Key parametres zhanrovedcheskogo the approach

LD, most likely, represents a separate component among speech genres (further - RZH). At present there is a considerable quantity of works and scientific approaches to consideration both term RZH, and various aspects of this phenomenon.

We do not set as the purpose to consider all available points of view on the given question, but we will shine the most significant theories devoted RZH.

All existing concepts RZH can be divided into three directions. To the first direction the concepts leaning against classical definition of a genre in understanding of Aristotle («a genre literary - historically developing type of a literary work» [LES 1987: 106]) belong.

Concepts of the second direction are connected with the characteristic of separate aspects of the genre organisation of speech. In particular, existence of steady forms of speech and speech behaviour [SHvedova 1960], secondariness of components of base unit [ZHinkin 1982], strukturnost [Demjankov 1981], etc. Despite the distinctions existing between concrete directions is described, the majority of them corresponds with concept RZH of M.M.Bakhtin.

The third direction is presented M.M.Bakhtin's by works and its followers [Bakhtin 1975]. Speaking about RZH, Bakhtin defined the given category, as «steady type (the form, model) statements, which
It is generated thanks to a unification of the thematic maintenance, style and composite construction and it is certain by specificity of concrete sphere of dialogue RZH possibility to connect consists of statements which are units of dialogue and are under construction by means of language units. It is a social reality with a reality language »[Bakhtin 1986: 165]. Difference in understanding of a genre literary critics and M.M.Bakhtin consists that it considers RZH in aspect of speech dialogue - not as a literary work and as the fact of social interaction of people. [Bakhtin 1979: 30].

Following M.M.Bakhtin, K.A.Dolinin [1999] defines RZH as «means of the organisation of social interaction»; the author considers, that the genre is «a stereotype of speech behaviour» and «result of a combination of some parametres of a communicative situation what are: the sender, the addressee, a referential situation, a communication channel, time, a place etc.» [Dolinin 1999: 8]. Building the message according to requirements

Certain genre, the sender lets know, that perceives a communicative situation as approaching for the given genre and that is the carrier of the concrete status and a role, i.e. expects, that it will apprehend as the scientist, the owner etc. (see: [Dolinin 1999]).

V.V. Dementyev allocates two basic currents in RZH. The first is «linguistic studying RZH, or genristika, starts with intentsy speaking, Dementyev thus leans against the developed methodology and terminology of the theory of speech certificates» [2007: 3]. According to genristicheskomu to the approach, RZH it is treated as the speech phenomenon expressed by those or other means. The second current - pragmatical. The pragmatical approach, according to the author, has the important and excellent testimonials from genristiki: «orientation to dialogue, orientation to the interaction placed in welfare conditions of a concrete situation» [Dementyev 2007: 7]. Here RZH are understood as: «the verbal
Registration of a typical situation of social interaction of people »[in the same place].

Also the researcher offers one more, "synthetic", the approach where would be considered both dialogical, and linguistic aspects of speech genres. For the given synthetic direction the "synthetic" name communicative genristika is offered too. The emphasis on «opposition of two types of communications - ordered, normirovannoj, formalized, on the one hand, and disorder, nenormirovannoj, not formalized, on the other hand» [Dementyev 2007: 8] becomes.

V.V. Dementyev defines RZH as the transitive phenomenon between language and speech. It is unit of such high level when borders between speech and language are erased.

V.I.Karasik [1992] leaning on vneshnetekstovye and intratext characteristics of speech, develops classification of categories of a discourse consisting of four components. Following categories enter into the given classification: 1) konstitutivnye, allowing to distinguish the text from neteksta; 2) zhanrovo-stylistic, characterising the text in respect of their conformity to functional versions of speech (a style accessory, a genre canon, klishirovannost, degree of amplification, a compression); 3) substantial (semantikoyopragmaticheskie), opening sense of the text (adresovannost, an image of the author, informativnost, a modality, interpretiruemost, intertekstualnaja orientation); 4) the is formal-structural organisations of the text characterising a way (a composition, chlenimost, kogezija) [Karasik 1992: 13].

V.I.Karasik considers, that zhanrovo-stylistic categories of a discourse allow the addressee to carry this or that text to certain sphere of dialogue. The scientist allocates such concept, as a discourse format. Its author reveals on the basis of a communicative distance, degree of the self-expression, the developed social institutes, the register of dialogue and klishirovannyh

Language means. The discourse format is concretised by genres of speech, which are allocated on an individual basis (see: [Karasik 1992]).

K.F.Sedov [2007] considers, that for creation of the general theory of genres it is necessary to differentiate concepts a genre and the text as the given phenomena concern different areas of research of dialogue. It is considered, that «the text approach covers sintaktiku a discourse - interphrase communications, composite function etc.». The genre is defined by the scientist as «verbal reflexion interaktsii, socially-communicative interaction of individuals. Therefore pertinently to speak about monologic and dialogical genres. For studying of means of speech registration genre interaktsii the term a discourse» [Sedov 2007: 10] more approaches.

Definition RZH, a subgenre and a hypergenre is developed. The author, defining RZH, considers, that this long speech interaction of people. Given interaktsija is the reason of occurrence either dialogical unity, or the monologic statement which contains some superphrase unities. The researcher defines subgenres as minimum units of speech genres, they are equated to one speech certificate. The statements uniting of some genres, are named by hypergenres, or hypergenre forms (see: [Sedov 2007]). Division of genres into rhetorical genres (registration of public, socially significant interaction of people) and not rhetorical genres (they serve typical situations of informal, household behaviour) Is offered.

T.V.Shmelev [1997] in studying RZH develops the speech questionnaire, answering which questions it is possible to receive full representation about a genre. This questionnaire includes following points: the communicative purpose; an image of the author; an image of the addressee; diktum; the past factor; the future factor; the formal organisation (later - a language embodiment). The researcher studies the communicative purpose as basic of typologically konstitutivnyh genre signs; the following triad genre 14 is offered

Types. Informative genres - a presentation or inquiry, acknowledgement or a refutation which purpose is event or act stimulation in social sphere that enters into frameworks of etiquette of concrete society: apologies, thanks, congratulations. Estimated genres; the purpose of the given category of genres is, change of state of health of participants of dialogue, by correlation of their acts, qualities with the scale of values accepted in a given society. Etiketnye, or performativnye genres - are described basically in the literature devoted to speech etiquette: a greeting, farewell [Shmelev 1997].

Proceeding from the aforesaid, it is possible to draw a conclusion that RZH is a special verbal registration of a typical situation of welfare interaction of people. RZH in the semantiko-pragmatical embodiment can be presented as system of subgenres.

In turn, we define a subgenre as the general complex of speech actions of subordinates of the uniform strategy realised by groups of actions - tactics.

RZH LD it is possible to consider, how a hyperonym in which enter a number of subgenres. From the point of view of a monologic foreshortening of dialogue when the accent becomes on speech and nonverbal actions of the Actor, in the dissertation subgenres the Description (love relations), Courting, Flirtation, Sticking, Seduction and the Seducing are chosen for the analysis.


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A source: KOTELEVSKAYA ELINA IGOREVNA. MONOLOGIC ASPECT of the LOVE DISCOURSE: EXPERIENCE of the SUBSTANTIAL ANALYSIS. The dissertation on competition of a scientific degree of a Cand.Phil.Sci. Kaluga - 2016. 2016

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