in-that-on-tsi-on-nym dis-pas-de-ni-em into two parts. In the first part of the syn-so-si-che-second of one-type pre-yes (or members of the pre-position) comes from the that-highest-of-the-nation, then - a separate significant pause, and in the second part, where yes, that’s the conclusion, the tone of voice is za-met-but it’s not too bad. This kind of in-the-tsi-on-formation forms a kind of circle:

Whenever I would like to limit my life to the distance, / When I would like to be a father, a husband, a pleasant lot would order, / When If I had been captivated by the family picture even for a single moment, then it’s true that I wouldn’t have looked for another fiancee besides you. (A.S. Pushkin)

25.An-ti-te-za, or pro-ti-in-sta-le-nie(in translation from Greek - pro-ti-in-po-lo-sie) - this is a turn of the mouth, in which it is sharply pro-ti-in-la-ut-sya pro-ti-false po-nya-tiya, lo-zhe-niya, images. To create an-ti-te-zy, we usually use an-to-n-we - common-languages ​​and con-tech-stu-al -nye:

You are rich, I am very poor, You are pro-za-ik, I am a poet(A. S. Pushkin);

Yesterday I looked into your eyes,

And now everything is going haywire,

Yesterday I was sitting before the birds,

Everyone is hot these days!

I'm stupid, and you're smart,

Alive, but I'm dumbfounded.

O cry of women of all times:

“My dear, what have I done to you?” (M.I. Tsve-ta-e-va)

26.Gra-da-tion(in translation from Lat. - gradually increasing, intensifying) - a technique that occurs in the subsequent phase number of words, vy-ra-same, trop-ov (epi-te-tov, meta-for, comparison) in a series of intensification le-niya (increase) or weakening (decrease) at-sign. Rising gradation usually used to enhance imagery, emotional expression and influence -the power of the text:

I called you, but you didn’t look back, I shed tears, but you didn’t descend.(A. A. Blok);

Glowed, glowed, shone huge blue eyes. (V. A. So-lo-ukhin)

Nis-ho-da-sha-cha-da-tion used less frequently and usually serves to enhance the meaning of the text and create an image but-sti:

He brought mortal resin

Yes, a branch with withered leaves. (A. S. Pushkin)

27.Ok-syu-mo-ron(in translation from Greek - sharp-ro-mind-but-stupid-singing) - this is a sti-li-sti-che-fi-gu-ra, in which the co-edi-nya-yut -usually not-co-me-sti-my in-nya-tia, as a rule, pro-ti-in-re-cha-to each other ( bitter joy, ringing ti-shi-na and so on.); at the same time, a new meaning is obtained, and the speech acquires a special eloquence: From that hour it began for Ilya sweet mu-che-nya, the light that burns the soul (I. S. Shme-lev);

Eat melancholy in the reds of dawn (S. A. Yesenin);

But you are beautiful without them I soon realized the secret. (M. Yu. Ler-mont-tov)

28.Al-le-go-riya– foreign-speaking, transferring from-attraction through a specific image: Foxes and wolves must fight(cunning, malice, greed).

29. Default- an im-measure break in the expression, a re-yes-excitement of speech and a pre-la-ga-yu-shchy that chi-ta-tel do-ga-da-et-sya about something you-said: But I wanted... Perhaps you...

In addition to the highest number of syn-so-si-che means, you-ra-zi-tel-no-sti are found in the tests and the following -yu-schi:

-exclamatory prepositions;

- dialogue-log, hidden dialogue-log;

-question-but-from-the-form of the this form of expression, in which there are questions and answers to questions;

-rows of one-kin members;

-citation;

-introductory words and constructions

-Incomplete sentences- propositions in which any member is introduced that is not needed for complete structure and meaning nia. The absent members of the sentence can be restored and con-text.

Including el-lip-sis, that is, skipping say-zu-e-mo-go.

These nya-tiya ras-smat-ri-va-yut-sya in the school course sin-tak-si-sa. It is precisely for this reason that these means are most often called syn-so-si-che in reviews -ski-mi.