Language of art prose .Structure of the art text .Types of narration .Theory of the points of view .Speech forms of the art text(Язык художественной прозы структура худ-го текста.Типы повествования.Теория точек зрения и речевые формы худ. текста)

Speech forms of the art text
Means of expression give the speech brightness, enhance its emotional impact, attract attention of the reader and listener to the statements. These means are various. There are phonetic (sound), vocabulary, syntactic (level of phrases and sentences), phraseological (idioms) and visual tools. They are used in different areas of communication: art prose, journalistic, conversational and even scientific language.
A special role is played by the means of expression in the art prose. These artistic forms of artistic expression help the author to create an artistic image and the reader to enter the world of the text and to reveal the author's intentions.
Lexical means of expression
Synonyms (from the Greek Synōnymos - self-titled) are the words that are identical or very similar in meaning but are not similar themselves, for example: the enemy - the rival – the opponent. Synonyms help authors to accurately express the idea, provide a detailed description of phenomena or objects . The most important stylistic feature is to replace repetition when necessary. A number of Synonyms arranged so that each reinforces previous next creates a gradation. Synonyms are used in a literary text (along with antonyms, homonyms and paronyms) as means of artistic expression.
Antonyms (from the Greek «Anti» - against, and «onyma» - name) are the words with the opposite meanings used to help better conveying portrayed contradictions, to oppose phenomena. Antonyms may be presented in the names of the texts, for instance, «War and Peace» L.N. Tolstoy or «Fathers and Sons» I.S. Turgenev. Antonyms are used in prose texts as lexical means of artistic expression.
Homonyms (from the Greek «Homos» - same, «onyma» - name) are the words that are identical in sound and spelling but different in meaning. In addition to actually distinguish homonyms there following sub-terms were introduced: homophones (words that sound the same but are spelled differently) and homographs (words that are spelled in the same way). Homonyms are used in art prose (along with synonyms, antonyms and paronyms) as lexical means of artistic expression or the game of words.
Paronyms (from the Greek «para» - near, and «onyma» - name) – words that are cognate, similar (not identical though) in sound but different in meaning. Paronyms are used in art texts (along with synonyms, homonyms and antonyms) as a lexical means of artistic expression.
Lexicon with limited scope of use
Dialects are compound by the words and expressions inherent in popular speech of the local communities. Dialects are used in the art prose together with other vocabulary which has limited scope of use (vernacular elements, professionalism, jargon) as a means of artistic expression (for example, as a way to voice a character).
Archaism (from the Greek «Archaios» - old) are the obsolete words and phrases used as a rule in the «high poetic» style and giving artistic speech its solemnity. However, Archaisms can give the text an ironic tone.
Thus, there are many means of making the language of art prose more expressive and vivid. They are linguistic and stylistics. Literary language provides abundant opportunities for discovering new speech forma that cannot be met somewhere in oral everyday speech or on the pages of magazines. Art prose is a real treasury of the real language as it is and the diversity of different forms that are used to make it more alive is not limited only by the brightest an the most well-known examples we provided in this section. While the format of this work does not allow for enumerating more speech forms we would like to stop here mentioning again that the language of art prose as a part of literary language is rich and considering all the aspects would take several books, not a report paper like this one.







Conclusion
Language of art prose as a functional variant of the Russian literary language is unique. This is due to several reasons of a different nature.
First, the exclusivity of the language of an art prose is defined by the fact that it is the only kind of literary language in which the aesthetic function of language is fully realized. Secondly, in the art prose texts (as opposed to all styles of writing and public speaking) any language means are used including just any unit of any version of the literary language and some extra-literary elements as well, for instance, taboo vocabulary and phraseology. We have seen also that art prose language incorporates all types of colloquial speech elements while it includes descriptions of conversations of any type and characters of any kind.
Along with the aesthetic function the language of art prose has an embodied function of exposure. In this respect, it is comparable with the journalistic style or the book and oral varieties of speech.
Language of art prose is a complex structural unit having an extensive internal differentiation according to the division of literary art into genera and species.
For all the variety of genres the language of art prose acts as a single functional category of literary language.
The internal unity of the language of literature is provided by the following factors.
1. Aesthetic function and the function of the generalization have an impact on the internal organization and the structure of the art prose language.
2. In the framework of the art prose language all language resources, their selection and organization are subjected to the general principle of constructive figurative representation of reality.
Art prose is a «second reality» (using modern terminology we can call it «virtual reality»). In real life, there was neither Natasha Rostova, nor Anna Karenina, nor Rodion Raskolnikov. However, under the influence of a powerful poetic imagination of great writers, their consummate skills of artistic expression, excellence in creation of figurative texts, artistic, poetic images created by means of language, under the influence of the whole imagery of art we perceive literary characters as real people, we worry about them, live their joys, their grieves and their «problems».



References
Bakhtin M.M. (1975) Issues of literature and aesthetics, Moscow. P. 18 Бахтин М.М. Вопросы литературы и эстетики. — М., 1975.
Filkova P.D. (1999) History of Russian literary language (mid XVIII – end XX)/ Filkova P.D., Gradinarova A.A., Moscow.
Kozhevnikov N.A. (1985) About a balance between narration types in art texts // Linguistic issues, № 4.
Lotman Y.M. (1998) About the Art, Saint-Petersburg.
Shcherba LV. (1957) Selected Works on Russian Language, Moscow.
Tamarchenko N.D. (1999) Theoretic poetics: notions and definitions, RGGU, Moscow.
Uspensky B.A. (1966) Personological problems in linguistic agent, Moscow.
Vinogradov V.V. (1963) Stylistics, theory of the poetic language, poetics. Moscow.  Vinogradov V.V. (1963) Stylistics, theory of the poetic language, poetics. Moscow. P. 144
Shcherba LV. (1957) Selected Works on Russian Language, Moscow. P. 115
Uspensky B.A. (1966) Personological problems in linguistic agent, Moscow. P. 20-23
Lotman Y.M. (1998) About the Art, Saint-Petersburg. P. 281 – 285
Kozhevnikov N.A. (1985) About a balance between narration types in art texts // Linguistic issues, № 4. P. 107 
Bakhtin M.M. (1975) Issues of literature and aesthetics, Moscow. P. 18 Бахтин М.М. Вопросы литературы и эстетики. — М., 1975. — С. 18.
Bakhtin M.M. (1975) Issues of literature and aesthetics, Moscow. P. 18 Бахтин М.М. Вопросы литературы и эстетики. — М., 1975. — С. 18.
Tamarchenko N.D. (1999) Theoretic poetics: notions and definitions, RGGU, Moscow.

Filkova P.D. (1999) History of Russian literary language (mid XVIII – end XX)/ Filkova P.D., Gradinarova A.A., Moscow. P. 256
Vinogradov V.V. (1963) Stylistics, theory of the poetic language, poetics. Moscow. P. 144
Vinogradov V.V. (1963) Stylistics, theory of the poetic language, poetics. Moscow. P. 144

14