Language personality and speech subculture

The household communicative interaction of linguistic personalities becomes the main space of speech creation. This "low" speech element carries the whole folk folk forms of literature, which are present in the consciousness of native speakers at the semi-conscious level. Individual experience of a linguistic personality is formed in its collision with other talking people, in mastering it by other people's statements. Anyone lives in the world of texts. There are texts whose understanding is necessary for him to achieve various socially significant goals: studies, science, etc. But there are texts that

penetrate the consciousness of the linguistic personality in addition to her will. They leak into the memory, emerging in speech behavior in the form of run-in quotes, ready-made formulas. These texts form a special area of ​​national collective creativity, which is called the speech subculture .

Speech subculture exists in the minds of native speakers in the form of quotes, snatched from any texts, from a variety of communicative situations. Such phrases convey the expression of the context of which they are a fragment; they carry the emotional memory of the speech act that gave rise to them. The main condition for the entry of a phrase into a subculture is the well-known social and speech context in which it originated. Once A.A. Akhmatova wrote: “When would you know from what litter verses grow, not knowing shame.” About the speech subculture the same can be said with the same, if not a great reason. It may include a quote from any of the most non-prestigious (and even obscene) source.

Take, for example, a joke. This is perhaps the most intensively developing genre of oral folk art. Its flourishing is connected with the special status of a counterbalance to the official unanimity, implanted in a totalitarian state. Short, word of mouth, anecdote became an instant reaction to any manifestation of the life of society. It covers the most diverse spheres of human life and being - from the eternal intimate and sexual to the momentary political. From anecdotes in the speech subculture includes a lot of phrases, words, pieces of text, etc. Let us give some samples.

“I am waiting for a tram ” - says in response to the question “What are you doing here?”. From a joke about a husband who found his wife's lover in the bedroom.

"Wow - went to the bakery," - said in a situation of unexpected trouble. From the "dill" about the severed head, which talks to its body lying on the rails.

“ Neither“ hello ”for me, nor“ thank you ”for you - about the absence of gratitude for the service. From a joke about a husband who unexpectedly returned from a business trip and was nearly knocked down by a young man who had run out of his wife’s bedroom.

“ What are you, Ilusha, good when sober, ” - says in response to the manifestation of participation, such a person is not dismissed

false. From the anecdote about Ilya Muromets, waking up in the country in the morning, bearing traces of devastation and enemy invasion. The phrase belongs to Baba Yaga, whom Ilya of Murom asks about the reasons for the ruin.

Another source of subculture is the media and, especially, television. In this sense, television advertising is most indicative, driving companies, products and services into the subconscious of viewers. Absorbing the texts of the advertisement, the subculture gives them a buff tonnage tonality. Here are just some of the phrases included in the subculture: “ Well, very ridiculous prices” (“Russian America”), “Bounty! Paradisaic delight"; “We can't wait until the first star” (Bank Imperial), “Your pussy would buy Whiskas,” “Where have you been? - Drank beer "," It seems just sat down ("Fat Man" beer), "Do not let yourself dry out" ("Sprite") , etc.

Speech subculture is a kind of language game. Therefore, the most fruitful source of it is the numerous “laughter” TV shows, the number of which has recently increased significantly. It is characteristic that not satirical politicized reprises, but phrases that are simply ridiculous, such as: “ Ala-ulya, drive horses”, “Well, the question is certainly interesting,” “Yesterday I saw crayfish five rubles each. But big ones. But today - three but “small”, “But we had with us,” “Man, did you understand what you asked? " etc.

It is curious that the subculture assimilates and statements that do not have entertainment and laughter content. People’s consciousness transforms the contextual semantics of such phrases, saturating it with travesty and cheerful connotations. An example of such use can serve as excerpts from speeches of politicians.

“The process has begun,” “And this must be understood” (M. Gorbachev), “I cannot sacrifice principles” (N. Andreeva), “Boris! You are not right ”Ligachev),“ We ​​wanted the best, but it turned out as always ”,“ I am far from thought (V. Chernomyrdin), “Two birds don't live in one den” (A. Lebed); "We will drench the terrorists in the toilet" (In Putin) and others

A significant amount of language material is included in the subculture of popular songs. The repeated repetition of the text of a smash hit leads to typing in the linguistic consciousness a key phrase, usually located in the chorus. “You're a sailor - I'm a sailor, you're a fisherman — I'm a fisherman; you are on land, I am on the sea We will not meet in any way ”- the simplicity of the formula of Oleg Gazmanov’s song, its repeatability facilitates penetration and

fixing it in the subculture. The above sample can be replenished with other examples: “Do not rub salt on my wound,” “ Not yet evening,” “Oh, Lech, Lech! I'm so bad without you! ”,“ I am returning your portrait ”,“ But you are together but not with me ”,“ Do not lose heart, Lieutenant Golitsyn ”, etc.

This also includes songs from movies and cartoons:

“The main thing is to have a suit sitting”, “If you don’t have a dog, the neighbor will not poison it”, “We whisper fate more than once:“ Merci to the side ”,“ And the butterfly wings - byak-byak-byak ”,“ And in the cemetery everything is calm "," Eh, my life - tin. Well, let her go to the marsh! ”,“ Where are we going with Piglet, a big, big secret ”,“ Oh, early, the guards get up ”, etc.

Many quotes are included in the subculture of the so-called bard song. Moreover, the texts of V.S. Vysotsky, this “chansonnier of all Russia”, enriched her most of all. Let’s take it at random: “ It 's a shame to me, I’m annoyed - well, okay,” “Either the bitterness laughed, or the owl stuttered, Ivan-fool felt sad,” “If a friend turned out to be neither friend nor enemy, but "," Well, and Vologda, she is where "," Friend, leave to smoke, and in response - silence, "" Ladies, gentlemen, I am shocked and crushed, "" Where is Dostoevsky with the notes known "," Giraffe big : he knows better, ”“ Oh, where I was yesterday. I will not find fire in the daytime "," You, Zin, run up against rudeness, "etc.

Of course, the subculture incorporates the words from the songs of other bards. However, the works of Vysotsky on the scale of penetration into the widest areas of the informal language space, on the degree of distribution, dissolution in the speech culture of the masses is an unprecedented phenomenon. What, if you think about it, is the secret of the national nature of the work of this author? Of course, the official non-recognition and semi-folk character of the distribution of his songs played a significant role in the singer’s popularity. But other bards were not officially recognized, yet their fame is much less. The point here, obviously, is different.

Vysotsky in his songs managed to recreate the mythopoetic model of the people's world perception. The variety of topics covered in his songs is a different facet of the life of the nation. But the most important prerequisite for accepting the “simple”, so to speak, people of the texts of the great bard was the presence in them of the archetypes of folk carnival culture of laughter in the Bakhtin sense of the term.

Vysotsky's songs were in opposition to the official ceremonial Soviet literature, but they were not evil satire on

Predominantly mode. Reflecting the different sides of the existence of society, they created a special carnival flip-flop, a folk-laughter interpretation of the facts and events of this being. The laughter, sounding in the works of the national favorite, is most often directed at the lyrical fantastic heroes of the songs. This is not a denying, whipping laughter of satire, but a cheerful laugh at oneself, what MM Bakhtin called "carnival self-mockery."

Speech subculture is an expression of a collective worldview. It is charged with the life-affirming energy of the collective unconscious, which unites people, which carries within it a sense of immortality, the incessant being of the collective. This world view is connected with the popular laughter philosophy based on joyful, cheerful perception of the world. Therefore, falling into the seething cauldron of folk speech-making, fragments of texts acquire in it a life-giving laughter flavor.

It is far from accidental that the source of the subculture is often laughter works, whether it be fiction or comedy. By the way, domestic comedy films are the most valuable donor of the subculture. Here you can cite a lot of examples: “ Freedom to Yuri Detochkin,“ You will be settled, and you do not steal ”(“ Beware of the car ”),“ Whispering, like our ships plying the Bolshoi Theater ”,“ Shurik, but maybe not? “It is necessary, Fedya, it is necessary!” (“Operation Y”), “A student, an athlete, a Komsomol member!”, “In short, Sklifosovsky”, “To live, as they say, is good! And it’s even better to live well ”,“ It’s a sin to laugh at big people ”(“ Prisoner of the Caucasus ”),“ In the morning they drink champagne or aristocrats or degenerates ”,“ Baba flowers, children ice cream ”. “Fedya, have you reached the necessary condition?”, “Even the ulcers and sober-drinkers drink at the expense of others” (“The Diamond Hand”), “Radish is a bad person”, “To eat is served: sit down to eat, please” (“Gentlemen of good luck”) “We sit well”, “I told him: do not mix red with white, but he is a cocktail, a cocktail” (“Autumn Marathon” ), etc., etc.

Overwhelmingly, the source of the subcultures are works that belong to the laughter branch of literature. Here are some examples: “A giant of thought and the father of Russian democracy”, “Kisa, you are so smart. Kobelyazha at your age is dangerous for health "," Gavrila suffered from gangrene, Gavrila fell down from gangrene "," The ice was broken, gentlemen of the jury, "" Maybe you still have to give the key to the apartment where the money is? "," Shura , restore, please, the status quo "," Do not make food of worship "," I do it -

barking not for the sake of truth, but for the sake of truth "(I. Ilf, E. Petrov" The Twelve Chairs "." The Golden Calf "); “I’m sitting, I don’t touch anyone, I’m fixing the primus”, “So, it’s not”, “We sat at the table, do not worry, we sat”, “Look at my profile in the moonlight” (M. Bulgakov “Master and Margarita ") etc.

The language game in everyday speech is usually perceived as a normal positive phenomenon. She flashes merry sparkles in a lively everyday communication of people. These creative impulses do not disappear without a trace: accumulating in the collective's speech memory, they light up with a bright flame of folklore that can change the language picture of a nation.

Part 3: Age Psycholinguistics (Ontolinguistics)

More than a hundred and thirty years ago, one of the most prominent Russian linguists, A. A. Potebnya, drew attention to the fact that the little boy, looking at a light bulb, called it "watermelon". This fact became for the scientist a reason for his serious discussion in the book “Thought and Language”, which led to important conclusions. It would seem that there is nothing special here: the child did not know the name of the new subject for him, saw the similarity of the external form (“something spherical”) of two different objects and transferred the word he knew to designate a new subject. However, to what we have just explained, it was necessary to come independently: nowhere else has anyone written about this. But in this particular case many regularities are concluded, one of which is the motivation of the new meaning of the word, the development of the polysemy of the word (polysemy). It is unlikely that A. A. Potebnya knew at that time that the similarity of the shape of objects underlies the emergence of the German language of a similar name for a light bulb - Gluhbirne or simply Birne (“burning pear”, “pear”), and could not even know that in a hundred years, the word “acorn” will be included in the professional language of all radio technicians as a designation of large radio tubes for portable radio receivers of the time. Meanwhile, from time immemorial, various scientific and technical terms are formed according to this principle - from everyday vocabulary, which has a specific figurative meaning. Suffice it to recall here only a few such terms: “fingers” (for an engine component), “tooth” (for a gear), “scapula” (bone), “eyeball”, “mouse” and “window” (for computer technology) , "Cradle" (part of the gun), etc.

One hundred years before the advent of psycholinguistics, A. A. Potebnya shrewdly remarked that linguists should deal with psychology in order to understand the nature of the connection between thinking and language when they are studying language phenomena. The scientist even called the branch of linguistics, which is necessary for linguistics - “linguistic psychology”. From this combination one step to "psycholinguistics". By the way, her first subject in the middle of this century was the problem of mastering speech (in her native and foreign languages), and the object was the phenomenon of children's speech. By now the area

knowledge, encompassing problems of speech ontogenesis, claims to be singled out into an independent research discipline - age psycholinguistics (it is also called ontolinguistics, or linguistics of children's speech), which over time should enter the sphere of anthropocentric linguistics as an equal science with psycholinguistics.