The manifestation of the author's individuality in the style of the text

Qualitative attributes of variations of the text are created, along with the above, and the manifestation in the text of the personal characteristics of the author’s style. The author's individuality is found in the interpretive plans of the text, in the linguistic and stylistic design of it. Naturally, this problem is relevant and fundamental for texts of non-standard speech and composition design, texts with a greater share of emotionally expressive elements.

The author's individuality is as tangible as possible in artistic texts, both at the level of the manifestation of the author's consciousness, his moral and ethical criteria, and at the level of the literary form, idiostyle. Individual style, as a rule, is also revealed in journalistic genres close to the artistic type of the image. Elements of artistry are also found in the popular science text, and, therefore, they are selective and therefore characterize the author’s style.

The emotional memory of a particular author of a particular text can snatch different impressions from her feelings while creating a literary work — specifically object-related, vivid with its detail, or romantically elevated, caused by emotional-psychological tension, a state of affect. Thus, either restraint in descriptions, substantive detailing, or excessive metaphor, pyschnoslovie is born. Everything is individual, the author is reflected in everything. The main thing for the reader is to enter this state, to correlate the expressed by the author with the essence of the described subject. For example, when E. Yevtushenko in his book “Don't Die Before Death” shares his impression of Gorky’s early works and not only does not condemn the excessive metaphor of his style, but even welcomes it, this assessment seems quite convincing, since the significance of the situation described itself adjusts to the enthusiasm of perception:

Whoever spoke of the romantic bad taste of early Gorky today, but what he felt on the Black Sea coast, biting his teeth on the umbilical cord of a newborn, turned out to be true. Yes, the sea was laughing! Yes, thousands! Yes, silver! Yes, smiles! (E. Yevtushenko).

In another case, when taking into account a different situation, excessive pyshnoslovie another author seems like something excessively sugary. So, the hero of V. Nabokov, the artist Horn, says:

- The fiction writer interprets, for example, about India, where I have never been, and it is only from him that you can hear about bayaderes, the hunt for tigers, fakirs, betel, snakes, - all this is very tense, very spicy, solid, in one word , the mystery of the East - but what does this work? It turns out that I do not see any India in front of me, but only feel the inflammation of the periosteum from all these oriental sweets. Another fiction writer says only two words about India: I put my wet boots on for the night, and in the morning a blue forest grew on them (mold, he explained ...), and immediately India is like a living thing for me, Imagine (V. Nabokov. Cloud, lake, tower). In this case, V. Nabokov, apparently, welcomes the style of “restraint in the description”, which A. Chekhov preached (“The neck of the broken bottle flashed at the mill” - and the picture of the moonlit night is drawn). Different style, different perception. But those and rich fiction. That is why it is called artistic, the similarity with visual art is obvious here.

The originality of the artistic word is not necessarily associated with the abundant use of tropes and speech ornaments in general. Originality can be created by the syllable itself - a system of semantic-grammatical correlations of word forms in a phrase and in a sentence, a violation of the conceptual compatibility of word forms, etc.

Here is an example of originality of style, internally corresponding to the very nature of the hero’s thinking - his immediacy and partly childishness, naivety (given primitiveness?) And ideological conviction:

After her visit, Bozhko usually lay down face down and yearned for sadness, although the cause of his life was one universal joy. Having bored, he sat down to write letters to India, to Madagascar, to Portugal, convening people to participate in socialism, to sympathy for the workers throughout the agonizing land, and the lamp illuminated his balding head filled with dream and patience.

Bozhko wrote Negordo , modestly and with the participation: “Dear, distant friend. I have received your letter, we are doing more and more well here, the common good of the working people is multiplied daily, the world proletariat accumulates a huge legacy in the form of socialism. Every day new gardens are growing, new houses are being settled and invented cars are working quickly. People also grow up other, beautiful, but I remain the same, because I was born a long time and did not have time to grow out of myself. In five or six years we have an enormous amount of bread and any cultural comforts , and the entire billion workers in five-sixths of the Earth, having taken families, can come to live forever, and let capitalism remain empty if there is no revolution ”(A. Platonov. Happy Moscow).

The problem of author's individuality is relevant enough for a scientific text, especially a scientific humanitarian one.

Individuality is manifested in the use of evaluative, emotionally colored and expressive speech means. Such emotive coloring of a scientific text [1] may arise as a result of a special perception of an object, individual evaluative connotations may also be caused by a special, critical-polemical way of presentation when the author expresses a personal attitude to the subject under discussion. In this case, the expression of thought is the embodiment of individuality. The use of emotional means here creates deep persuasiveness, in sharp contrast with the general impassive tone of scientific presentation.

Currently, there is no consensus in literature regarding the possibility of the author’s personality in a scientific text. As extreme there are two opinions on this issue. In one case, it is considered that the marginal standardization of the literary design of modern scientific texts leads to their impersonality, leveling style [2].

In another case, such categoricalness in judgments is denied and the possibility of the manifestation of the author's individuality in a scientific text, and even the indispensability of such a manifestation, is recognized [3].

The emotionality of a scientific text can be viewed from two perspectives: 1) as a reflection of the author’s emotional attitude to scientific activity, as an expression of his feelings when creating a text; 2) as a property of the text itself, capable of emotionally affecting the reader [4].

Moreover, the emotionality of a scientific text depends on the significance of expressive units for the text, and not only on their composition and quantity. It is important to keep in mind that the very nature of expression in a scientific text is different than, for example, in an artistic text. Here, many neutral speech tools can be expressive, which can increase the argumentation of the stated position, emphasize the logic of the conclusion, the persuasiveness of reasoning, etc.

A scientific text not only conveys information about the outside world, but also represents a humanized structure that carries the “seal” of the personality of the subject of creative activity [5]. “Interpreting plans of the text carry information about the features of the manifestation of the author’s consciousness, ultimately about the author himself ”[6]. The speech author's “I” in a scientific text will inevitably be as original as its consciousness and the nature of the interpretation of reality. In particular, this is due to a certain degree of associativity in thinking, although in a scientific text, the connections of a logical order are primarily reflected. The originality of the style of the scientist is determined by the profile of thinking (analytical - synthetic). All this causes the appearance of specific features in the scientific text. Equally important are the literary abilities of the author, the ability to textually accurately and vividly reflect the phenomena of his imagination in the text.

It is known, for example, how K.A. Timiryazev, S.P. Botkin, N.I. Pirogov, I.P. Pavlov. A brilliant popularizer was a geochemist, an expert on precious and ornamental stones A.E. Fersman. The works of Russian philosophers are individual in their presentation style.

The Russian philosophy of the 20th century lived a tense spiritual life. Mystical vision of the world, understanding of enduring values ​​embodied in a peculiar linguistic form. In the works of N.A. Berdyaev, I.A. Ilina, G.P. Fedotova presented a wide assessment of language forms.

The poetic philosophical language of the Russian philosophers of the 20th century made extensive use of metaphors. Behind this “erosion” of the scientific language, a school of spiritual rhetoric was felt [7]. S.N. Bulgakov wrote:

“Philosophy, while preserving its dialectic fabric as a matter of creativity, must search for its inspiring muse, which the school teacher still cannot replace (at least I. Kant’s name). And these Musikian precepts, coming from Hellenism and Plato, taught us to serve to the best of our strength and to Vl. Solov'ev, in which poetry was not an accidental and external appendage to philosophizing, but its true basis, its mystical documentation ”(SN Bulgakov Silent Thoughts. M, 1918. P. 139).

Many Russian philosophers were distinguished by sophistication and refinement of style (S.N. Bulgakov, P.A. Florensky). Contemporaries noted the aesthetic originality, baroque in the dialogues of L.P. Karsavin. Philosophical thought explores not only logically defined, but also unconscious, thinking about the soul and spirituality, about the meaning of life and death, required emotionality and intuition. Bright stylistic effect was achieved, in particular, N.A. Berdyaev using the "Shock Figures" [8], an oxymoron, a paradoxical combination of word-terms.

In his philosophical books, as the author himself asserts, N.A. Berdyaev almost never resorted to analysis and used only the method of characterization. “I always wanted to catch the character, the individuality of the object of thought and the thought itself” [9]. With such an attitude and with such a method of knowledge, naturally, the author could not express his thoughts in a dry, “impersonal” language.

Here is an example of introspection, or rather self-characterization:

I have always been a man of extreme sensitivity, I vibrated everything. Any suffering, even outwardly to me unobtrusive, even people I was not at all close, I experienced painfully. I noticed the slightest nuances in changing moods. And at the same time, this hypersensitivity was connected in me with the root-dryness of my nature. My sensitivity is dry. Many have noticed this my spiritual dryness. There is little moisture in me. The landscape of my soul sometimes seems to me to be a waterless desert with bare rocks, sometimes a dense forest. I have always loved gardens, loved greens. But I myself have no garden. The highest rises of my life are connected with dry fire. The element of fire is closest to me.

The elements of water and earth are more alien . It made my life uncomfortable, unchallenging. But I love comfort. I could never experience discomfort and did not like this state. I did not belong to the so-called spiritual people. In me weakly expressed, crushed lyrical elements. I have always been very receptive to the tragic life. This is due to sensitivity to suffering. I am a man of dramatic nature. More spiritual than soulful person. Dryness is related to this. I have always felt a lack of harmony in the relationship of my spirit and spiritual shells. My spirit was stronger than my soul. In the emotional life of the soul is disharmony, often weakness. The spirit was healthy, the soul is sick. The very dryness of the soul was a disease. I did not notice in myself any disorder of thought and a split of the will, but noticed an emotional disorder [10].

Such a self-characterization of the spiritual and spiritual qualities of the personality, as we see, is clothed in a special linguistic "dress"; metaphorically, these descriptions in the text look quite natural and original. And it is difficult to imagine that such a text was submitted not from the personal “me”. Modest "we", "our", "us", and even more impersonal representation of the subject of speech here would be completely unacceptable.

The emotional expressiveness of a scientific text is rigidly fused with its main quality - logic. The emotional form here does not destroy the logical content. Moreover, the very logic of reasoning (correlation of causes and effects), given in bright “language packaging”, can serve as a means of creating irony, when the author with the help of logical operations proves the absurdity of the positions of his opponent [11].

Writing a text to a scientist is the final step in solving a creative task, but at the same time a scientific text cannot but reflect the moments of searching for the necessary solutions, and this is often associated with intuitive processes in thinking and therefore cannot be completely unemotional. The originality of the view on the depicted subject cannot but be combined with originality in its emotional evaluation, and this inevitably affects the style and manner of presentation. Of course, the scientific subject itself provokes a peculiar attitude to the form of presentation, to the choice of language means. Naturally, originality is difficult to find in scientific and technical texts, where most of the text space is occupied by formulas, graphs, tables, and the verbal text serves only as a connecting element. The practice of writing such texts has already worked out standard speech formulas, which cannot be avoided, no matter how hard the author has tried.

In the texts of the humanities cycle - in history, philosophy, literary studies, linguistics - the opportunities for the manifestation of author's originality are wider, if only because scientific concepts and ideas are defined and explained verbally, i.e. The author's interpretation of the subject matter is reflected in the text through speech means and their organization.

Great opportunities for the manifestation of the individuality of the author gives, of course, a popular science text. The author resorts to analogies and metaphorical comparisons, artistic elements of style, by virtue of the nature of the text itself, its purpose. Such literary decoration of the text allows the author to refer to the personal experience of the reader to explain an unfamiliar scientific concept or phenomenon. Naturally, the author's appeals to literary means of artistry are selective, each author has his own associations, his own method of presenting the material. The very popular science text has to such selectivity. The individuality of the author is manifested in this selectivity. In the text of this type, speech means, besides the function of direct transfer of scientific information, also perform other roles: these are means of explaining the scientific content and creating contact between the author and the reader, these are means of actively influencing the reader to convince him, to form an evaluative orientation. The choice of such tools creates the specifics of the author's presentation. The ability to handle complex abstract information from the author of the text is found precisely at the speech level. After all, the popularizer must rely on an adequate perception of the text, for the sake of this he turns to the means of visibility, based on the transfer of experience from one area to another. Thus, comparisons are born, comparisons that help to understand intellectual information.

Here, for example, as visually, using comparisons, avatars and metaphors tells about the neurons of the brain:

Like snowflakes or human faces, there are no two exactly identical neurons in nature. [...]

The dissimilarity of neurons is caused not only by the richness of their internal structure, but also by the entanglement of connections with other cells. Some neurons have up to tens of thousands of such contacts (“synapses”, if scientifically, or “fasteners” literally translated into Russian). So, unwittingly, in the general friendly choir, each neuron is forced to conduct its own melody, different from the others, by the pitch and timbre.

However, neurons are not very similar to the choir members, they "talk" with each other, like ants, with the help of various chemical codes. Signals of a substance called mediators are transmitted. Now we know about a hundred mediators, and how much is unknown yet!

Combinations of chemical ebbs and flows, leading along the brain pathways, carry not only information. Scientists believe that these chemical waves are responsible for the ever-changing kaleidoscope of emotions and perceptions - all that we call mood.

A neuron is able to speak with other neurons not only in the language of chemistry. The brain is also a small generator (about 25 watts) of electrical impulses. [...]

And the neuron with the neuron says ... Day and night, do not stop, these conversations are not interrupted. Their rhythms, tempo, character are subordinated to the vital tasks of a person, the peculiarities of his physical and spiritual development and his condition. This is where the sources of consciousness lie (Y. Chirkov. “And a neuron with a neuron speaks” // Science and Life. 1988. No. 11).

Such a fictionalization of the presentation helps to establish contact with the reader, using well-known examples to explain complex concepts and processes and, therefore, to intrigue the reader.

The question of the manifestation of the author's individuality in the scientific text, the individual style of the author, apparently, can be considered, bearing in mind their temporal aspect.

Modern scientific literature (including humanitarian) in general and focuses on the solidity of style. Contrary to the differentiation of the sciences themselves, there is an increase in the unity of the intrastyle characteristics [12], in the direction of abandoning individual, emotionally expressive features of style. However, if we turn to the history of the development of Russian science and the formation of a scientific style, it turns out that such a leveling of the presentation was not always inherent in scientific writings. There are many reasons for this, both objective and subjective, in particular, such can be called: the facts are frequent in Russian history when a scientist and a writer, a fiction writer were combined in one person. Such bilateral talent could not affect the manner of writing. And therefore, it seems quite natural, for example, that M. Lomonosov’s writing of chemistry in poetic form seems to be.

Russian historians, philosophers brilliantly owned a fictional style.

The syllable of a scientist can be highly original and without any special claims for such, without deliberate fiction. For example, the works of an outstanding philologist of the 20th century V.V. Vinogradov in the style of presentation are distinguished by special qualities inherent to this author. “This is a style of difficult scientific prose, forcing the reader to think, compare, distinguish and delve into the shades of thought” [13]. “Playing with words, puns, irony constitute not only the long-standing linguistic and literary interest of V.V. Vinogradov, but also a feature of his scientific style. And through this style, consciously or unconsciously, the image of the author's “I” by V.V. Vinogradov ”[14]. Analytical nature of mind V.V. Vinogradov was manifested in style constantly and in different ways: in scientific skepticism and scientific caution;and in the rejection of simplifications and straightforward exacerbations of problems; and widely criticized existing concepts; and in the thoroughness and versatility of research issues.

At present, the field of activity of scholars and writers is delighted because of the sharp change in the very level of science and its specialization. In addition, the circle of scientists has expanded excessively, and the combination of research and literary abilities in one person has become extremely rare. And objectively the formation of a scientific style, its standardization and stabilization, led to the predominance of the “general” in the language over the individual. The problem of this relationship for modern scientific literature is extremely relevant. Although it is obvious, the ratio is changing towards the predominance of the total. In the modern scientific text, the authors strive, often in order to objectify the message, as well as due to the general standardization of the language of science, to the destruction of the evaluative-expressive and personal-emotional word, the cunification of both lexical material and syntactic structure.In general, the style of scientific works is becoming more rigorous, academic, unemotional. This is facilitated by the unification of their compositions.

However, this general trend in the language of science, as has been shown, does not refute the fact that the author’s personality manifests itself in the choice of the research problem itself, in the nature of its illumination, in the application of methods and methods of proof, in the choice of the form of including “alien” opinions, means of opposition, choosing means of attracting the attention of the reader, etc. All this together creates an individual author's style, and not just the emotionally expressive means of the language itself.