1. Romanticism was a revolutionary upheaval in the culture of Europe, a decisive turn in consciousness, a fundamentally new step in it. The essence of this "revolution" is the assertion of autonomous subjectivity, the freedom of the individual from any external conditioning. First of all, this concerns the field of creativity (the rejection of the previous "rhetorical" literary tradition), but also manifests itself in the socio-political, cultural, and religious fields.

2. Romanticism arose as a later (after 5-10 years) reaction to the Great French Revolution. This reaction is a disappointment in the essence, methods and consequences of the revolution. This disappointment lays the foundation for the literary biography of the first romantics.

3. The enthusiastic attitude of the "senior" romantics to the revolution is psychologically conditioned by their young age at the time of the revolution (15-20 years old) and upbringing (the ideal of "freedom" of the Enlightenment, the increased susceptibility to life of the feelings of Rousseau and sentimentalists). Hence the radicalism and revolutionary enthusiasm of future romantics, their relatively calm attitude towards the bloody methods of the revolution.

4. The whole history of the romantic worldview is accompanied by a tense reflection on the revolution that gave rise to it, either as a directly experienced event (the first generation of romantics), or more speculatively, through the prism of the current events of their time and with the projection of the revolution into the future - in subsequent generations. For the "younger" romantics, the French Revolution already existed only in the form of an idea, and its social and cultural consequences became the real experience of life.

5. The essence of the “disappointment” of romantics in the revolution is the realization that the desired freedom, “freedom”, is not achievable on the paths of social revolution, social (re)organization. It is “the essence of the property of a single person, if he is pure in soul and burns with love and worship of God in Nature” (Coleridge, “France”, comments). The pledge of freedom is in the return from the “human coves” (Wordsworth), from the “dust of human deeds” (Coleridge) to the harmony of nature and through it to the “secrets of the soul”.

6. This disappointment in "human affairs", which the first romantics came to experience, became the dominant feature of the romantic consciousness. It was here that romanticism, as a worldview and artistic position, retained its “pure” essential specificity in all the vicissitudes of development; and it was here that he became a revolutionary upheaval in European artistic consciousness.

7. "Secrets of the soul" - a purely individual sphere of romantic sublimation. It was not without reason that the Jenese announced the equal size of the poetic soul to the cosmos, their interpenetration and mutual imposition (Novalis). A romantic genius individual (“super-ordinary person”) appropriated the universe, placing it in the expanded space of the soul, building a parallel world as opposed to the real one.

8. In the most general terms, the main threat that frightened the romantics can obviously be defined as the bourgeois order that is being established as a result of the revolution. A lot of evidence can be cited that the romantics very soon recognized and resolutely rejected such essential features of it as pure practicality, which turned into an egoistic thirst for material prosperity, disregard for the values ​​​​of the spirit, the transformation of everything - including art - into an object of sale; in short, the notorious "bourgeois chistogan". “Everywhere we now find a huge mass of vulgarity, fully formed and formalized, that has penetrated more or less into all the arts and sciences. Such is the crowd; the ruling principle of human affairs at the present time, which controls everything and decides everything, is benefit and profit, and again benefit and profit ”(F. Schlegel, 1802).

9. Hence the romantic complex of "anti-philistinism", fear of the crowd. This is not just a manifestation of elitist arrogance: the romantics saw here a real danger to the very sphere of spirituality, which intensified many times precisely with the beginning of the bourgeois era. The revolution brought with it the spread of "enlightenment" to the broad masses of the third estate. This entailed the subordination of art to the laws of the market, its openness to anyone, including offensively profane judgment, increased dependence on the demands of the public, the temptation and danger of deforming the artistic intention to please these demands.

10. Therefore, the romantic spiritual revolution began by overthrowing and driving out the third estate, stigmatizing it once and for all with the name of "philistinism", and where it did not dare to confine itself to the society of "extraordinary people", demiurge poets, it opened the doors to the fourth estate for the "common people". This was done in order to avoid the sin of self-centeredness, which was immediately recognized.

11. Romantics, who initially turned to the problem of the people, presumably, for ideological and ethical reasons, saw in folklore simplicity also a weighty legitimation for their aesthetic aspirations. It was, in a certain sense, a tactical union of the principle of deeply subjective self-expression with the principle of "general validity."

12. The mentality and psychology of the common people were perceived by the romantics almost as part of Nature, as a marginal sphere, remote from modern life with its bourgeois-civilizational progress and opposed to it. In romantic "populism" the "centrifugality" of the romantic worldview found its expression.

13. Having first made a great ethical amendment to radical romantic geniocentrism, an attempt to supplement it with an altruistic dimension, populism did not solve and did not remove the main and most painful problem of romanticism. It was easy for romantics to imagine an ideal humanity of the future and love it, do good to it, but the environment that surrounded them every day broke this image again and again. Every time the ideal turned into a new illusion: every time the romantic, sublime idea of ​​freedom, trying to correlate with reality, with the earth, did not find soil and support - or rather, every time it found slipping soil, a failing support.

14. The very concept of "people" in the use of romantics is a kind of vague abstraction, an "ideologeme". Like any ideologeme, it has an evaluative coloring. In romantic ideology, this coloring is initially positive, but in principle it is just as stylized a concept as “crowd”, and “rabble”, and “philistines”, only with the opposite sign. A concept with elusive content. And this could not but be felt by the romantics, who longed for support. In general, the traditional romantic and all subsequent neo-romantic identifications of the people with the peasantry, with what is near the earth, near the “soil”, turned the people - and the closer to our time, the more obviously - into a minority of the nation.

15. An attempt at a more or less definite sociological reference ("independent peasantry", "common people") gives the concept of the people at least some tangible meaning and can still inspire in the artistic field such masterpieces as Wordsworth's ballads and poems in the folk spirit, such as "The Old Sailor" by Coleridge, as folklore poetic stylizations of Arnim and Brentano, as "The Tale of the Honest Casper and the Handsome Annerl" by Brentano. But it also narrows, of course, the channel of creative possibilities, especially for romantics with their initially all-encompassing aspirations, with their plans for a new world, even cosmic reorganization. In the same way, these possibilities are limited by the narrow national idea - the sister of populism in the system of early German romanticism. In this post, "high" romanticism did not last long. The later work of Coleridge, and even Wordsworth after the Lyrical Ballads, is already very far from a demonstrative orientation towards the "common people", folklore and soil.

16. Whom to take into the realm of freedom, whom to rule there? The historical basis for such reflections seems to be different every time: the French Revolution itself with Wordsworth and Coleridge, the liberation struggle of the Greeks at the end of the 18th century with Hölderlin, the political atmosphere of the European Restoration with Byron and Pushkin. But in all cases, we are talking about a revealing and painful reassessment of the concept of "people", and to be quite precise - about its devaluation, ultimately caused by the comprehension of the same revolutionary experience.

17. The problem of a romantic worldview looming in all these painful thoughts is precisely the elusiveness of an unambiguously positive, ideal image of the people, the impossibility of clearly separating it from the real and effective mass of ordinary contemporaries - a mass that appears to bewildered romantic eyes either as a bloodthirsty crowd during the days of the revolution, or as a submissive a herd in the days of the Restoration, then an inert and viscous mass of philistine lack of spirituality in the rest, peacefully flowing days. “The bourgeoisie was filled with everything and everyone ...” (Brentano, 1798)

18. Romantic thought is initially focused on the absolute; recognition of relativity, gradualness is given to her with difficulty - if at all. She wants everything at once. Romantics not only do not want to wait - they want to influence, they want to deal with sympathetic and malleable contemporaries, "the way they should be," the way they want to see them. Any real discrepancy, the slightest mutual misunderstanding plunges them into despair (the most striking and tragic symbol is Kleist). In this sense, all romanticism is a thirst and search for an interlocutor, a like-minded person, a dream of infinity - “inseparability and eternity” - the youthful union that once united them, about the spread of this union to everyone. But these "everyone" again and again scare them away with their inconsistency with the maximalist romantic requirements - serving only "benefit and profit" (F. Schlegel), and most importantly - "vulgarity". Hence, one of the most pervasive and vital motifs of romantic literature is the motif of "love wasted in the desert", love unclaimed. The object of love - in this case, the "common people" - deceived expectations.

19. What romantics do not want - or what they come to at the cost of considerable effort (and, in fact, at the cost of self-denial, farewell to romanticism) - is to see other people impartially, without regard to themselves, "as they are", and even more so - to recognize that these others may have their own existential reasons and their own rightness. Over this problem ("others" - not "crowd", not "rabble" and not "philistines", but first of all people) Hölderlin's thought beats in "The Death of Empedocles".

20. The subsequent history of European lyric poetry testifies that in its mainstream, it was not folk imagery and themes that were adopted and developed, but the intimate confidence of tone, the naturalness and spontaneity of lyrical expression - features inherent in the romantic mentality in general, creativity is sharpened -individual.

21. “Everything brings me back to myself,” Novalis said in The Disciples in Sais. This is said as if in a purely natural-philosophical context, about the identity of the knowledge of nature and self-knowledge. But this, in fact, is the formula of the entire romantic worldview in its consistent expression. His exits into the social sphere ended precisely in the return "to himself." So it was with the splendid folksy adventure of romanticism: from there a wonderful poetic experience was taken. But let's not be deceived: for all their focus on "simplicity" and "nationality", the Romantics remained elite poets, masters of virtuoso stylization. The romantic genius nevertheless remained "its own highest court."

22. The romantic cult of personality - brilliant and exceptional - arose not from the arrogance that suddenly seized the poets; it was almost a reflex reaction of self-defence against the triumph of the masses, against the threat of spiritual oppression. In the history of European literature, romantics then rose more than once against social and national oppression; but to understand the essence and heart of romanticism, one must clearly realize that all his other uprisings were derivatives of this main thing - the uprising of the Personality, a rebellion against any encroachment and claim to its absolute sovereignty. And this is the essence of that "parallel" revolution, which they opposed to the bourgeois revolution; this is the essence of the romantic revolution in the spiritual history of Europe - a revolution that had no less significant consequences for this history than the consequences of the bourgeois revolution for social history.

23. In romanticism, a radically new concept of man and his life path arose. The pre-romantic individual has always correlated himself in one way or another with the outside world, with human or divine institutions. Enlightenment literature - the closest reading circle of romantics at the time of their maturity - cultivated the genre of "educational novel", showing how a person, entering into life, learns to live, learns to conform to the laws of the outside world. Romantic literature poses the problem in a completely different way: in it, a young person who has entered into life must not so much “grow up” as preserve his “childish consciousness” as much as possible, protect him from the onslaught of the outside world, from the oppressive weight of “prison”. Hence the apology of children's consciousness in romantic literature - precisely as the consciousness of a naive, innocent, still, so to speak, "not educated", not adjusted to the general ranking and therefore more open to the truth of being, than the consciousness of an adult, already marked with the seal of the outside world and therefore devoid of individuality. , open-mindedness. According to romantic existential philosophy and epistemology, a child is wiser than an adult. On this line of thought, Wordsworth's famous paradoxical formula could have arisen: "A child is a father to an adult!" This desire to preserve forever childhood and youth is a sign of a truly radical change and upheaval: to cross out everything that was before and start with the tabula rasa, with the monad of individuality.

24. In the same way, romantic campaigns against the classicist "rules", against enlightenment didacticism, against rationalistic moralizing were not just a sign of another "change of direction"; it was in the trend, too, a radical revision of the very status of creative activity. The pre-romantic artist nevertheless conformed to the establishment of a certain order outside him - from aesthetic to ethical. The Romantic Revolution opened the way to the legitimation of even the slightest expression of subjective creative will, which does not recognize any codes.

25. The logic of the principle laid down by the Romantics led to the fact that a work of art could become a purely individual, single self-expression, not correlated with any external verification criteria. For its perception and understanding, in fact, it is not enough even to know the "manifestos", the legal provisions of the corresponding "ism", if they were expressed. Here the age-old code of relations between the “creator” and the “public” itself changed: the writer was freed from the obligation to use any generally accepted language, whether it be the language of aesthetic laws or the language of everyday verbal communication, but the “public” was charged with the obligation to know a purely single figurative, symbolic the language of a given individual creator. Do not learn, do not understand - her concern; the work of art will not be diminished by this - it rests in itself. On this path, art can logically come - and more than once! - to extreme hermeticism. Then the question arises: is this the final meaning of the spiritual revolution carried out by the romantics? And is their original claim to correct the results of the social revolution, to bring about a better, true revolution, correlated with this result?

26. Of course, the goal of the first romantics was much more general than the self-satisfaction of the artistic instinct of the game. By proposing to begin with the restructuring of consciousness, they hoped to come to the reorganization of the world in this way as well. Their artist-genius is not only his own law, but also the embodiment of the ideal of human existence; he was conceived as an irresistible and contagious example of harmony, capable of captivating others along with him, raising them from the vulgar routine of improper life to the poetic paradise of proper existence. The freedom of expression of the individual - as the subject of a new revolution - was only a means to achieve the lofty and humane goal of universal freedom.

27. But such a path to others turned out to be very long, too, and the Romantic Revolution over and over again liberated itself only in the sphere of artistic consciousness; paradise turned into Parnassus, and then into a tower - sometimes from ivory, sometimes from ebony.

28. Yet the results of the Romantic Revolution should not be judged by the extremes of Hermeticism and Narcissism. It had more significant and fruitful consequences. One of the most important concerns artistic language. The visible presence of the will of the creative subject in every monad of the artistic world has become an almost indispensable element of the language and structure of all high art of the 20th century, including that which by no means excludes the traditional, objective possibilities of verification. Recipients of art in the 20th century, willy-nilly, had to get used to the fact that in order to understand the majority of works of art of this century, including those that have long since become classics, it is necessary not only to look for correspondences to their images in the object world, but also to look at them through the prism of this individual - author's - consciousness.

29. In turn, this influenced the reader's consciousness in the 20th century in general, extremely activating it, sharpening its susceptibility not only to the secrets of poetic language, but also to the secrets of the human soul. We are not always even aware of how powerful the receptive stimuli instilled in us by the Romantics are. Thus, the English researcher, not without reason, speaks of "our post-romantic (or still romantic) manner of reading", by virtue of which we are now inclined to perceive, "read" any image of world literature, whether it be Homeric Achilles or Shakespeare's Hamlet, in the same way as his It was the romances that were perceived and read.

30. Who finally populated romantic literature after their revolution? Wanderers, outcasts, rebels, scoffers, sad people - strange people, superfluous people; yes, geniuses, yes, enthusiasts, yes, very often "honest people with a pure heart" - but all "outcasts". All their euphorias and all their escapades, soarings and falling away, their forced enthusiasm and their ambiguous irony - these are all convulsive reactions of an individual who has felt himself in a close and ever shrinking ring of vulgarity, norm, Mass. Their world is probably indeed a "compensatory mythology", in the words of another researcher. But their revolution did not pass without a trace, and the romantic artist, having long defended himself against the rules and laws imposed on him by the public, nevertheless took revenge: he forced the public to look at the world through his eyes.

FULL ARTICLE: Karelsky A.V. Social Revolution and Romantic Revolution // Questions of Literature. M., 1992. N 2. S. 187-226.

Abstracts and abstract, their difference from the plan (Lesson 4)

The ability to outline an article or lecture, to highlight and fix the theses of one's own or someone else's statement, as well as the ability to draw up a plan, is one of the most important practical skills that schoolchildren need to master. Both in the classes of the optional course, and in the classroom, and in practical activities after graduation, students will more than once have to face the need to deeply and firmly master the content of any article, book, prepare an independent public speech, etc.

In all these cases, the ability to take notes on what they have read or to fix the main provisions of a future statement in the form of a theses will provide them with invaluable help.

Considering that in optional classes, students will make reports and presentations and they will need these skills, we have included an introduction to note-taking and abstracting in the plan of the first classes in the optional course.

Lesson 4

Purpose of the lesson

To acquaint students with the theses and abstract; reveal the features of the theses and abstract as varieties of a concise presentation; to lay the foundations for the formation of the skills of writing and taking notes in schoolchildren.

Main stages of work

Introduction by the teacher. It is known that what is read is much better absorbed and understood if the reading process is accompanied by note-taking (drawing up a summary, that is, a brief, concise written presentation of the content of what is being read) or abstracting (recording theses - the main provisions of the book, article). Fluent, superficial and inattentive reading will not be useful, will not enrich your knowledge.

Reading is serious creative work. “Without a certain independent work,” wrote V. I. Lenin, “truth cannot be found in any serious issue, and whoever is afraid of work deprives himself of the opportunity to find the truth” (Poli. sobr. soch., vol. 23, p. 68).

It is also known that even the greatest scientists and famous orators worked out in detail the plan and theses of their public speeches. Drawing up a detailed plan and theses frees you from the need to write down your speech in full, in all details, so that you can then read the text without taking your eyes off what has been written. A well-thought-out plan and abstracts provide live communication with the audience, contact with the audience, and this is half the success of a speaker or lecturer.

In the lesson, we will get acquainted with the theses and abstract, consider their difference from the plan and perform some practical exercises.

Reading by students of the section "Abstract and summary". To find out how the students learned the content of the article, the teacher invites them to answer the following questions:

1) Why do you need to be able to write theses and take notes?

2) What do we call theses and how do theses differ from a plan? 3) What is a summary? How is a summary different from a thesis?

Practical exercises. Ex. 16 (comparison of the plan, abstracts and abstract of the beginning of the article by V. G. Belinsky "Letter to Gogol") is carried out collectively under the guidance of a teacher. Previously, students get acquainted with a brief explanatory article.

First, the wording of the 1st paragraph of the plan is read, then in the text of the article by V. G. Belinsky the part corresponding to this paragraph is highlighted. It is established that the wording of the plan: "The reason for Belinsky's angry assessment of Gogol's book" - only indicates the content of the corresponding part of the "Letter", but does not reveal it.

Comparison of the abstract with the article leads students to the conclusion that the summary in a concise (generalized) form sets out the main content of the first paragraph of the article, its main idea is preserved and the words of V. G. Belinsky are used. This helps to convey the features of the language of the article. (If the teacher sees that the students are doing well on the task, he may suggest that you perform further analysis on your own.)

Ex. 17 (comparison of the plan and theses to the essay "Characteristics of Prostakova") is performed by students independently. They establish that the theses more specifically reveal the general provisions formulated in the plan and contain some factual material. Thus, the thesis for the 1st point of the plan specifies its wording, the theses for the 2nd and 3rd points contain factual material, using which you can more specifically reveal these points of the plan.

For the exercise with the text of the article by V. G. Belinsky "The Works of Alexander Pushkin" (exercise 18), the students were prepared by the analysis of the article "Letter to Gogol". Therefore, the task should be offered for independent completion, dividing the students into four groups.

Ex. 19 (compilation of abstracts of oral presentation) is performed by students for the next lesson, where you can listen to one or two messages.

For educational purposes, students widely use such types of records as a plan, theses, abstract.

A plan is the shortest type of record. It only lists the issues covered in the speech, in the book.

When drawing up a plan, it is necessary to divide the text into parts and catch the connection between these parts. For each part, a question is posed (interrogative plan) or a title is given in the form of a short nominal sentence (named plan). If the sentences are taken from the text, the plan is called citation. When formulating headings, you need to think about the content of each component, find its main idea. When drawing up a complex plan, the text is divided into large parts, and each part is divided into smaller ones.

Abstracts - briefly formulated main provisions of the text. They convey the main provisions of the text in the logical sequence that leads to the proof of the main idea, but may not coincide with the sequence of presentation of the material in the text. To draw up an abstract, it is necessary, first of all, to carefully read the text, think over its content, find and trace the main provisions.

Theses can be citation, free (the author's thought is stated in his own words), mixed (quotations and free presentation of the author's thought alternate).

Abstract is the most detailed form of writing. The abstract should correspond to the plan of the text. Therefore, first a plan is drawn up, and then a summary is written. From each part of the text, those thoughts and facts are written that reveal the meaning of the test, its title. Details at which are omitted.

Control questions and tasks

Exercise 1.

Read the text.

With the help of words, a person names an object, a phenomenon of reality, therefore the main function of a word in a language is a denominative, or nominative function. The nominative function of a word is especially clearly revealed when the word names a specific object that can be seen, touched, etc., i.e. it is an object in the strict sense of this word that names a specific object in the strict sense of this word: “book”, “river”, “fire”, etc. However, the naming function is carried out by the word even in the case when the object, phenomenon, sign cannot be felt with with the help of the five senses (sight, hearing, touch, smell, taste): “doubt”, “thought”, “progress”, “knowledge”, “unity”. These words are called abstract concepts.

One of the most important properties of human thinking is the ability to generalize and abstract. Abstraction is the selection of essential, important regular features of objects and phenomena of reality and the rejection of random, non-essential features.

Observing many objects of the same type, for example, fish, a person sees that, despite a number of differences (in color, size, shape, nature of movements, behavior, etc.), there is something in common between all fish: the fact that fish live in water and breathe with gills. Having established this common characteristic of all fish, man has come to know a whole class of fish. There has been a process of abstraction. Through the process of abstraction, concepts are formed in human thinking. A concept is a thought that fixes in the human mind the essential features of individual phenomena, objects of reality.

The word is able to name not only a given, concrete, currently felt object, but also a concept. So, with the word table, we call not only the table at which we are currently sitting, but also any table in general.

The ability of a word to name a concept is a very important feature of language as a means of communication. Without this ability, the very existence of language would be impossible, just as without abstraction, without the ability to form a concept, there would be no human thinking. Indeed: there are an endless number of individual objects on the globe - people, trees, rivers, books ... If a single word were required to name each specific object (and there are billions of billions of them), the vocabulary of any language would expand infinitely: billions of words would be needed. words, and communication would become almost impossible because no one could remember so many words. But since a word can name a concept, the vocabulary of any language consists of a relatively small number of words, with the help of which we name objects, their features, actions, abstract concepts, the number of objects, i.e. all phenomena of reality around us.

1. Read the first paragraph of the text.

a) Find phrases that are important for the main content of this paragraph.

b) Answer the questions:

What is the main function of the word?

What does the word name?

c) What is the 1st paragraph about? Write an answer using speech patterns: The paragraph is about ....

The main idea of ​​the paragraph boils down to the following ... .

2. Read the second paragraph of the text.

a) Write down the phrases that are important for the main content of this paragraph.

b) Answer the question:

What is abstraction?

c) Formulate the third paragraph of the text.

3. Read the third paragraph of the text.

b) Answer the question:

How does the abstraction process take place?

c) Formulate the main thesis of the paragraph.

Read the fourth paragraph of the text.

a) Write down the key word combinations.

b) Answer the question:

What is a concept?

c) Formulate the main provision of the 4th paragraph.

5. Read the fifth paragraph of the text.

a) Write down the key word combinations.

b) Answer the question:

What is the role of the ability of a word to name a concept, and what would happen if each object had its own name?

c) Formulate the main idea of ​​the 5th paragraph.

Compare the questions given to the paragraphs and the plan of the text. Write down the main provisions of the text formulated by you in the form of theses.

7. Using the plan, retell the text.

8. Give the text a title.

9. Identify sentences in the text that do not carry basic information. After removing these sentences from the text, shorten it. Write down the abbreviated version of the text (compendium).

Task 2.

Select an article on the problem you are interested in from a scientific (popular science) journal in your specialty. Make a detailed (complex) plan and theses of this article.

Task 3.

Pick up an article in a special scientific journal about the problem that interests you. Briefly write down the main provisions. Using this entry (short summary), convey the content of this article.

Chapter 3. Text as the Leading Unit of Verbal Communication

Text - can be defined as a sequence of speech units united by a semantic and grammatical connection: statements, complex syntactic integers, fragments, sections, etc.

Consider the main features of the text, the comprehension of which is important for the development of coherent speech skills.

1. Thematic unity of the text. It is expressed in the fact that all elements of the text are directly or indirectly connected with the subject of speech and with the communicative attitude (of the writer) - with the task and main idea of ​​the statement.

Let us analyze the following text - an excerpt from the novel by M.O. Auezov "The Way of Abai":

“Karashoky, one of the peaks of Chinggis, is located near the wintering quarters of Kodar. A stormy river flows along its wooded slopes, covered with rich vegetation. Tal, aspen, crooked mountain birch stand here in full bloom. Here are juicy pastures, free places. The bokenshi and borsaks, who had settled here for a long time, were not inferior to anyone.”

In the text, which consists of 47 words, the word Karashoky is used only once, but we have no doubts that we are talking about the peak of Karashoky. Such confidence is given to us by the use of the correlative pronominal words “her”, “here” instead of the subject of speech (Karashoka). Repeated words, successively drawn through one or another series of sentences, "sew" this series of sentences into a single whole.

The thematic unity of the text finds expression in the heading, which denotes the subject of the statement or the communicative setting of the author. Heading , its presence or its potential possibility is one of the essential features of the text, another is associated with this feature - completeness of the text . The text given as an example does not have a title, but the title is easy to formulate: "The summit of Karashoki".

The designation of the topic is often contained in the initial sentence (in the initial sentences). So, in the first sentence of the text under consideration “Karashoky, one of the peaks of Chinggis, is located near the wintering quarters of Kodar”, the subject of the statement is already indicated - this sentence uses words that are directly related to the topic. Further selection of linguistic means is associated with the development of the thought expressed in the first sentence, i.e. is determined by the theme of the text and the communicative attitude of the author - the task of the message, the main thought (idea) of the statement.

Our text is an artistic description, performs an important function - the creation of a figurative picture of nature. This is facilitated by the selection of certain language means. The first two sentences give a general picture of nature. But in the third sentence, the close-up of the landscape is enhanced by listing nouns denoting the names of trees in the singular form. The text is not just a set of sentences, the sum of sentences, but a holistic complex formation .

2. The presence of interdependent parts in the text. In the text, depending on its size, one can single out chapters, sections, a complex syntactic whole (superphrasal unity, semantic piece).

In written speech, parts of the text, as a rule, are graphically highlighted. In oral speech, they can be indicated by more or less significant pauses in duration. Each of the named parts (fragments of the text), having its own special theme, retains its semantic independence and completeness when extracted from the text. The minimum text is a complex syntactic integer.

3. A complex syntactic whole (STS) is a combination of several sentences, united in meaning and syntactically.

In a complex syntactic whole, three structural and semantic parts are distinguished: initial (beginning), middle (main development of the theme), ending (final part). These parts of the text are correlated with each other, because each of them reveals a part of the topic, subtopic or microtopic. One micro-theme can be singled out in our text: Karashoky, one of the peaks of Chinggis, is located near the wintering quarters of Kodar. The idea of ​​this micro-theme is expressed in one sentence. A micro-topic (as part of the text) can also consist of more sentences. This is connected not only with the subject of the statement, but also with the size of the text in which it is revealed. Parts of the text are arranged in a logical sequence one after another, as in the analyzed text, where it is impossible to rearrange any of the parts in it.

4. In the organization of the text, an important role is played by the most commonly used two methods of communication , which are defined as chain and parallel .

A chain link is a structural linkage of sentences, the continuous movement of thought from one sentence to another is usually carried out through the repetition of the word highlighted in the previous sentence (member of the sentence) and its deployment in the subsequent one.

The main means of communication are lexical repetitions, lexical and textual synonyms, pronouns.