Trends in the development of the modern literary language. The main trends in the development of the modern Russian literary language

The emergence of fundamentally new trends and phenomena in the Russian literary language of the second half of the 18th century gives grounds to speak of the onset of a qualitatively new stage in its development. The main of these trends are, firstly, the cessation of further dialectal division of the language, secondly, the convergence of the written language and colloquial speech, and, thirdly, the intensive development and enrichment of the vocabulary.

Particularly noticeable changes occur in vocabulary:

1. The rapid quantitative growth of common vocabulary (new words: cabbage soup, sunflower (umbrella), gate, vodka, glass, braga, carriage, kisei, felt, washstand, washbasin, cards (playing), etc.)

2. Archaization of a number of words used to denote various social and everyday phenomena characteristic of the Middle Ages, and replacing them with new words (for example, in the field of military vocabulary: the words army and slash in the meaning of “war” become obsolete, they are replaced by the words abusive militia , battle, battle, siege).

3. Borrowings from living European languages, primarily from Polish (carriage, cart, trump card, shaft, harness, harness, path, ramrod, bayonet, and many others) or through Polish mediation (kitchen, pharmacy, surgeon, market).

4. The appearance of many words with an abstract meaning (a favor,

clarification, protection, suppression, acquaintance, inconstancy, marriage, secrecy, etc.).

5. Expansion of public-legal and administrative terminology (the words interrogation, chief, official, citizenship, etc. appear).

6. The emergence of vocabulary associated with the development of new forms of art for Muscovite Russia, in particular, theater (comedy, canopy (acts), ending (epilogue), frames of perspective writing (scenery), amusing dress (stage costume).

Even more noticeable changes in the lexical composition of the Russian literary language occur at the beginning of the 18th century - in the Petrine era. Significant transformations in all spheres of society have led to the renewal of vocabulary, primarily due to numerous borrowings from living European languages ​​(German, Dutch, French, partly from English and Italian).

The new Russian language, which was formed in those years, was called upon to serve the ever-increasing needs of the state, developing science and technology, culture and art. Thus, the new administrative structure, the transformation of the Muscovite state into the Russian Empire, brought to life the names of many ranks and titles included in the "table of ranks", formulas of bureaucratic subordination. According to researchers, about a quarter of all borrowings (mainly from German, Latin, partly French) of the Petrine era falls precisely on the “words of the administrative language”, which displace the use of the corresponding old Russian names: administrator, auditor, accountant, governor, inspector, chamberlain, chancellor , minister, chief of police, president, prefect; archive, province, office, commission, office, senate, synod; address, test, arrest, ballot, confiscate, claim, interpret, fine; incognita; envelope, package; act, amnesty, appeal, rent, promissory note, bond, warrant, project, report, tariff, etc. others

The development of naval affairs led to the formation of new terminology, borrowed mainly from Dutch, partly English: harbor, raid, fairway, keel, skipper, helm, yard, boat, berth, shipyard, cable, cabin, flight, gangway, boat, boat, schooner, foot, brig, midshipman

and some others.

The origin of many naval professionalisms that came from the speech of foreign specialists who served in Russia is interesting. The word rush, apparently, goes back to the English (or Dutch) "over all": the command "all up!". The word polundra (alarm on the ship) - the English command “fall onder” (lit. “fall down”) - this is how the signal was given on sailing ships to the command to descend from the yard and masts and prepare for battle. The custom is to respond to an ordered word with a word! can be raised to English. the statement "yes".

Military vocabulary, which was also significantly enlarged in the Petrine era, is borrowed mainly from German, partly from French: junker, corporal, general, slogan, guardhouse, camp, assault, barrier, gap, battalion, bastion, garrison, password, caliber, arena , march, etc.

The dictionary of everyday speech of the nobility, as well as vocabulary associated with the ideas of secular politeness, is borrowed mainly from the French language: assembly, ball, interest, intrigue, cupid, voyage, company, courage, reason, and many others. others

In connection with the restructuring of public administration, with the development of industry and trade, the language of business correspondence is becoming much more complicated and enriched. It noticeably approaches the lively colloquial speech of the middle strata of the population.

The role of secular correspondence is greatly enhanced. There are completely new types of it, for example, periodicals. Thus, during the years of the Great Northern War, Peter I contributed to the founding of the first Russian printed newspaper, Vedomosti o militarnyh i otnyh delyakh (1703).

One of the social reforms of this period was the graphic reform, the introduction of the so-called civil alphabet, that is, the form of the Russian alphabet that we continue to use to this day. This reform contributed to the improvement and facilitation of the system of Russian writing.

The letters of the Old Slavonic Cyrillic alphabet were eliminated, which no longer transmitted the sounds of Russian speech: xi, psi, small and large yusy; the letters were given simpler outlines; canceled all superscripts; the numerical values ​​of Slavic letters were canceled, the Arabic numeral system was finally introduced. All this facilitated the assimilation of writing and contributed to the widespread spread of literacy in Russian society and "opened a wider road for the Russian literary language and to the styles of live oral speech, and to the assimilation of Europeanisms."

So, the main features of the Russian language of the designated period are as follows.

1. There is a concentration of common elements of the language through the selection of the most common features of different dialects.

2. The democratization of the language begins. An increasingly significant role in the formation of the literary language is acquired by elements of live oral speech of various segments of the population.

3. The influence of the Church Slavonic language is decreasing.

4. There is an enrichment of the language due to Western European influence, especially in the scientific field. Borrowings are especially widely used in the formation of a scientific language and its terminology.

5. A whole layer of scientific and technical vocabulary is formed.

Activities of M.V. Lomonosov. "The Theory of the Three Calms"

The literary language of this period is expressive and rich, but colorful and unstable. The task of streamlining and stabilizing it comes to the fore. The first steps in this direction were made by A.D. Kantemir and V.K. Trediakovsky, but especially great merits in the transformation of the Russian literary language in the initial period of its national development belong to V.M. Lomonosov.

Lomonosov not only created samples of poetic and prose language that were perfect for that time, but also was the author of remarkable philological works (Rhetoric, 1748, Russian Grammar, 1755, Preface on the Usefulness of Church Books in the Russian Language, 1758). In them, the Russian language was first presented as a system subject to a set of grammatical rules. This was an extremely important step in streamlining the language of fiction, official business documents, and scientific works. The creation of a single national language is becoming a paramount task.

In the works of Lomonosov, the foundations of the scientific study of the Russian literary language were laid, the paths of its historical development were shown, and on this basis, the doctrine of three calms (styles) of the literary language - high, medium and low (or simple) was proposed. Known since ancient times, the theory of three styles Lomonosov was able to organically connect with the national originality of the historical development of the Russian literary language, which consisted in a long-term interaction, struggle and mutual influence of two elements - book-Slavic (or "Slavonic", as they said and wrote in the 13th century) and actually Russian.

Lomonosov identified five groups of words that differ in etymological and functional principles:

1. "Contacts common to the old and new language."

2. "Words are not commonly used in Russian, but they are intelligible to all grammatical models."

3. Actually Russian neutral words that are absent in church books (Lomonosov recommends using these three groups of words in literature).

4. Church Slavonic words, the meaning of which is unclear to most readers.

5. Words that "it is impossible to use in any style (obscenely), as soon as in vile (parody) comedies."

Lomonosov proposes to introduce three styles, which are determined

combinations of word groups:

1. High style - a combination of 1 and 2 groups of words.

2. Medium style - 1 and 3 groups.

3. Low style - group 3, colloquial elements.

Each style has its own literary genres:

High style - odes, poems;

Middle style - theatrical writings, friendly writing, satire;

Low style - an epigram, a song, a description of ordinary affairs.

Thus, the basis of the literary language, according to the theory of M.V. Lomonosov, make up words that are neutral, interstyle. The theory of three styles became the basis of the real literary practice of Lomonosov himself

The stylistic theory of Lomonosov asserted the Russian basis of the Russian literary language, considering the "Slavonic" language only as a source of stylistic resources of the "Russian language", limited the use of Church Slavonicisms, and allowed the use of vernacular in the literary language. Lomonosov's stylistic recommendations contributed to streamlining the use of lexical and grammatical means of the Russian literary language. But the doctrine of three styles did not solve the problem of developing unified norms of the literary language, on the contrary, it provided for stratification, the division of the literary language into three layers, and this led to the fact that the stylistic wealth of the Russian language turned out to be fragmented, divided between different styles.

Language of Russian Democratic Literature in the Last Third of the 18th Century. Activities N.M. Karamzin

The further development of the Russian literary language, the formation of its unified national norms could only proceed along the lines of creating a system that would unite all the historically established means of the literary language and enable them to be grouped in a fundamentally new way and used in a fundamentally new way. Therefore, the doctrine of three styles very soon became a brake on the subsequent development of the literary language, and the last third of the 18th century passed under the sign of the destruction and overcoming of the system of three styles. The destruction of high style can be seen in the odes of G.R. Derzhavin, whose language often contains not only individual elements of colloquial speech (which was categorically forbidden by the theory of three styles), but also entire colloquial contexts.

However, the most interesting and important processes in the development of the Russian literary language took place in the prose of such prominent writers as D.I. Fonvizin, N.I. Novikov, A.N. Radishchev. The prose language of these writers is characterized primarily by an orientation towards "live use", towards the "language of ordinary conversations". The widespread use of folk colloquial elements in the language of democratic prose of the second half of the 18th century was combined with their strict selection, stylistically thought-out and purposeful use of them. At the same time, techniques were developed for combining and combining folk-colloquial and book-Slavic elements. The merits of these writers are also very great in improving the syntax of the literary language. Widely using stable turns and expressions, they achieved a natural and unconstrained word order, developed short, clear phrases.

It was necessary to develop a language of literature acceptable to different strata of society, and this was an almost impossible task, which N.M. undertook to solve. Karamzin, in the 90s of the XVO century, appeared in literature with stories and "Letters of a Russian Traveler". Karamzin had to average out, "smooth out" sharp discrepancies between the ways of expression in literary texts for different purposes. To create such an “impersonal” syllable, it was necessary to bring it closer to the standard pan-European literary syllable of that time, and for this, to find a place in the Russian literary syllable for numerous borrowings from different European languages, which entered the Russian literary language in abundance during the 16th - 15th centuries.

N.M. Karamzin believed that the Russian language was too difficult to express thoughts and needed to be processed. The transformation of the language, in his opinion, requires liberation from the consequences of the influence of the Church Slavonic language. Focus should be on new European languages, especially French. The Russian language must be given lightness, made simple and understandable to a wide range of readers. For this you should:

Exclude archaic and professional Slavic and clericalisms, special terms of various crafts and sciences, rude vernacular;

Create new words, expand the semantics of old words to denote new concepts introduced into everyday life. So, Karamzin created and put into circulation the words love, public, future, industry, humanity, generally useful, Achievable, improve, etc.

Determining the measure of the admissibility of using certain common words in literary works, Karamzin proceeds primarily from the principle of aestheticism (accepting, for example, the word little bird and rejecting the word guy).

Karamzin made a significant step forward in the liberation of the Russian literary language from the archaic elements that still remained in it and the further improvement of Russian syntax. At the same time, the emphatically refined, “beautiful” prose of Karamzin and his followers clearly lacked the naturalness and breadth of the use of linguistic means (especially folk colloquial). According to V.V. Vinogradov, in Karamzin's prose “the language is reduced and even discolored... The social fund of “decent” secular expressions, generalized and devoid of individual coloring, is exposed. Too harsh and too simple, coarse and low "ideas" and forms of their expression are being eliminated.

There was a noticeable impoverishment of the means of literary expression due to the desire for elegant secular formulas. In poetry, it was forbidden to use direct names of everyday things and actions. As a result, the poet had less than a third of the general Russian vocabulary.

But the goal was achieved. Its indirect result can be seen in the fact that a modern Russian schoolchild can perceive the language of, for example, "Poor Lisa" with almost no gaps. However, earlier literary texts require commentary and, in some cases, translation. Here the border between the Old Russian literary language and the literary language of modern times passed.

By the end of the 18th century, the preferred use of the Russian language in oral and written speech became a sign of patriotism, respect for one's nation, one's culture.

Traditionally, the Russian language has been modern since the time of A. S. Pushkin. Modern Russian is one of the richest languages ​​in the world. It is necessary to distinguish between the concepts of the Russian national language and the literary Russian language. The national language is the language of the Russian people, it covers all spheres of speech activity of people. In contrast, literary language is a narrower concept. Literary language is the highest form of language existence, exemplary language. This is a strictly standardized form of the national national language, which is perceived as a reference. The signs are: processing, normalization, universally binding norms and their codification, the presence of a written form, widespread and universally binding, the development of a functional and stylistic system

Lomonosov's theory of three calms: High (tragedy, ode), Medium (elegy, drama, satire), Low (comedy, fable, songs). High calm borrowed from the ancient Russian language

938 - the creation of Cyrillic by Cyril and Methodius in Thessaloniki for the southern Slavs, the eastern ones borrowed it.

Pushkin first mixed East Slavic and southern languages. - The emergence of diglossia (bilingualism)

The modern language in the narrow sense is the language of the end of the 20th century, the language of today. In a broad sense, the language of the era from Pushkin to the present day, mainly written. We understand the language of this period without the obligatory involvement of additional means - dictionaries, etc.

The literary language is constantly transforming, the main forces of this process are all native speakers.

When characterizing the literary language of the twentieth century, two chronological periods should be distinguished:

The first - from October 1917 to April 1985;

The second - from April 1985 to the present.

The second stage is the period of perestroika and post-perestroika. At this time, branches of the functioning of the language, still carefully hidden by censorship, become obvious and tangible. Thanks to glasnost, jargon (fraternization, rollback, shmon, presentation), borrowing (dealer, realtor, manager) and obscene language came to light. In addition to new words, many words that seemed to have gone out of use forever were brought back to life (gymnasium, lyceum, guild, governess, department, etc.).

At the turn of the 20th and 21st centuries, the democratization of the language reached such proportions that it would be more correct to call this process liberalization, or, more precisely, vulgarization. On the pages of the periodical press, jargon, colloquial elements and other non-literary means (grandmothers, piece, piece, steward, launder, unfasten, scroll, etc.) poured into the speech of educated people. Even in official speech, the words get-together, disassembly, get along became common.

Obscene language has become unacceptably common. Advocates of such an expressive means even argue that swearing is a hallmark of the Russian people, its "brand name".

However, we should not forget that the Russian literary language is our wealth, our heritage, it embodied the cultural and historical traditions of the people, and we are responsible for its condition, for its fate.

Communicative qualities of speech.

The communicative qualities of speech are a set of properties of the words and expressions we utter, which make communication effective, understandable from all sides, more harmonious and enjoyable. They are as follows: expressiveness, purity, consistency, correctness, accuracy, richness, accessibility, relevance, clarity, effectiveness. A harmonious combination of these ten properties allows us to talk about a perfect culture of communication. The communicative qualities of speech began to be studied in the 18th century. In all educational institutions of that time, rhetoric existed, being, by the way, one of the seven main sciences.

Characteristics of the communicative qualities of speech

2. Expressiveness. This means that everyone should understand what he is talking about, and also he should not be indifferent to his words. If the speech is built in an artistic style, then properly selected metaphors, comparisons and other artistic means will give expressiveness. Expressiveness in a journalistic style will be given by questions, exclamations (however, you should not overload your speech with these communicative qualities), pauses. In a scientific or official business style, oral emphasis on the main words, raising and lowering the tone, and pauses give expressiveness.

3. Logic. This property characterizes the correct and understandable presentation of thought and the construction of the text, that is, speech must obey the basic methods of logic - induction, deduction, analysis, synthesis, etc.

4. Correctness. It represents the correspondence of what we say to the generally accepted norms of the literary language. If we consider all the communicative qualities of speech, this property will be one of the main

5. Accuracy. This is, first of all, the correct presentation of the meaning of the text, the absence of "water". Accuracy is also determined by the degree of understanding by the speaker of what he is speaking about, by the correct use of the conceptual apparatus.

6. Wealth. Quality is characterized by the richness of the speaker's vocabulary, as well as the variety of language means that he uses to express thoughts.

7. Availability. This is the ability of the speaker to correctly and accurately convey all the information to the audience, as well as his attitude towards it. Everything that the basic qualities of speech are said to people should be clear to them.

8. Relevance. Speech should correspond to a specific situation, always be “out of place” and correspond to the necessary stylistic coloring.

9. Clarity. It characterizes the presence in what was said of the necessary clarifications, if this is required by the context or a specific situation.

10. Effectiveness. This quality is characterized by the relevance of speech (the quality is more applicable to the journalistic, scientific style of speech), the ability to reflect reality. These basic qualities of speech can be presented in the literature in a different quantity, depending on the author or the time of writing.

The concept of style

Stylistics - ("stylo", "stylus" - a stick with which they wrote on wax tablets). A small digression into history: stylistics as an independent science arose in the 50s, “singled out” from rhetoric, on the basis of verbal expression. Over time, the concept of style expanded. At first it was the science of expressive means (tropes and figures), then - about functional styles. Now we understand style as the science of the functioning of language and speech.

The young section of linguistics, the turn of the 19th-20th centuries, connection with fr. Stylistics (Charles Balli).

The first stylists grew up - Vinogradov, Shcherbin, Potebnya.

Stylistics- section of linguistics, in the cat. the system of styles of a particular language is studied, the norms and methods of using the literary language in various conditions of the language are described. communication, in various types and genres of writing, in various spheres of public life.

S. Bally (fr). The style is:

1) general, exploring the general stylistic problems of speech activity relating to all or most languages,

2) private, studying the stylistic structure of a particular national language, and

3) individual, considering the expressive features of the speech of individual individuals.

Vinogradov:

1. “Language stylistics studies the stylistic structure of the language as a “system of systems”, functional language styles, stylistic. Wed language means, regardless of the specific conditions of their use "

Speech is a specific implementation of language in a given specific situation.

2. “The style of speech analyzes the features of the functioning of language media in the specific conditions of their use, associated with certain genres, forms, types of oral and written speech (discussion speech, lecture, report, press conference, conversation; editorial in newspaper, scientific review, humorous story, welcome address, etc.)”

3. "The stylistics of the art literature has all the elements of the style of the art work, the style of the writer, the style of the whole literature as the subject of its study"

Stylistics is the science of language that studies the theory of language styles, lexical and grammatical synonymy, expressive and visual possibilities of language means. Stylistics studies the language in dynamics ("the queen of the language"). Explores shades of meaning. It is necessary to have a linguistic flair (stylistics is practically inaccessible for foreigners). The problem of choice is the main problem of style.

There is, but is not a completely generally accepted division of stylistics into literary and linguistic (see below). Linguistics examines the functional styles of speech, literary criticism studies the system of images, plot, plot, etc. in a separate work.

Aspects of style:

1. Expressive means of the language and their resources (language capabilities) - 1st aspect of stylistics.

2nd aspect - the definition of style. extralinguistic factor. (selection of language means in accordance with the situation in which a person finds himself) is a non-philological factor.

3. The quality of speech (accuracy and correctness) is the third important aspect of stylistics.

Speech should be literate, accurate, literary and, if possible, figurative. For style, it is not what is said, but how it is said.

Style areas:

Practical style - regularity, expediency, appropriateness of the use of grammatical foundations, turns, etc.

Stylistics of language resources - deals with synonymy

Stylistics of fiction - individual styles of writers, historical development of language styles.

Decoding style - there are various possibilities for interpreting the author's intentions.

Stylistics of the text - patterns of construction and functioning of the text (compositional construction)

Phonosylistics - deals with human associations with the use of a particular sound

2. The subject and tasks of practical stylistics

Subject Stylistics is a language in the broadest sense of the word (including speech as a form of language beings), but from other areas of linguistics.

Stylistics explores ways of expressing complement (stylistic) info that accompanies the main subject content of speech. In this regard, one of the main objects style the synonymic system is recognized. Wed-in and the possibilities of the language at all its levels.

concept norms very important for the lit language. In practical stylistics, the norm is the set of the most suitable (correct, preferred) for serving the general public in the language, which is formed as a result of the selection of linguistic elements (lexical, pronunciation, morphological, syntactic) from among the existing ones.

Practical style is close to the culture of speech.

1) general information about language styles

2) assessment of expressive-emotional. language means coloring

3) synonymy of language means

The central place in stylistics is given to the problems of synonymy. In this problem, for practical stylistics, it is important:

1) in the language, as it is correct, there are no absolute synonyms

2) synonymous variants should not go beyond the literary norm

3) it is permissible to compare synonyms in the conditions of their simultaneous existence and in the conditions of their evolutionary development

For practical style, it is also important to use lexical and grammatical means of the language. Less attention to phonetics and word formation, more attention to grammatical syntax.

Figurative means of language (tropes and figures) - the style of fiction.

The tasks of stylistics: 1) the definition of stylist. norms for the use of the language, the definition of patterns in accordance with which the language. media are organized into a system. 2) classification and description of the media and techniques included in the language system. 3) identification of patterns of interaction between the stylist. norms of the language and the objective system of the language.

Functional styles are the central problem and the main subject of stylistics.

Among the issues addressed by practical stylistics are issues related to the correctness and normativeness of speech.

The richest synonymy of the means of the Russian literary language on all the "tiers" of its system raises the question of practical stylistics about the criteria for the optimal choice of options needed in a particular situation (in particular, about the normative nature of these options today).

The main trends in the development of the modern Russian literary language

The creator of the modern literary language is Alexander Pushkin, whose works are considered the pinnacle of Russian literature. This thesis remains dominant, despite the significant changes that have taken place in the language over the almost two hundred years that have passed since the creation of his major works, and the obvious stylistic differences between the language of Pushkin and modern writers. Meanwhile, the poet himself points to the paramount role of N. M. Karamzin in the formation of the Russian literary language, according to A. S. Pushkin, this glorious historian and writer “liberated the language from an alien yoke and returned its freedom, turning it to the living sources of the folk words".

Literary language is a form of existence of a national language, which is characterized by such features as normativity, codification, polyfunctionality, stylistic differentiation, high social prestige among native speakers of a given national language. The literary language is the main means of serving the communicative needs of society; it is opposed to non-codified subsystems of the national language - territorial dialects, urban koine (urban vernacular), professional and social jargons.

The concept of a literary language can be defined both on the basis of the linguistic properties inherent in a given subsystem of the national language, and by delimiting the totality of carriers of this subsystem, separating it from the general composition of people who speak this language. The first way of definition is linguistic, the second is sociological.

Properties of literary language:

1. consistent normalization (not only the presence of a single norm, but also its conscious cultivation);

2. the general obligatory nature of its norms for all speakers of a given literary language;

3. communicatively expedient use of means (it follows from the tendency to their functional differentiation)

4. Consistent functional differentiation of means and the associated permanent trend towards a functional differentiation of options;

5. polyfunctionality: the literary language is able to serve the communicative needs of any field of activity;

6. stability and well-known conservatism of the literary language, its slow changeability: the literary norm must lag behind the development of live speech

Literary language, as a rule, is divided into two functional varieties: book-written and spoken language. Book language is an achievement and heritage of culture. It is the main carrier and transmitter of cultural information. All types of indirect, distant communication are carried out by means of the book language. Modern literary language is a powerful means of communication. Unlike another variety - the colloquial literary language (and even more so unlike such subsystems of the national language as dialects and vernacular), it is multifunctional: it is suitable for use in various areas of communication, for various purposes and for expressing the most diverse content. The colloquial variety of the literary language is an independent and self-sufficient system within the general system of the literary language, with its own set of units and rules for their combination with each other, used by native speakers of the literary language in conditions of direct, unprepared communication in informal relations between speakers.

Trends:

1) convergence of the litas of the language with the folk

2) the interaction of the styles of the lit language (especially important: the influence of the colloquial style on the literary one)

3) the desire to save language means in speech (as Chekhov bequeathed to us, brevity is the sister of talent)

4) the desire for uniformity and simplification of individual forms and designs

5) strengthening of analytical elements in the language system (such as “beige bag” instead of “beige bag”, “three-meter-high building” instead of “three-meter building”, etc.)

(According to V.I. Chernyshev) source of stylistic norms must be:

1) common modern usage

2) works of exemplary Russian writers

3) the best grammars and grammatical studies of literary Russian language

(According to Rosenthal ) source of norms may also be :

1) data from a survey of native speakers (specially representing different generations)

2) questionnaire data

3) comparison of similar linguistic phenomena among classic writers and contemporary writers (in works of the same genre)

E.A. Zemskaya points out the following trends in the development of the modern Russian language:

• -- The list of participants in mass and collective communication is expanding dramatically.
• - Censorship and auto-censorship are sharply weakened, one might even say collapsing.
• - The personal beginning in speech, dialogical communication, both oral and written, increases.
• - The sphere of spontaneous communication is expanding, not only personal, but also oral public.
• -- Important parameters of the flow of oral forms of mass communication are changing: it creates the possibility of a direct appeal of the speaker to the listeners and feedback from the listeners to the speakers.
• - Situations and genres of communication are changing both in the field of public and in the field of personal communication. Rigid limits of official public communication are weakened. Many new genres of oral public speech are born in the field of mass communication (various conversations, discussions, round tables, new types of interviews, etc.).
• - There is a lot of new and in the field of personal communication between strangers. Relations between speaking subjects change.
• -- The psychological rejection of the bureaucratic language of the past (Newspeak) is growing sharply.
• - There is a desire to develop new means of expression, new forms of imagery, new types of appeals to strangers.
• -- Along with the birth of the names of new phenomena, there is a revival of the names of those phenomena that return from the past, banned or rejected in the era of totalitarianism.
• - The syntactic construction of speech is changing, especially sharply in the field of management and some types of coordination.
• - The unpreparedness of public speech often leads to the loosening of old norms, contributes to the manifestation of development trends embedded in the language system. The intonation of oral public speech is changing.

Summarizing the main trends in the development of the modern Russian language, we can note the following:

• - In modern Russian society, there is change of socio-political paradigm, that is, a system of concepts that define the dominant system of political values ​​in society.
• - In Russian society, there was change of communication paradigm, that is, the type of communication that dominates in social practice. The most noticeable consequences of the change in the communicative paradigm in society are several interconnected processes that have arisen in the Russian language. These processes are: oralization of communication; dialogization of communication; pluralization of communication; personification of communication.

The oralization of communication is manifested in a significant increase in the role of oral speech, the expansion of its functions, and an increase in its share in communication.

Dialogization of communication is manifested in an increase in the proportion of dialogue in communication, an increase in the role of dialogue in the communication process, an expansion of the functions of dialogic speech in the structure of communication, the development of new types and forms of dialogue, the formation of new rules for dialogic communication, and an increase in the social effectiveness of dialogic communication in comparison with monologue.

The pluralization of communication is manifested in the formation of a tradition of coexistence of different points of view when discussing a particular problem.

The personification of communication lies in the growth of individual uniqueness of personal discourse.

These processes have a decisive influence on the development of the Russian language and lead to numerous particular consequences and changes. Characterizing the system of the Russian language as a whole from this point of view, it can be stated that in a number of aspects it is undergoing significant quantitative, qualitative and functional changes, but it does not undergo any revolutionary changes (especially leading to its destruction or disintegration), while maintaining the systemic and structural integrity, sustainable functioning and internal identity.

The creator of the modern literary language is Alexander Pushkin, whose works are considered the pinnacle of Russian literature. This thesis remains dominant, despite the significant changes that have taken place in the language over the almost two hundred years that have passed since the creation of his major works, and the obvious stylistic differences between the language of Pushkin and modern writers. Meanwhile, the poet himself points to the paramount role of N. M. Karamzin in the formation of the Russian literary language, according to A. S. Pushkin, this glorious historian and writer “liberated the language from an alien yoke and returned its freedom, turning it to the living sources of the folk words".

Literary language is a form of existence of a national language, which is characterized by such features as normativity, codification, polyfunctionality, stylistic differentiation, high social prestige among native speakers of a given national language. The literary language is the main means of serving the communicative needs of society; it is opposed to non-codified subsystems of the national language - territorial dialects, urban koine (urban vernacular), professional and social jargons.

The concept of a literary language can be defined both on the basis of the linguistic properties inherent in a given subsystem of the national language, and by delimiting the totality of carriers of this subsystem, separating it from the general composition of people who speak this language. The first way of definition is linguistic, the second is sociological.

Properties of literary language:

Consistent normalization (not only the presence of a single norm, but also its conscious cultivation);

The obligatory nature of its norms for all speakers of a given literary language;

Communicatively expedient use of means (it follows from the tendency to their functional differentiation)

Consistent functional differentiation of means and the associated permanent trend towards a functional differentiation of options;

Polyfunctionality: the literary language is able to serve the communicative needs of any field of activity;

Stability and well-known conservatism of the literary language, its slow changeability: the literary norm must lag behind the development of lively speech

Trends:

Rapprochement of the lit language with the folk

The interaction of the styles of the lit language (especially important: the influence of the colloquial style on the literary one)

The desire to save language means in speech (as Chekhov bequeathed to us, brevity is the sister of talent)

The desire for uniformity and simplification of individual forms and designs

Strengthening analytical elements in the language system (such as “beige bag” instead of “beige bag”, “three-meter-high building” instead of “three-meter building”, etc.)

(According to V.I. Chernyshev) source of stylistic norms must be:

Common modern usage

Works of exemplary Russian writers

The best grammars and grammar studies of literary Russian language

(According to Rosenthal ) source of norms may also be :

Survey data of native speakers (specially representative of different generations)

Questionnaire data

Comparison of similar linguistic phenomena among classic writers and contemporary writers (in works of the same genre)