Pragmatic text installation and pragmatic author installation

To determine the mechanisms for the formation of text, it is necessary to understand such concepts as the pragmatic text setting and the pragmatic text of the author. The text as an integral speech work has its own laws of education. Text formation is influenced by the targeting of the text itself and the targeting of a specific author of the text. The first is dictated by the text itself, its type, genre, the tasks it realizes. The second is entirely related to the author's modality, since any message contains not only information, but also the author's attitude to the information being reported. The latter is especially important in establishing the pragmatics of the text, since it is connected with the interpretational side of the text. The author not only forms the actual text, but also guides the reader in his interpretation of the text.

Pragmatic installation of the text comes from the text itself - its purpose, its type, genre. For example, the author, starting to write a textbook, knows in advance what the volume of the text will be, what questions and problems need to be covered, basically what will be the structure of the future text, what are the genre features of educational literature and methodological methods of presenting the material that have developed in practice.

When you start working on a text, its general purpose setting is known - informing, training, instructing, declaring, etc. Thus, each text has its own pragmatic attitude. It determines the form of the text, the selection of material, the general stylistics, etc. However, the author, as a specific subject, obeying the general rules for constructing the text of a given direction, makes his own, personal corrections to the construction of the text, i.e. carries out its own, pragmatic installation.

Both installations are combined, they can overlap, but for some reason they can diverge and even conflict. Moreover, the author can choose the genre of the text, focusing solely on their personal preferences. For example, L.N. Tolstoy preferred monumental, voluminous novels, A.P. Chekhov - humorous sketches, stories, in extreme cases - the story. Having chosen a genre, the author creates in accordance with the settings of this genre, but may violate the canons of the genre, may disrupt the sequence in the disclosure of the topic.

The personal beginning, naturally, is more pronounced in the artistic text, rather than in the educational text and even more so - for reference, instructional, etc. In general, the more standard the text, the brighter its signs are revealed, the more immutable the canons of its formation, the lower the degree of manifestation personal beginning. The more felt the presence of "artistry" in the text, the more pronounced the personal beginning.

Even in the construction of a paragraph, this small piece of text, you can find a difference in the default settings - text and author. For example, a paragraph basically seeks to merge with interframe unity, i.e. become semantically and structurally complete unit. However, at the behest of the author, he, the paragraph, can break the interphrase unity, pursuing the goals of an emotional, emphatic plan, or, conversely, combine several interphrase unities into one big paragraph. Thus, the text dictates strict adherence to the compositional sequence in the disclosure of the topic, and the author, ignoring this rule, tries to solve the problem of increasing the expressiveness of the text by applying the “surprise” technique.

As a result of the interaction of two pragmatic attitudes, two types of division are found in the text: objective division, subordinate to the structural logic of the text deployment, and subjective division, which either enhances the logical construction of the text or violates it in a peculiar way, creating semantic and stylistic effects [1]. In the latter case, the installation of the text and the installation of the author diverge, and the author intentionally uses this technique in order to more effectively influence the reader. In particular, this affects the features of the paragraph division of the text, entirely subordinate to the author's installation [2].