In the field of modern education (general secondary, specialized secondary and higher education, especially philology), rhetoric and teaching humanities and other disciplines on a communicative (i.e., in fact, rhetorical) basis are beginning to play an increasingly prominent role. Moreover, elokucia - a section of rhetoric that "considers the means and techniques of verbal expression of a plan" - is particularly important (Volokov A. A. Course of Russian Rhetoric, Moscow, 2001, p. 280).

The concept of a stylistic figure (figure of speech) is one of the central concepts of elokution. Meanwhile, rhetorical and, more broadly, philological literature does not have a single point of view on the nature and classification of stylistic figures. All the variety of their definitions can be reduced to a broad and narrow understanding of the phenomenon under consideration. With a broad view of the nature of stylistic figures, they include any language means of creating and enhancing the expressiveness of speech. In this case, the boundaries between such concepts as figure, trope, reception (rhetorical, stylistic, artistic, literary, etc.) are erased and become rather vague (See, for example: Khazagerov T. G., Shirina L. S. General rhetoric: A course of lectures and a Dictionary of Rhetorical figures. Rostov-on-Don, 1994 and the second edition of this book under the title "General Rhetoric: A course of lectures; Dictionary of rhetorical techniques". Rostov-on-Don, 1999).

In a narrow sense, stylistic figures are called "syntagmatically formed means of expressiveness" (Skrebnev Yu. M. Figures of speech / / Russian language. Encyclopedia, Moscow, 1997, p. 591). Such

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the understanding of a stylistic figure becomes more definite if it is combined with the point of view that the stylistic figure is the result of a conscious and motivated violation of either (a) a language norm, or (b) its neutral variant, or (c) a speech norm that has a probabilistic and statistical nature by the intention (speech intention) of the subject of speech and the consituation of the utterance character. For example:

a) " It is on the student's bench that it is necessary to put into the soul of the future wordsmith that love for language and literature, that obsession, that ability to empathize with the artist, which he will then carry to school. It is impossible to allow a teacher of literature to work past the student's heart " (L. Oshanin). In the part of the statement we have highlighted, there is a deviation from the lexical and grammatical norm, since according to the rules of Russian grammar, the preposition past is used with verbs of movement in space ( to go, run, go, etc.), and the verb work does not belong to this group of verbs.

b) "... Mishka is not a step behind her: her mother goes to the cellar and he follows her, her mother goes to the kitchen and he follows " (M. Sholokhov). Here, the selected part of the text is a chain of two-part elliptic sentences with non-substituted syntactic positions of predicate verbs. Such syntactic constructions demonstrate a stylistically significant deviation from the neutral variant ("neutral stage") of the syntactic norm - a complete two-part sentence.

c) " Six paradoxes of the Soviet system:

There is no unemployment , but no one is working.

No one is working, but productivity is growing.

Labor productivity is growing, but the stores are empty.

The shops are empty, but there are some things in the houses.

There are some things in the houses, but everyone is not happy.

Everyone is dissatisfied, but they unanimously vote "yes"."

(Book Review. 1991. N 48).

The redundancy and orderliness of the discourse presented in this statement is a deviation from the usual (average) structure of the text.

Stylistic figures in the above sense (stylistically significant, performed primarily in a syntagmatic (horizontal) context, deviations from language norms, their neutral variants, or speech norms correlate with tropes that are stylistically significant, performed primarily in a paradigmatic (associative, vertical) context, deviations from lexical norms).- semantic and grammatical - semantic norms (Cf., for example: Nikitina S.E., Vasilyeva N. V. Experimental system explanatory dictionary of stylistic texts.

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terms. Principles of compilation and selected dictionary entries, Moscow, 1996, pp. 138-140, 141-142). Therefore, it is logical to combine stylistic figures and tropes into one group of stylistic techniques.

However, stylistic techniques in the above sense (a set of stylistic figures and tropes) do not exhaust all the variety of techniques known to rhetoric. Therefore, from the point of view of a systematic approach to the definition of rhetorical concepts and terms, it is advisable to consider stylistic techniques only as one of the varieties of rhetorical techniques and, having defined other varieties of rhetorical techniques, put them in a mutually consistent correspondence. To do this, it is proposed to turn to the broadest possible understanding of the norm and, on its basis, build a classification of rhetorical techniques as deviations from one or another of its (norm's) varieties motivated by the conditions of speech communication.

So, from a philosophical point of view, the norm can be defined as "a concept denoting the boundaries in which things, phenomena, natural and social systems, types of human activity and communication retain their qualities, functions, forms of reproduction" (V.E. Kemerovo Norm // Modern Philosophical dictionary. London, Frankfurt am Main, Paris, Luxembourg, Moscow, Minsk, 1998. p. 579). Moreover, deviations from the norms in the broad sense of this concept are somehow fixed in speech, but they do not necessarily constitute violations of the actual language or speech norms, since "the relationship" normative language/non-normative content " is possible when transmitting various absurdities, nonsense that violates the norms of the mental absolute: when transmitting situations in science fiction and fairy tales, etc. that is, in violation of social (status, role, behavioral, moral, ethical, religious, etc.) norms" (Bolotov V. I. Problems of the theory of emotional impact of the text. Dissertation of the Doctor of Philology. Tashkent, 1985, p. 41). Within the framework of such a broad understanding of the norm, in addition to the norms of language and speech and the corresponding stylistic rhetorical techniques (stylistic figures and tropes), we can distinguish at least the following types of norms and, accordingly, varieties of rhetorical techniques (understood as pragmatically motivated deviations from these norms)::

Logical norms, which should be understood as the laws of formal logic that are observed when constructing a normative utterance (See, for example: Svintsov V. I. Logika. Elementary course for humanitarian specialties, Moscow, 1998, pp. 123-162). If in the process of speech activity a deliberate and pragmatically expedient deviation from one or another logical norm (the law of logic) is carried out, we are dealing with a paralogical rhetorical approach.

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by Yandex. Mail. An example of a paralogical rhetorical device based on the" violation " of the logical law of contradiction is the text of the following anecdote:" When you come back from the cinema, "says my wife," and I'm still watching TV, don't wake me up " (Anecdotes of our readers, Moscow, 1995). Obviously, the statements "X is watching TV" and "X is sleeping"cannot be true at the same time.

Linguoethological (speech-behavioral) norms, which include the so-called postulates of speech communication, rules of speech etiquette that regulate the choice of appropriate speech stereotypes; in general, everything that is called communicative and ethical norms (See, for example: Formanovskaya N. I. Communicative and pragmatic aspects of communication units, Moscow, 1998). When a speaker / writer intentionally and pragmatically expediently commits a speech act that violates a particular linguoethological norm, he uses a linguoethological rhetorical device. So, for example, linguoethological in its essence is the technique of allusion (omission) that underlies the following comic text: "Pyotr Ilyich Tchaikovsky, Freddie Mercury, George Michael, Elton John, Andy Bell, Jimmy Somerville, Mark Almond, Sergey Penkin, Boris Moiseev...

Do you still want to send your son to music school?" (Today's newspaper. 2000. July 8-14). The hint contained in this statement shows a deviation from the postulate of completeness of information.

Ontological norms that are understood as inherent in humanity or any society and are reflected in the language of the idea of being (social, historical, cultural, etc.), its structure, laws, and forms; the" worldview " reflected in the language. Accordingly, a deviation from the ontological norm motivated by the intention of the speaker/writer and pragmatically expedient in this situation should be qualified as a paraontological rhetorical device. Such a technique, in particular, is an intentional representation of the connections and relations of things (in the broad sense: facts, phenomena, events, people, their actions, ideas) in a distorted (not real, fantastic, absurd) form, as, for example, in such a folklore text:

The village was coming

Past the man.

Suddenly from the alley

The gate barks.

"Hush!" said the horse,

And the man laughed.

The horse went to visit,

And the man was standing ...

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Or in such an anecdote:

"The psychiatrist tells his colleague:

"I had a patient come to me who thought he was a car.

"So how do you treat him?"

-And I don't fly it, I drive it home " (Lump. 2001. March 12-18).

Summarizing the above, we can define a rhetorical device as a way of constructing an utterance based on a deliberate and pragmatically motivated deviation from linguistic, speech, logical, linguoethological and ontological norms in order to influence the addressee in one way or another.

It should be borne in mind that quite often these types of rhetorical techniques are combined in one statement. For example:

"When Albert Einstein died, he met three New Zealanders in the queue at Paradise Gate. To pass the time, he asked them what their intelligence quotient was.

"190," the first man said.

"Fine," Einstein said. "We can talk to you about Rutherford's contributions to atomic physics and general relativity.

"150," the second man said.

"All right," Einstein said. - We will discuss with you the role of New Zealand in the fight for non-proliferation of nuclear weapons.

"50," said a third.

Einstein thought for a moment, then asked:

- Okay, then share your forecast for the budget deficit for next year " (Today's newspaper. 2001. 12 Apr.).

The text of this anecdote combines a paraontological rhetorical device (depicting an unreal, fantastic situation), a linguoethological rhetorical device (a hidden hint contained in Einstein's last remark) and a stylistic rhetorical device (descending gradation: 190... 150... 50; Perfect... Good... Okay ...).

Returning to the topic of this article, we note that in the hierarchical system of malevolent concepts considered, with the meanings assigned to them in our concept, the concept of a stylistic figure, as well as the concept of a trope that correlates with it, occupies the position of the third order: rhetorical device - > stylistic device - > stylistic figure.

In relation to the language/speech opposition, different stylistic figures have different status. In some cases, the language consciousness belongs only to the general constructive principle, according to which specific figures-utterances are constructed in speech-

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such shapes do not have their own syntactic model. Figures of this kind include, for example, aposiopesis, which implements the principle of non-agreement, truncation of the sentence-utterance; parcellation, which implements the principle of dismemberment, fragmentation of the integral structure of the sentence-utterance into intonation and punctuation isolated segments-phrases, and a number of other figures.

In some cases, figures may have their own syntactic scheme, model (although not as highly integrated in all their links as the sentence model has). These figures include, for example: 1) prolepsis (construction with a nominative subject); 2) anadiplosis (chain repetition) and some others. Cf.:

1) " Moscow! On the maps of the world, there is no such word filled with such content for us" (L. Leonov),

2) So the song of the wind begins,

About the wind, shod in soldiers ' gaiters,

About gaiters walking the road of war,

About wars that don't need poems.

(V. Lugovskoy)

In conclusion, taking into account the above, a stylistic figure can be defined as a syntagmatically more or less typed (relatively formalized) stylistic rhetorical device.

Krasnoyarsk

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