Language personality and speech genres

Interpersonal communication reflects the system of social interaction of people. However, many of the social and communicative situations are repeated day after day. And they are served by the same speech tools. The famous Russian philologist M. M. Bakhtin called such stable communicative forms speech genres . The scientist called the genres of communication "driving belts from the history of society to the history of the language." Following the spirit of the concept of the scientist, we define speech genres as the verbal design of typical situations of social interaction of people .

The general theory of speech genres cannot ignore the psycholinguistic nature of intragenre communication. In this: “It is very important to understand that the genres of speech are not external conditions of communication that the speaker / writer must comply with in his speech activity. Speech genres are present in the consciousness of the linguistic personality in the form of ready-made patterns (frames) that influence the process of thought unfolding into text. At the same time, as we have noted earlier, the formation of discourse at the early stages of internal planning is controlled by a communicative intention, which corresponds to the specific situation of communication and predetermines the choice of a genre scenario. Discursive thinking, serving the task of creating diverse speech works, has a fundamentally genre character. Different speech genres require the speaker (writer) to use different models of speech generation. Mastering the skills of genre thinking involves a fairly long way of learning. In the course of its social development, the linguistic personality “grows” into the system of genre norms. In turn, this system “grows” into the consciousness of the speaking individual as it is socialized, determining the level of its communicative competence, influencing the nature of its discursive thinking .

Speech genres need to be distinguished from fiction genres. They are appropriate to compare with the script of the comedy del arte, in which the masks (roles) of the actors are set quite clearly, but the development of the action allows a certain measure of improvisation. The norms of behavior in the context of a communicative situation have a different degree of rigidity: one thing

the genre of the army team, the other - the genre of friendly conversation, one thing is the genre of the report at the conference, the other - the genre of flirting, etc. The most revealing to demonstrate the genre nature of the language personality is everyday communication, to which we mainly turn in this section . Scientists have repeatedly noted that the genre space of everyday communication has a field structure. However, even more successful, it seems to us, will be a comparison of the whole array of everyday communication with a living body, a body that lives, develops, is aging, and so on. Moreover, if social being is the flesh of the genre, then the verbal design of typical situations is its skin. Continuing the metaphor, it is possible to call the typology of speech genres offered in our book the anatomy of the genres of everyday communication. Creating a classification of speech genres, you need to be aware of the fact that the object of study - live speech is the harmony that can not always be "checked by algebra"; in other words: classification units cannot always be clearly separated on a single basis.

Speech genre in the narrow sense of the term is the central unit of typology. This is a micro-order, which is a verbal design of the interaction of communication partners, i.e., it is usually quite a long communication (interaction), generating dialogic unity or a monologic utterance, which contains several microtext units. The number of speech genres includes heart-to-heart talk, chatter, quarrel, small talk, table talk, anecdote, flirting, etc. The term subgenre is used to designate genre forms that represent a one-act utterance . Subgenres - minimal units of speech genres typology; usually they are equal to one speech act. In concrete intra-genre interaction, they most often act as tactics , the main purpose of which is to change plot twists in the development of communication (interaction ). It is necessary to emphasize the ability of subgenres to mimicry, depending on what genre (style) they are part of. So, taunts in small talk are different from taunts in family quarrels, etc.

The logic of such a terminological distinction pushes the selection in the common space of the genres of everyday communication of macro-formations, i.e., speech forms that

lead social and communicative situations, combining in its composition several genres. Such formations are called hyper-genres , or hyper-hyper forms . So, for example, it is possible to single out the hypergiere of “feast”, which will include such genres as toast, table talk, etc. Another hyper-genre form is “family hypergenre”; It includes such genres as family conversation, quarrel, etc. Within the framework of the hyper-genre “friendly communication”, such genres as chatter, heart-to-heart, etc. can be distinguished.

A single continuum of everyday communication is a system of fluid, changing in time and space, forms of speech behavior that are able to instantly respond to any change in the structure of social interaction within one or another ethnic group. The phenomena of everyday society, which disappear from life, make the speech genres die away or change, reflecting these typical social and communicative situations of the past. For example, the once very relevant hypergenre of communication in a common kitchen in a communal apartment goes to the periphery of the genre space; on the other hand, new genres are emerging that are associated with new socio-typical situations, for example: the disassembly genre in a car micro-accident caused by a collision of cars. Such fluidity, incompleteness of the norms of intragenre behavior makes it possible to isolate transitional forms within the framework of the proposed typology, which are recognized by the speakers as normative, but are located in the intergenre space. This kind of genre education, we propose to call the genre . So, for example, you can select a genroid, which is a hybrid of chatter and heart-to-heart conversation, a genroid, combining elements of quarrel and family conversation (conflict family conversation), etc.

The most important principle for the separation of genres of everyday communication should be considered the selection of T. Vinokur, a well-known researcher, for the entire space of speech behavior of computer science and phatika poles . Informatics, according to the scientist, includes communication, which has the purpose of reporting about something. By fatik in a broad sense, it means communication, with the goal of communication itself. A general phatic intention is the satisfaction of the need for communication — cooperative or conflict , with different

forms, tonality, relationships (degree of closeness) between communicants. Each of these two general types of speech interaction serves more particular communicative goals (intentions). The variety of forms of actual communication can be represented on the axis between the poles of positive and negative intentions (deterioration, improvement and preservation of interpersonal relations).

It should be noted that in real communication there is no pure computer science and pure phatika. Therefore, all speech genres can be divided into informative mainly (genres in which the speaker mainly transmits new information to the listener) and fatal mainly (where the essence of communication is not so much in the transmission of information as in the expression of various nuances of the relationship between the participants of communication).

It must be said that various situations of social interaction of people provide speakers with varying degrees of strategic and tactical freedom. Here primarily written and oral genres of speech are distinguished. Oral and written texts are, as it were, at different distances from their creator. Writing is compelled to rely on the most formal, technical way of turning a thought into a word, therefore written genres give the author of the message much less freedom for language variation than oral speech genres that widely use the advantages and disadvantages of direct communication. Thus, in the speech genre of a statement, an explanatory note, even a written scientific report, the individual style of a language personality is much less pronounced than, say, in the genre of small talk or a public lecture. Especially standardized genres of business style.

In creating a general theory of genres, it is necessary to distinguish between the concepts of genre and text . They belong to different planes of the study of communication. A text hike considers a speech message in terms of its internal structure, from the point of view of those language units that serve interphrase communications, perform a composite function, etc. Genre is a verbal expression of interaction, social

communicative interaction of individuals. Therefore, it is appropriate to talk about monological and dialogical genres. The term discourse , a speech work in the fullness of its cognitive and sociocultural characteristics, is more appropriate for studying the means of speech design of genre interaction.

The theory of genres fits well with the concept of discourse, which the Volgograd school of anthropocentric linguistics has been developing in recent years, led by Professor V.I. Karasik. According to the scientist, different areas of socially significant interaction of people are served by different types of discourses, the diversity of which can be reduced to personal (person-oriented) and institutional (status-oriented) discourses. Personality-oriented discourse is presented in two main varieties - conversational and artistic communication, status-oriented discourse - in many varieties distinguished in a particular society in accordance with the accepted spheres of communication and established public institutions (political, business, scientific, pedagogical , medical, military, sports, religious, legal and other types of institutional discourse). Each type of discourse has its own set of genre forms.

Among the complete theories of speech genres that exist in Russian linguistics include the concept of T. V. Shmeleva. As a model for describing and systematizing speech genres, she offers a “questionnaire” of the speech genre. This questionnaire includes seven points: “the communicative purpose of the genre”; "Author's concept"; "Concept of the addressee"; “Event content”; "Factor of the communicative past"; “The factor of the communicative future” and, finally, “language embodiment” . The researcher identifies four classes of speech genres: informative, imperative (contributing to the realization of events of reality: requests, advice, etc.), etiquette , or performative (form events of social reality: greetings, greetings, etc.), evaluative .

Of the works of foreign linguists, one way or another devoted to the theory of speech genres, it is necessary to highlight the concept of the remarkable Polish linguist A. Wezhbicka. As a way to describe the genres of communication, the scientist suggests using the

its method of elementary semantic units, which allow each genre to be modeled "using a sequence of simple sentences expressing motives, intentions and other mental acts of the speaker". Here is how the genre of the message (story) fits into the scientists:

"I think you do not know X

think you would like to know

I say: ...

I say this because I want you to know it. ”

Given that the genre prescribes certain norms of communicative interaction for linguistic individuals, each such genre action is unique in its properties. The variability in the choice of speech means of expression within the genre is predetermined by the strategies and tactics of speech behavior, which we have already discussed. Above, we have already defined the concept of intrageneric tactics .

Strategies of intragenre behavior determine the overall tone of intragenre communication. They depend on the individual characteristics of linguistic personalities who enter into communication and influence the tactical preferences of the speaker . It is very important to understand that in intragender speech interaction, the structure of a utterance depends not only on what type of language personality the subject of speech belongs to, but to whom the statement is addressed, that is, to what type of language personality the addressee belongs. And in different genres the role of the author and the role of the addressee are not the same. For example, in the quarrel genre, the influence of the addressee's language features is minimal.

The genre of everyday quarrel is a reflection of a communicative situation of a conflict nature, a detailed consideration of which we presented in the previous paragraph. Its participants can only be well-known people: relatives, friends, etc. In the speech interaction of individuals within a quarrel, eight tactics can be distinguished: outrage, ridicule, taunts, reproach, accusation, demonstration of offense, insult, threat. We give examples.

Tactics of indignation , as a rule, are used at the beginning of the plot development of a quarrel; usually it is an emotional (negative) reaction to the interlocutor's deed.

- Wow! Just what stupid !?

- You che! Stunned at all!

Tactic ridicule is most often based on the use of irony (sarcasm); it can occur on any turn of the quarrel. However, it is usually present at the beginning, in the period when a conflict situation arises.

-Well, / you are with us / of course a worker // Stakhanovets // (says to a husband lying with a newspaper on the couch)

- The poor man / starved / I do not understand only / chto something carries you all? Looks like / with hunger // (husband to wife, in response to her complaints that she has no time to have dinner)

The tactics of barbs on semantics is close to the tactics of ridicule. The difference here is that barb is not so much based on irony, as on the indirect expression of intention: the barb is based on hint, subtext.

(Husband to wife) - This is of course / I spend money // I buy boots / which cannot be worn / sheepskin coat / which does not fit on the belly // ...

(Talk of two thirty women)

- Well / how do I look?

- You look spectacular / but for forty years /

The tactic of reproach in a scenario of quarrel can manifest itself at various stages of the development of plot action.

- You as always / forgot / that your son has a birthday //

- Your promises / worthless // I did not pull you by the tongue //

Do you want to go to your dacha / stay at home // But why promise !?

The tactics of accusation is a kind of reproach: the difference here is in the strength of the negative intention inherent in the statement.

- I can say one thing / you are incapable // If a person / cannot bring a salary to the house / it means he is not normal //

- Are you ready to praise anyone / except for me // I dress the worst of all // I cook the worst of all // And generally / I am not a person //

Tactics of demonstration of insult are similar to reproach and indignation. The peculiarity of this turn is that dissatisfaction is expressed not about some action, but about speech behavior, which is considered offensive.

- Do not talk to me / in such a tone //

- Do you really / think / that I should be a mannequin for whipping // So that you can change your mood / rotten / on me !?

Insult tactics are usually observed in the culmination stages of a quarrel. Here the most diverse invective vocabulary is widely used: from zoo comparisons to taboo words.

- You're just a pig / cattle brainless!

- You are not a peasant / you peasant // Most real bazaar peasant!

Tactics of threat as an insult tactic is usually used in the highest stages of quarrels according to the passions.

- If you do not close your nasty mouth / this plate will fly into your head!

- Another word / and I file for divorce!

In real quarrels, the tactics described above can be represented in a different volume: a quarrel can contain the entire set of tactics or it can cost two or three.

At one of the scientific conferences, where one of the authors of the book gave a report on the genre thinking of a linguistic person, the well-known Russian linguist L. P. Krysin suggested the existence of a special universal ninth tactic of speech behavior in conflict, which can be called silence tactics . Indeed, silence in different genre interactions (and in the quarrel genre, among other things) can be used to express an unusually large range of meanings - from outrage and indignation, to approval and delight.

There is probably no hard correlation of intragenre strategies and tactics. However, as our observations show, we can talk about preferences in choosing genre tactics that are associated with the peculiarities of the linguistic personalities of the participants in communication. Thus, it can be argued that insults and threats in a quarrel are more often used by an invective person, reproaches and demonstrations of offense are more suited to courtly personalities, and rational heuristic linguistic people will ridicule and grovel.

MM Bakhtin proposed the division of the entire corpus of speech genres into primary and secondary speech genres. The primary speech genre is a pattern of behavior in a particular situation (genre frame), the acquisition of which occurs unconsciously, like mastering a native language. Primary genres can be attributed to the lower, everyday layer of the general continuum of everyday communication. Quarrel is a typical primary speech genre. Bo-

A more complicated genre form of constructing interaction is another primary speech genre, which has received the notation “chatter” in the genre study. Allocated genre education is consistent with what in the Western tradition received the name small talk, which is similar to what A. Wezhbicka calls the conversation genre (rozmowa). Its semantics in terms of semantic primitives is as follows:

“I say: ..

I say this because I want us to say different things to each other

I think that you also want us to say different things to each other. ”

Small talk, or conversation, should be considered a kind of generic concept that unites different speech genres: heart-to-heart conversation, family conversation, chatter, etc. Therefore, in our terminology, it should be referred to as hyper-genre forms. Chatter is characterized by a special communicative attitude of the speakers: the participants communicate and exchange information, while to a large extent they communicate for the sake of the communication itself. In everyday terminology, chatter is often called gossip (Come on a visit, sit, gossip). We are forced to abandon this notation, because upon detailed examination it turns out that the subgenre of gossip acts as a talker as one of the tactics that makes up only part (and not the most significant) of this genre education.

The socio-psychological background against which chattering flows adjusts discursive behavior that speaks to a light, superficial, associative principle. The rules of the game, which guides communicators who own this genre, are not to delve into the planned topics, but easily touching them, jump to others. This is connected with global unconscious communicative intentions: the conversation goes not only for the sake of obtaining information, but also for the sake of asserting social usefulness, receiving psychological strokes sometimes from, sometimes at the expense of the interlocutor. Chatter- this is communication, where, using the formula of L. S. Vygotsky, “thought is accomplished in a word”. The process of speech generation is implemented in such a way that all the stages of the formation of statements outlined in psycholinguistics

are present almost simultaneously. The main method of thematic movement is determined by the principle non-communication of communication. Themes change one another according to the associative principle. At the same time, the speaker does not quite know what he will say next minute. Such interpersonal communication reveals the latent (hidden) processes of discursive thinking in the best way possible. It makes it possible to identify the features of a speech portrait of a linguistic personality, to reveal the individual characteristics of its discursive thinking.

For illustration, here’s a small fragment of chatter recorded using a hidden tape recorder.

[Two thirty-year-old women communicate who have not seen each other for about three months. A (communicative leader) came to visit B to see the new apartment. The fragment is a continuation of the dialogue begun in the kitchen]

А - (входя из кухни в комнату) У вас что/ кресло новое? Вроде бы/ одно было раньше//

Б - Да нет/оно просто/ в другом месте стояло//

А - (подходя к окну) Ой/глянь-ка/у вас из окна что.../ кино.../ кинотеатр? Да кстати/а Наталья Ш/она что/ как у нее с квартирой?

Б - Они сейчас/ изо всех сил обменом занимаются// Варианты отрабатывают//

А - Интересно/ откуда деньги у них?

Б - Да это мать мужа В./дала...//

А - Ну/ не знаю/ не знаю// Да/ ты знаешь/ кого я недавно встретила?// Сережку/ Лилькиного мужа // [Пресуппозиция: Сережка - общий знакомый А и Ш.] Представляешь/ в поликлинике// Иду по коридору/ смотрю/лицо знакомое// Сережка// Ба...//Лилька бедная// Она так второго ребенка и не родила//Он не хочет//(...) (поднимает глаза на картину, висящую, на стене) А эта сейчас где? [Пресуппозиция: имеется в виду автор картины, художница Л, подруга Б] Она говорят/ в Москву переехала// С мужем вроде разошлась// Там говорят/ молодого нашла// Правда что ль?

Б - Правда//

А - Ба!// Некрасивая такая//Кто бы подумал//Роковая женщина//И что/картины ее покупают?

Б - Не то слово//Не за рубли/за баксы//

А - Даты че!?... А что эт у тебя/новая (показывает на сумочку, висящую на стуле)// Я раньше не видела// Давно купила?

B - Yes, I have it for a hundred years already // I just don’t wear it // It doesn’t fit to anything in color // ...

Приведенный дискурс наглядно показывает природу формирования высказывания и логику тематического развития общения. Разговор начинается с тактики вопроса по поводу предметов, присутствующих в поле зрения (кресла, кинотеатра, виденного из окна комнаты), затем по ассоциации с видом из окна новой квартиры - новая тема (возможность приобретения квартирой общими знакомыми). Появляется иная внутрижанровая тактика - рассказ об отсутствующем лице. Далее опять-таки - ассоциативный переход к следующей тактике (новому субжанру) -рассказу о событии, участником которого стала А. (о встрече с Сережкой, Лилькиным мужем). Следующий субжанр рождается от случайного взгляда, который коммуникативный лидер бросает на стену, где висит картина Л.), тактику рассказа меняет тактика сплетни о женитьбе и разводе художницы (информация из недостоверных источников). И опять - быстрый переход к вопросу о визуально зримом предмете (сумочке). Каждая тема возникает в болтовне случайно; с той же долей вероятности ход разговора мог изменить свое течение, затронуть другие столь же необязательные темы. Ядерными субжанрами болтовни, определяющими ее основные тактики, следует считать рассказ об увиденном, рассказ об отсутствующем лице и сплетню . К ним можно добавить такие факультативные субжанры, как комплимент, колкость, просьбу, утешение, подтверждение, инвективу, поучение и т. п.

Жанры вторичные - это как бы верхний уровень речевого пространства. Для их обозначения используется термин рические жанры . Риторическая разновидность жанровых форм предполагает наличие у языковой личности осознанных умений и навыков в области языкового оформления высказывания в соответствии с ситуацией общения, сходных с принципами построения художественных текстов (эстетики словесного творчества); Риторические жанры тяготеют к официальным и публичным коммуникативным ситуациям. Поэтому они в меньшей степени зависят от индивидуальных особенностей языковой личности говорящего. Степень владения риторическими жанрами определяется степенью умения языковой личности вне своих стратегических предпочтений подлаживаться, приспосабливаться к другим участникам коммуникации. Один из показателей принадлежности языковой личности к элитарному типу речевой культуры -способность переходить от первичных к вторичным, близким по коммуникативной цели, жанрам. Сюда, например, нужно отнести

the transition from the "low" genre of the quarrel to the "high" - the dispute. In addition to the ability to build interaction in the genre stereotypes of chatter, family, conversation, heart-to-heart talk, etc., a person who claims to have a real command of the language must learn how to make small talk, master table genres, compliment genres, subgenres that form the basis of Russian etiquette and t. n.

One of the elementary rhetorical genres (subgenres) is the genre of compliment. The compliment is a “small form” of epidectic eloquence, which goes back to the medieval speech culture, to the tradition of praising the knight of his beautiful lady. According to the well-known rhetoric specialist A. K. Mikhalskaya, this is “a virtuoso invention of new and new variations, improvisation on a given topic using conventional rhetorical methods <...> and traditional means <..>”. Compliment requires the speaker to conscious speech efforts, it involves the installation on the artistry, creativity in speech. Of course, different language personalities in the construction of compliments adhere to different speech strategies, and the choice of these strategies is determined by the types of individual styles of speakers. However, as observations of live communication have shown, the type of language identity of the addressee of speech plays a significant role in the choice of intrageneral strategies. It is not by chance that the main rhetorical recommendation in this genre is the installation on “loving attention to the addressee and grace”. Indeed, the compliment is dictated by the desire to make a pleasant interlocutor. And in order to induce positive emotions in a person, one needs to know his personality traits and, in particular, his personality traits. Therefore, the main rhetorical requirement for a compliment is proportionality (different people depending on age, degree of familiarity with the speaker and so on. The compliment is said differently) and situationality (in some cases, you can praise the appearance, in others - the mind, thirdly - taste, etc.). In addition, the compliment should be sincere and non-trivial, which corresponds to the canons of cooperative communication.

Rhetorical genres carry the idea of ​​civilized norms of communication, the main distinguishing feature of which is not only the proficiency of the language personality norms of the literary language, but also following the ethical norms of verbal behavior, and above all - the norms of cooperative

communication The desire to use cooperative tactics is a necessary condition when building rhetorical interaction. To illustrate this type of discourse, let us turn to the genre of small talk. Here it is possible with one or another share of controversy to include backstage communication at a scientific conference, an unofficial conversation at various kinds of presentations and solemn meetings, a conversation of teachers in the department or teachers in the teaching room, on topics not related to professional activities, etc. By definition, prominent national linguist, communication culture specialist Professor I. A. Sternin, small talk - “a mutually enjoyable, non-formally binding conversation on common topics, the main purpose of which is to spend time with as a conversationalist, staying in verbal contact with him. ” To the communicative parameters of this genre should be attributed to the informal, but the public nature of communication. Mastering the norms of small talk requires special training (unlike, for example, the non-rhetorical chatter, which a native speaker masters unconsciously), which results in some skill in the use of language means (here we take the knowledge of orthological, stylistic and etiquette norms, the ability to use in interaction). trails, language game elements, jokes, etc.). An important sociolinguistic feature of secular intercourse (secular hyper-genre) as a whole is that it is a phatic intercourse of linguistic personalities that belong to the educated social strata of society. At the same time, we will risk introducing as a criterion for small talk a setting for the presence as an addressee of an intelligent, humanitarian educated (social) woman. The outlined parameters make it possible to distinguish the described genre from similar genres of everyday phatika (for example, from communication in a beer garden, in a bath, on fishing, etc.). By the actual psycholinguistic characteristics of the genre of small talk should be attributed a high degree of predetermination in the generation of speech. Given that the interaction within the genre develops (in accordance with the generic type of such genre forms - small talk) on the basis of a spontaneous associative polythematic dialogue, the speakers must consciously control their speech at the level of thematic selection (rude, obscene, intimate, professional and etc. topics), as well as in compliance with the ethical norms of social interaction

(the desire to avoid conflicting speech tactics: invective (insults), accusations, reproaches, tricks, etc.).

Heterogeneity and variability of the existence of genre forms is observed not only within the time coordinates of the socio-communicative continuum. The same turnover can be noted in the habitat space of the “macrobody” of the genres of everyday communication of a specific time slice. We are referring to the differences in the speech manifestations of the genres of the same name in different living environments of native speakers who unite an ethnic group. So, the same genres are standardized differently (with a general similarity of strategies and tactics of their components), say, in the capital and in a small provincial town, whose population is several tens of thousands. And the very same genres in the verbal behavior of the inhabitants of the countryside will look completely different. Moreover, here the set of genres of everyday communication will be different than in the city.

The considerations given above relate to the “body of the genres of everyday communication” within the framework of the macrostructure, reflecting the structure of social and communicative relations within the framework of the whole ethnos. However, a different perspective is also possible to consider the problem - microlevel: it focuses on the functional features of the genre thinking of an individual language personality. Here the genres of everyday communication also appear as a single entity with spatial and temporal coordinates. Moreover, the problem of the genre consciousness of a native speaker can also be considered in statics and dynamics, that is, from the point of view of the human speech formation. Paraphrasing the famous statement of M. M. Bakhtin, we can say that genres in the formation of individual consciousness become “driving belts” between the formation of the social experience of human interaction with other people and the development of his speech.

Studying the genre content of human consciousness gives scientists, in our opinion, reliable criteria for creating a typology of linguistic personalities. The main reason for such a typology may be the degree of proficiency / non-mastery of a language personality in the norms of genre behavior. Here it is necessary to clearly realize that absolutely no one can fully master all linguistic genres. There are people who feel perfectly well within the framework of a heart-to-heart talk, but who cannot support

reap light talk; You can find a person who can wonderfully tell jokes, but cannot say an elementary toast, etc. Moreover, there are everyday genres, the existence of which, within the framework of a single language consciousness, mutually excludes each other. If we imagine all the genre space of everyday communication in a time slice in the form of a panel consisting of illuminated light bulbs, then the projection of individual consciousnesses of linguistic personalities onto this panel will each time give a different set of lights. And each language personality will be highlighted by a unique combination of lights, because the genre consciousness of each person is unique.

Such uniqueness is explained by the uniqueness of the social experience of each person, the uniqueness of his, so to speak, speech biography. And here we come to another aspect of the micro-level consideration of the body of the genres of everyday communication - the problem of the formation of the genre thinking of a language personality in ontogenesis (which we will discuss in the third part of the book). This problem is directly related to the tasks of school rhetoric, which solves the problem of forming the language personality of a child. It is genre thinking that becomes the central factor in the formation of the language consciousness of a person entering into discursive activity.

At the same time, it is necessary to give an account that the process of mastering a child’s genre norms of everyday communication cannot be represented as a simple quantitative accumulation of genres in his mind. Here we would venture to express a rather unusual, at first glance, judgment: the linguistic person proceeds to master the genre thinking earlier than to master the national language . In the third part of our book, we will speak in detail about the early (preverbal) stage of the child’s speech development, when the main means of communication, along with non-verbal components, is intonation, which is strongly associated with the specific situations of interaction between the infant and the adult (mother). In the course of the expansion of the social experience of a preschooler, the development of his verbal thinking, he first masters the pre-genre forms, which can be called proto-genres .

In its further development at school age, a person faces genres that are characteristic of different age periods of his socio-psychological development.

So, we can talk about the genres of the stage of primary school age, about the genres of teenage speech, etc. At the same time, during the formation of the child's linguistic consciousness, stereotypes also undergo changes: contemporary household genres may go to the periphery of the genre thinking or change together with a changing status-role structure of behavior. Already formed genre forms can develop, improve, or, conversely, be reduced and erased in consciousness as useless.

Different social situations require different treatment of linguistic norms: some force the language personality to strictly abide by speech regulations, others imply an attitude to creativity. The next section of the chapter we devote to creativity in speech activity.