The meaning of the concept of “modern” Russian literary language. Trends in the development of modern Russian literary language

When characterizing literary language The 20th century should be distinguished between two chronological periods: I – from October 1917 to April 1985 and II – from April 1985 to the present. What happens to the Russian literary language during these periods?

After education Soviet Union its development and enrichment continues. Vocabulary increases most clearly literary language. The volume of scientific terminology, for example, related to cosmology and astronautics, is growing especially rapidly. Words are being created in large numbers to denote new phenomena and concepts that reflect fundamental changes in the state, political, and economic structure of the country, for example, Komsomol member, regional committee, virgin soil worker, collective farm, socialist competition, kindergarten etc. Fiction, journalistic, popular science literature has replenished the arsenal of expressive and visual means of the literary language. In morphology and syntax, the number of synonymous variants is increasing, differing in shades of meaning or stylistic coloring.

There is a further unification of spelling, spelling, lexical, and grammatical norms of the literary language. They are recorded in standard dictionaries.

Researchers of the Russian language since the 20s. XX century special attention paid attention to the theory of literary language. As a result, they identified and characterized the systemic and structural division of the literary language. Firstly, literary language has two types: book-written and oral-spoken; secondly, each type is realized in speech. Book and writing is presented in special speech(in writing - scientific speech and written official business speech) and in artistic and visual speech (written journalistic speech and written artistic speech). The oral-conversational type is presented in public speech(scientific speech and oral radio and television speech) and in colloquial speech(oral, everyday speech).

In the 20th century, the formation of the Russian written language ended, which began to represent a complex dark-structural organization.

The second period - the period of perestroika and post-perestroika - gave special importance to those processes that accompany the functioning of language at all stages of its existence, made them more significant, more clearly expressed, brighter, more clearly presented. First of all, we should talk about a significant replenishment of the vocabulary of the Russian language with new words (government structure, barter, foreign currency, Internet, cartridge, case, kiwi, adidas, hamburger etc.), about updating a large number of words found; previously in the passive. In addition to new words, many have been brought back to life words, which seemed to have gone out of use forever gymnasium, lyceum, guild, governess, corporation, trust, department, communion, blessing, carnival etc.

Speaking about replenishing the vocabulary of a literary language, it is impossible not to note: a striking feature of our current linguistic development is considered to be the clogging of speech by borrowing. The “foreignization” of the Russian language is of concern to linguists, literary critics, writers, and many others; The Russian language is dear to those who are concerned about its future fate.

Throughout its history, the Russian language has been enriched not only by internal resources, but also by other languages. But in some periods this influence, especially the borrowing of words, was excessive, then the opinion appears that foreign words do not add anything new, since there are Russian words identical to them, that many Russian words cannot withstand competition with fashionable borrowings and are crowded out them.

The history of the Russian literary language shows: borrowing without measure clogs up speech, making it not understandable to everyone; reasonable borrowing enriches speech and gives it greater accuracy.

In connection with significant changes in the operating conditions of language, another problem is becoming relevant at present, the problem of language as a means of communication, language in its implementation, speech problem.

What features characterize the functioning of the literary language at the end of the 20th century?

Firstly, the composition of participants in mass communication has never been so numerous and diverse (in terms of age, education, official position, political, religious, social views, party orientation).

Secondly, official censorship has almost disappeared, so people express their thoughts more freely, their speech becomes more open, confidential, and relaxed.

Thirdly, spontaneous, spontaneous, unprepared speech begins to predominate.

Fourthly, the variety of communication situations leads to a change in the nature of communication. It frees itself from rigid formality and becomes more relaxed.

New conditions for the functioning of the language, the emergence of a large number of unprepared public speaking lead not only to the democratization of speech, but also to a sharp decline in its culture.

How does this manifest itself? Firstly, in violation of the orthoepic (pronunciation) and grammatical norms of the Russian language. Scientists, journalists, poets, and ordinary citizens write about this. There are especially many complaints about the speech of deputies, television and radio workers. Secondly, at the turn of the 20th and 21st centuries democratization language has reached such proportions that it would be more correct to call the process liberalization, and even more precisely - vulgarization.

Jargon, colloquial elements and other extra-literary means poured into the pages of periodicals and into the speech of educated people: grandma, thing, piece, stolnik, bullshit, pump out, wash, unfasten, scroll and many more etc. The words party, showdown, chaos the last word, meaning “lawlessness that has no limits,” gained particular popularity.

For speakers and public speakers, the level of admissibility has changed, if not completely absent. Curses, " swear language"," the "unprintable word" can be found today on the pages of independent newspapers, free publications, and in the texts of works of art. In stores, bookstores bazaars Dictionaries are sold containing not only slang and criminal words, but also obscene ones.

There are many people who declare that swearing and swearing are considered a characteristic, distinctive feature of the Russian people. If we turn to oral folk art, proverbs and sayings, it turns out that it is not entirely legitimate to say that the Russian people consider swearing an integral part of their life. Yes, people are trying to somehow justify it, to emphasize that swearing is commonplace: Scolding is not a reserve, and without it one cannot last for an hour; Swearing is not smoke– it won't eat your eyes; Hard words break no bones. It even seems to help in the work, you can’t do without it: If you don’t curse, you won’t get the job done; Without swearing, you won’t be able to open the lock in the cage.

But something else is more important: It’s a sin to argue, but it’s a sin to scold; Do not scold: what comes out of a person is what defiles him; Swearing is not tar, but akin to soot: if it doesn’t stick, it gets dirty; People wither away from abuse, but get fat from praise; You can’t take it with your throat, you can’t beg it with abuse.

This is not only a warning, it is already a condemnation, it is a ban.

The Russian literary language is our wealth, our heritage. He embodied the cultural and historical traditions of the people. We are responsible for his condition, for his fate.

The words of I.S. are fair and relevant (especially at the present time!). Turgenev: “In days of doubt, in days of painful thoughts about the fate of my homeland - you alone are my support and support, oh great, mighty, truthful and free Russian language! Without you, how can one not fall into despair at the sight of everything that is happening at home? But one cannot believe that such a language was not given to a great people!”

The literary process of the 20th century has its roots in the 19th century.

The deep connections that exist between literature of the 19th century and XX centuries determined in many respects the originality of the development of literary trends of new art, the formation of various movements and schools, the emergence of new principles of the relationship of art to reality.

The literature of the 20th century reflected the fundamental social changes that were taking place in Russia. era October Revolution, which radically changed the fate of the country, could not but have a decisive impact on the national self-awareness of the people and intelligentsia.

The time at the turn of the 19th-20th centuries is called Russian Renaissance. During this period, Russia was experiencing a cultural upsurge of unprecedented scale: Leo Tolstoy and Chekhov, Gorky and Bunin, Kuprin and L. Andreev worked in the literature of that time; in music - Rimsky-Korsakov and Scriabin, Rachmaninov and Stravinsky; in the theater - Stanislavsky and Komissarzhevskaya, in the opera - Chaliapin and Nezhdanova. Despite all the conflicts and confrontations, ideological and aesthetic, every creative artist had the right to defend his vision of the world and man.

A phenomenon in the literary life of the turn of the century was symbolism, with which the concept of the “Silver Age” of Russian poetry is primarily associated. The symbolists sensitively grasped and expressed an alarming sense of social catastrophe. Their works capture a romantic impulse towards a world order where spiritual freedom and unity of people reign. These were poets and prose writers and at the same time philosophers and thinkers, widely erudite people who updated the poetic language, created new forms of verse, its rhythm, vocabulary and colors. Bryusov, Balmont, Bely, Blok, Bunin - each of them has their own voice, their own palette, their own appearance. The Symbolists firmly believed in art, in its great role in transforming earthly existence.

A peculiar development of the ideas of symbolism was acmeism(from the Greek word "acme" - highest degree something, blooming power), which arose from the denial of the Symbolists’ idea of the truth of the world, created by the artist’s intuition. The Acmeists (A. Akhmatova, N. Gumilyov, O. Mandelstam) proclaimed the high intrinsic value of the earthly world, asserted the rights of a specific word, which was returned to its original meaning, freeing it from the ambiguity of symbolist interpretations.

Somewhat earlier than the Acmeists entered the literary arena futurists who affirmed the possibility of creating new art by rejecting the art of the past. Declaring the classics an obsolete phenomenon, calling for Pushkin, Dostoevsky, Tolstoy... to be thrown off the “steamboat” of modernity, the futurists (from the Latin word “futurum” - future) asserted their right to update words, to create a new word expressing the ancient meaning of sound ( V. Khlebnikov). In the 1910s in Russia there were several groups of futurists: cubo-futurists (V. Khlebnikov, D. Burlyuk A. Kruchenykh, V. Mayakovsky), the "Centrifuge" circle (N. Aseev, B. Pasternak), ego-futurists (I. Severyanin ). V. Mayakovsky was one of the inspired participants in the renewal of art and, despite the connection between him and futurism, he immediately declared himself to be an original talent. Mayakovsky became a herald of rebellion against “fat” people, hating the cruel reality of his time. Violating the norms of classical versification, breaking the usual rhythms, Mayakovsky’s poetry was brightly expressive, expressing the tragic worldview of its lyrical hero.

An amazing phenomenon of poetry" silver age"the movement began to emerge in the 1900s "neo-peasant" poets, who were destined to play a significant role in the spiritual culture of the 20th century (S. Klyuev, S. Klychkov, S. Yesenin, P. Oreshin). These poets, for all their differences, were connected by family roots with the Russian village and peasantry. The paths of these poets to creativity were different, but they all acted as continuers of the traditions of the poetry of the Russian peasantry Koltsov, Nikitin, Surikov. A folk song, a fairy tale, an epic, learned from childhood, on the one hand, the assimilation of the images of the classical poetry of Pushkin and Nekrasov gave birth to the original poetry of one of the most prominent representatives of this movement - S. Yesenin.

One of the leading trends in the literary process of the early 20th century is appeal to romanticism. The romantic pathos of the affirmation of the new world and the man born of October manifested itself primarily in lyrical genres, in the poets’ appeal to such genres of high lyricism of the late 18th - 19th centuries as the ode and ballad.

A milestone in the development of romanticism as a literary movement in the 20th century was the work of M. Gorky. The pathos of romantic faith in the limitless possibilities of man determines the ideological and artistic concept of his stories and novels of 1890-1900. At the same time, Gorky, already in the pre-revolutionary years, turned to realism, to large types of epic prose - stories and novels ("Foma Gordeev", "Three", "Mother").

The name and work of Gorky is associated with such a concept as "socialist realism", a literary movement and method, the ideological and aesthetic concept of which was formulated by M. Gorky. In the last decade, there has been fierce debate about whether “socialist realism” can be considered an artistic phenomenon, since the literary process in Soviet-era Russia was under strict ideological control. It was in the work of M. Gorky that the importance of this stage the development of literature in depicting reality as history taking place before human eyes; this is a study of the psychology of collective consciousness, its active, world-transforming principle, this is a combination of the critical pathos of depicting reality with deep faith in man and his future. Socialist realism as an artistic method was largely normative (choice of themes, characters, principles of depiction), but these “limitations” were determined by the task of creating the image of a hero of the time - a worker, a creator, a creator (the works of A. Serafimovich, F. Gladkov, LLeonov, V. .Kataeva, M.Shaginyan, etc.).

By the 1920s, in Russian literature there was a tendency towards epic understanding of reality. Art sets itself the task of reflecting the fate of an individual in the rapid movement of time. This is how the lyric-epic poems of V. Mayakovsky and S. Yesenin, E. Bagritsky and B. Pasternak are born. In prose genres, a new specific form of the novel arises, based on a document and using artistic fiction (D. Furmanov “Chapaev”). Another type of novel is a work that explores the psychology of the masses, the collective (A. Fadeev’s “Destruction”); in new historical conditions, the genre of socio-psychological novel is developing (M. Bulgakov “The White Guard”). In the 20s, approaches to the creation of a large epic form - the epic novel ("Quiet Don", "The Life of Klim Samgin", "Walking Through Torment"), the final formation of which will occur in the 40s.

The second half of the 20s - early 30s was marked development of satirical traditions in prose, poetry and drama. During these years, the negative aspects new social system emerging in Soviet Russia. In the stories of M. Zoshchenko, the stories of Bulgakov, the novels of I. Ilf and E. Petrov, the plays of V. Mayakovsky, the stories of Tolstoy, the new socio-psychological type of bureaucrat, bourgeois, opportunist born by the revolution is sharply criticized, the objective socio-historical roots of the formation of the psychology of this type. Satire of the Soviet era inherits the traditions of Gogol and Shchedrin in the artistic depiction of social phenomena alien to humanism: elements of fantasy, irony, and the grotesque are widely used, along with the pathos of affirmation, organically forming a new type of artistic thinking.

The epic beginning, which powerfully declared itself at the end of the 20s, will culminate in the creation epic genre, who took upon himself the task of understanding the historical paths of formation of the Russian nation at a new stage of its destiny. The entire course of development of Russian literature, and above all the experience of L. Tolstoy’s national-historical epic, prepared the birth of the novel “Peter the Great” by A. Tolstoy. The problems of “state and people”, “man and history”, intelligentsia and revolution" are reflected in this historical and documentary psychological canvas. The study of one of the most important moral, philosophical and historical problems- the problem of the fate of the masses in the revolution is dedicated to the epic novel “The Life of Klim Samgin” by M. Gorky, “Walking through the Torments” by A. Tolstoy is an epic about a lost and returned homeland, and “Quiet Don” by M. Sholokhov is an epic tragedy of a Russian people.

The literature of the 40-50s reflected one of the most difficult stages in the fate of Russia. It was literature glorifying the feat of the Soviet people, his real strength and moral fortitude in battle with the enemy.

In the 40s, lyric poetry determined the uniqueness of the literary process. Odic and elegiac genres, various forms of song, based on the traditions of Russian folklore (in the poetry of A. Tvardovsky, A. Surkov, A. Akhmatova, B. Pasternak, V. Inber), reflected the world of feelings and thoughts of the people during the years of great trials.

They played a special role in the literature of the 40s documentary and journalistic genres(essays and stories by A. Tolstoy, M. Sholokhov, A. Platonov, which largely determined the formation of narrative genres about the war, created already in the 50s (“The Fate of a Man” by M. Sholokhov). A new generation of writers (Yu. Bondarev, V. Bykov, G. Baklanov), who went through the war, continued the tradition of depicting a person in war, expanding and deepening the moral and philosophical issues of essays and stories of the war years.

Moral conflicts, which faded into the background during the war years, reasserted themselves in the 60s. Soviet literature turns to the study of the psychology of a person who has been tested by war ("Two Winters and Three Summers" by F. Abramov); a genre appears "lyrical prose" in the works of V. Soloukhin, O. Berggolts. The development of the genre of “lyrical prose” occurs in the further work of V. Astafiev and E. Nosov.

A deep analysis of the moral processes in the life of society and the individual, brought to life by the era of totalitarian dominance of the communist ideology of processes that destroy the personality and deform it, is marked by works created in the 50-60s - this is B. Pasternak’s novel “Doctor Zhivago”, novels-research by A. Solzhenitsyn, poems by A. Akhmatova “Requiem”, A. Tvardovsky “By the Right of Memory”.

Evgeny Zamyatin said that a writer needs spiritual freedom. Otherwise, “Russian literature will have only one thing left: its past.”

If you look closely at the deep currents of literary life, you cannot help but notice that its movement today is less and less determined by narrow ideological and political tasks. A literature emerges that no longer claims to have a teaching role. She is emphatically skeptical, to the point of contemptuous parody, to the point of “chernukha” and demonstrative political “nihilism”, regarding ideological models.

And at the same time, she stops in shock before the seemingly newly revealed depth and intensity of existential problems. The person in it is plunged into inevitable questions about the meaning of his personal life, about the values of the world in which he has to live - questions that were terribly neglected or resolved in previous literature not in favor of the spiritual survival of a person, his “independence.”

This direction in literature is associated, for example, with the dramaturgy of A. Vampilov, the prose of V. Makanin, A. Bitov, S. Kaledin, the book “Moscow - Petushki” by V. Erofeev, the prose and plays of L. Petrushevskaya, etc.

The appearance of this, relatively speaking, "existential" literature(from Latin existentia - existence), of course, does not erase the great tradition that has always existed.

The merits of great literature even in Soviet times are undeniable. Even in the most unfavorable years for her, without much hope of appearing in the world (and therefore outside the opportunistic “ideology”), Andrei Platonov sat over manuscripts, Anna Akhmatova wrote “Poem without a Hero,” B. Pasternak and V. Grossman created their novels. Completely contrary to the recommended models, “military” and “village” prose began, A. Solzhenitsyn, V. Astafiev, F. Abramov, V. Rasputin, V. Shalamov, V. Shukshin came to literature...

But it should also be said that living literature is not exhausted by one tradition, even the most valuable one.

Today's new literature delves simultaneously into “everyday life,” into the flow of everyday life, into the “molecular” analysis of the current and the seemingly transitory. And plunges - into the depths of the soul, into the vague spaces of consciousness modern man, faced with the unresolved main meanings of his existence. Today, a new, still unknown spiritual activity is moving into the “everyday”, ordinary person. To show the ways of its embodiment in new destinies, unlike everything that has been experienced by Russian people over the last century - this is the field into which new literature has entered.

The attitude towards the book becomes different. It may even seem that literature, especially current literature, is dying due to lack of demand. A little more - and there will be almost no one to read. Including the great classics of all times and peoples - interest in reading has fallen recent years. And those who read books read them out of habit and often, alas, pseudo-literature.

Today, at the turn of the 21st century, it is natural to ask the question: does Russian literature have a future?

It is likely that two literatures will exist simultaneously and in parallel, as has always been the case. One is “for internal use,” as V. Mayakovsky sometimes wrote when donating his books. This will be a literature of eternal questions that face every person.

And - side by side, but not intersecting with this literature - there will be “mass literature”, fiction, which is attractive because it relieves a person of spiritual overload, frees him from difficult personal choices, from his own solution to his own issues...

Currently, a number of trends in the development of the modern Russian language can be identified:

process of computerization of language (based on Russian and English language). Blocks of technicalisms are formed. As a language predominantly of young people, computer slang contains many specific words.

Since the computer field of activity is one of the most actively developing, the dictionary here is constantly updated with new lexical units, and due to the rapid obsolescence of computer programs and the equipment itself, many words disappear just as quickly.

On the basis of this professional language, slang is created, the creators of which show maximum ingenuity in combining English and Russian roots and English roots and Russian word forms, and metaphorically transformed international terms are also used.

Here are some examples:

keyboard(keyboard);

trample the keyboard(enter data from the keyboard);

Aibolit(Aidstest antivirus program);

Asthma(Assembler programming language);

bug(English, bug - bug, virus; error, failure in the program);

loaves(buttons);

blink(English, blink - flicker; blink);

drip(English, buck up - duplication; make a copy);

bang(erase);

Doctor Aibolit(antivirus program);

dupes(English, double - doublet; repetitions);

Carlson(fan);

quota(quote);

shreds(English, clock - hour; clock);

boxes(the computer itself);

lammer(“teapot”, incompetent user);

polish the glitches(debug the program);

hacker(computer hacker);

emoticons(English, smile - smile) - denotes the entirety of the “non-verbal part” of written communication.

There is a widespread borrowing of foreign words - foreign words are well mastered on Russian soil. Signs of such development are:

1) connecting the word to the system of declensions;

2) connecting the word to the word formation system;

3) the appearance of these words in headlines, in writing (monitor, insight etc.);

4) in Russian, the mastered word receives a different meaning in contrast to the main source (for example, blockbuster: in Russian it is an action movie, but in American it is expensive).

The positive side of borrowing is that the language becomes international and easier to learn. There are the following ways to introduce foreign words into text:

a word is introduced without explaining its meaning;

with an explanation of the meaning;

the word is used when there is a Russian-language synonym Vvedenskaya G.A. Pavlova L.G. Business rhetoric: Tutorial for universities. - Rostov/n D.: Publishing center “MarT”, 2000. P. 317..

A serious problem is the process of vulgarization of language, especially in the form of jargon and criminalization ( throw, got it, scam). The abundance of modern novels, action films, and detective stories contribute to the process of vulgarization.

It is necessary to distinguish the use of jargon by the type of inclusion with signals of someone else's speech (" scammer", as so-and-so says) and mass jargon. A facet of language vulgarization is detabooing (for example, removing the taboo from sexual vocabulary).

At the same time, the most negative consequence of vulgarization of the language is the washing away of the high. The vulgarization of the language and the washing away of the high changes the entire traditional appearance of the Russian language.

Of no small importance for the formation of the modern lexicon is the process of carnivalization of language (since perestroika) - this is a reaction to liberation from language policy, censorship and ideology. A striking sign of carnivalization is a language game, or a game with language, that is, the deformation of linguistic structures that have a laughter or pleasure effect. ( HAMMER); (KREMLIN-brulee; "from six hundredths to six hundredths"). True, to understand the language game it is necessary to know the layers of national culture.

For modern vocabulary characterized by insufficient development of figurativeness - after all, the Russian language is the most figurative language in the world. Currently, there is a shortage of such figurative means in the Russian language as metaphor and comparison.

A serious problem is also the officialization of language - the penetration into ordinary language of business clichés, which many tend to use appropriately and inappropriately.

In general, according to many modern scientists, the state of the Russian language in the post-Soviet era, on the one hand, indicates the liberation of the language from ideological dictates, the active development of the creative linguistic abilities of native speakers, and the internationalization of the language; on the other hand, linguistic freedom vulgarized the image of the modern Russian language, made it difficult to use the higher strata of the language, led to the impoverishment and vulgarization of the speech of the average native speaker and to a crisis of high Russian literature.

The liberalization of modern speech and its obvious democratism have a significant impact on the assessment of speech behavior. Freedom and emancipation of the language entail a loosening of language norms and an increase in linguistic variability (instead of one acceptable form of a linguistic unit, different options are acceptable).

Sloppy speech, adherence to cliches, the desire to cover up the banality of thoughts with “prestigious” words and phrases are found in numerous statements heard on radio waves and on television screens. The current state of the Russian language is characterized by inaccurate use of vocabulary, distortion of word meanings, and stylistic speech disorders.

Lexical shortcomings in the speech of modern people are:

distribution of words with a narrow (situational) meaning ( state employee, contract employee, benefit recipient, industry worker, security officer);

the use of borrowings that are incomprehensible to many, sometimes even to the speaker himself ( briefing, distributor);

use of abbreviations ( UIN, OBEP, OODUUM and PDN ATC, Civil Defense and Emergency Situations);

Stylistics of speech (in almost all functional styles) today is also characterized by the following negative features:

turning metaphors into new patterns ( vertical of power, economic recovery), sometimes meaningless;

the use of words that hide the essence of phenomena ( social vulnerability (poverty);

penetration of jargon into journalistic and oral official speech.

At the present stage, there has been an obvious combination of vernacular and jargon in newspaper and journalistic texts, which indicates an undesirable vulgarization of the literary language. Youth slang and the criminal subculture became especially active in this process. As a result, professional languages, youth slang and criminal slang have become distributors of slang words in the literary language (for example, scoop, party, cool chaos).

Words disassembly And party have become widely used, and the contexts indicate that these words have gone beyond the narrow slang usage. Disassembly with the slang meaning of conflict, settling scores - this is just one of the particular uses of the word. Etymology of the word party goes back to the card term shuffle. Derivatives from this concept party animal, hang out equipped with ironic connotations (a shade of idle pastime). Currently in verb hang out the meaning “to communicate, to be friends” appeared: artists, painters, etc. hang out. The noun party is used both as a designation for a meeting, mass communication, and as a collective name for those hanging out.

But the former made a special, rapid career slang word chaos. In the Dictionary of S.I. Ozhegova, N.Yu. Shvedova (1998) defines the word as colloquial with the meaning “extreme degree of lawlessness, disorder.” However, the life of this word does not fit into such a brief and neutral description. While still in criminal jargon, it had more than one meaning:

1) violence, murder associated with violation of norms accepted in a given environment;

2) riot in the zone. In newspaper materials today the transformation of the meanings of the word chaos goes in two directions: in the direction of greater concreteness and at the same time in the direction of greater abstraction. In the first case, phrases appear: lawlessness of the police, lawlessness of the authorities, army lawlessness, etc. In the second, more generalized meanings are acquired, related to the activities social institutions: administrative lawlessness, commercial lawlessness, legal lawlessness, lawlessness of power, lawlessness of mismanagement, lawlessness of false democracy, lawlessness of “wild” post-Soviet capitalism, August lawlessness.;

3) abuse of emotionally charged vocabulary in official public speech.

But one cannot help but say that in speech practice modern society Some positive trends have emerged:

expansion of the vocabulary of the language in the field of economic, political and legal vocabulary;

bringing the language of the media closer to the needs of reliable coverage of reality;

bringing the language of notes and correspondence closer to literary colloquial speech;

de-ideologization of some layers of vocabulary;

the obsolescence of many Soviet-era newspaper clichés.

And in conclusion, it should be noted that the modern Russian language - one of the richest languages in the world - requires serious, thoughtful study. The high advantages of the Russian language are created by its enormous vocabulary, a wide polysemy of words, a wealth of synonyms, an inexhaustible treasury of word formation, and a multitude of word forms.

It is vocabulary that primarily reflects the changes that occur in the life of society. Language is in constant motion, its evolution is closely connected with the history and culture of the people.

Each new generation brings something new not only to the social structure, to the philosophical and aesthetic understanding of reality, but also to the ways of expressing this understanding through the means of language. And, first of all, such means are new words, new meanings of words, new assessments of the meaning contained in known words.

The emergence of new words and phrases, which reflect the phenomena and events of modern reality, also stimulates intralingual processes - in the field of word formation, word usage and even word change.

Submitting your good work to the knowledge base is easy. Use the form below

Students, graduate students, young scientists who use the knowledge base in their studies and work will be very grateful to you.

Submitting your good work to the knowledge base is easy. Use the form below

Similar documents