THE VISION OF STYLE WITHIN THE LIMITS OF THE LITERARY GRAMMAR DISCOURSE

Abstract

In the proposed article, we turn to one of the directions in modern academic theory of literature – literary grammar, which examines the literary text in the linguistic dimension. The purpose of the research is to indicate the features of this discourse and explain what the vision of style is within the limits of literary grammar. The object of research is the discourse of literary grammar; the subject of research is style in literary grammar. The following methods were used to realize research goal: information analysis method, synthesis method, descriptive method. Literary grammar, which strives for accuracy and specificity, is constituted on the border with linguistics. Signs and features of style are recognized in literary grammar as the construction of an artistic work, the scheme by which it is built. It motivates the certain «signs» of style appearance. The author of the article concludes that the concept of style within the limits of literary grammar is pre-aesthetic, as it reduces the sensual, as the internal form of plastic-painting component of the image. The relevance of the research is determined by the need to clarify the multiplicity of style concepts in their originality in modern literary theory and modern linguistics. The concept of «style» refers to one of the fundamental features of artistic creativity, which, firstly, determines the aesthetic value of a work and without which the emergence of artistic systems (literary schools, currents, trends) is impossible. There are different understandings of style. Some literary critics expand the meaning of this concept, bring it closer to the artistic method (I. F Volkov, O. V. Mykhaylov, P. O. Nikolaev, B. G. Reizov), while others, on the contrary, identify it with the writer’s individual handwriting concept (I. Kleiner, I. Yu. Podgaetska, P. M. Sakulin, L. Spitzer). Literary grammar objectifies the external form of the work, therefore it is distinguished by the interpretation of inner-textual relations depth. However, it cannot claim conclusions of an aesthetic or ontological nature. Elements of the external form of the work in this discourse are considered in isolation from its internal form and content. Literary grammar does not set itself the task of revealing the style of an artistic work as a unity of all moments of artistic form and content but helps to reveal the specificity one of the essential style components – the language of a literary and artistic work. The perspective of further research is to reveal the semantic content of the style category within the limits of various theoretical and literary discourses.