Literary processing with stylization. Literary processing of a recording of oral speech How does translation differ from literary processing of processing

4.5.10 Processing the results To process the results of the Game, a special key is used - a matrix of 16 rows (16 player numbers) and 4 columns (4 time intervals, which correspond to scores other than zero). In each cell of the matrix there is a score in points, which From the book Sales Management author Petrov Konstantin Nikolaevich

In the advertising text, the most important thing is the content: arguments and facts. The way it is actually written is of secondary importance. That is why illiterate clumsy texts, prepared, however, by smart sellers, are often effective.

Smooth writing cannot replace the attractiveness of the commercial component of the text. At the same time, giving advertising additional readability is always beneficial. Therefore, after writing the text, it is worth making its literary processing. The object of this work is every sound used in advertising, every word and sentence, every paragraph and paragraph. They should be distinguished by figurativeness, conciseness, simplicity, concreteness, emotional expressiveness, logic.

After high-quality literary processing, the text is easy to read both from a semantic and linguistic point of view. It should seem to the reader that this advertisement is intended exclusively for him alone.

SOUND

The building blocks of the future text are sounds. Images-words are made up of them, which are then laid out in sentences, paragraphs and paragraphs.

Sound can convey a certain feeling. So, "P" is decisiveness, masculinity, dynamics. "L" and "H", having a pronounced feminine, leave a feeling of lightness, tenderness. "S" and "Sh" - the hiss of the snake, the release of steam. "U" is a gorge, a cave, a failure. It’s not for nothing that we shout “Ay ...” when we are lost or looking. (In Bulgaria, for example, in such a situation they shout: “Echo ...” In the Alps - “Ai-la-rip-pi-i-i”.) That is, in different languages, familiar sounds may be different from our ideas images).

The combination of the letters "gn" in Russian is negative. Reptile, anger, nits, rot, pus, rot, etc.

"Love" consists of "soft" sounds. "Infection" - from "sharp". Etc.

The use of words with certain sounds or their combinations enhances the overall imagery of the text. There are many examples of this approach in advertising.

An example of the use of figurative sounds

Toothbrush Aquafresh: cleans with shine, acts with the head.

Sounds were used that convey sound sensations from the process of brushing teeth (hissing "3", "Sch", "Ch", whistling "S").

Explosion of taste

(soft drink Mirinda)

Explosive "V" (twice) and snarling "R" used.

Sh-sh-sh-veps-s-s... (Schweppes soft drink)

To imitate the sound of bubbles, hissing and whistling "Sh" and "S", explosive "V" are used.

In order to enhance the memorization of words, consonances are used. Usually this technique is used when developing slogans and headlines.

An example of the use of consonances

Your pussy would buy Whiskas

(cat food)

A semantic connection is built between your pussy and certain food.

Purity - pure Tide (washing powder)

A semantic connection is being built between cleanliness and a specific washing powder.

There is an idea - there is IKEA (furniture company)

A semantic connection is being built between originality, novelty and the furniture manufacturer.

WORD

The use of each word in the text must be justified. It is necessary to select only really suitable, energetic, capacious words. A large role in the readability of the text is played by the use of abstract, concrete, native and foreign words, as well as the frequency of their use and length.

Abstract words, as a rule, denote concepts that cannot be perceived with the help of human senses. These are all kinds of generalizations that denote a class, type, group of objects or phenomena (“reliability”, “quality”, “beauty”, etc.).

With the help of abstract words, it is very easy to describe any product - “beautiful”, “good”, “wonderful”, etc. However, firstly, so many advertisers do this and, accordingly, most of the abstract words have become lost and stereotyped. And secondly, these words do not provide clarity of assessments: the concepts of “beautiful”, “wonderful”, etc. are very subjective for each person.

When working on the text, it should be remembered that generalizations are not convincing. In order to form their own opinion and make a purchase decision, the consumer needs specific information.

An example of using abstract words

Perfect, surprisingly strong taste

(Wrigley's chewing gum)

Fabulous taste and caries protection

(Chewing gum Orbit)

Sign good taste

(Lipton tea)

Specific words denote objects or phenomena of the real world that can be "felt" with the help of the senses: hearing, sight, touch, taste and smell. Such words easily "come to life" in the mind of a person. They appear in the form of a specific image that evokes certain emotions. And the more specific the word used, the more emotional reaction it will cause in a person.

The more specific words in the text, the simpler it is, the more convenient it is for the reader. The consumer should be able to correlate what is offered to him with his own experience.

In comparison with abstract words, concrete ones are not only perceived, but also remembered much easier. Therefore, headlines, slogans, codes should not contain vague generalizations, superlatives and clichés.

To create an effective text, one should avoid the dominance of abstract words with a weak visual potential, as well as bureaucracy and clichéd expressions. It is better to use special, “narrative” details that allow the reader to be present at the scene, as it were.

Abstract words and technical terms in the product description should be translated into words, phrases and images that are understandable to certain categories of buyers. So, for example, the word "best" in a certain situation can be specified by describing it as follows: "has a certificate of quality ...", "chooses the majority of buyers ...", etc.

Also, a certain degree of concretization is achieved by adding an abstract word to a concrete one.

If the word used in the text is derived from another part of speech with the same root, you can try using the original word. Most often they are verbs, from which verbal nouns are subsequently formed (“correct” - “correction”, “slow down” - “braking”, etc.).

A distinctive feature of many derivative words are the word-building suffixes "- awn", "- ota", "- nie".

Adjectives and adverbs should be used sparingly. The main emphasis should be placed again on the verbs. They create an image, a “picture” in the reader’s imagination better than other parts of speech. Verbs well involve, induce. After all, they denote action, have dynamics, movement, concreteness.

As a rule, the readability and dynamism of the text are directly proportional to the number of verbs used.

When using verbs, it is better to show rather than tell. For example: “A food processor instantly cuts, crumbles, shreds ...” is better than “A food processor is designed to grind ...”

It should be borne in mind that the active voice is more energetic than the passive voice. So, for example, "we built this computer by hand" would be better than "this computer was built by us by hand."

Also, don't use the subjunctive. The words "will", "may", "could" are not convincing. For example, "it would be your best buy" is better than "it could be your best buy."

An important factor affecting the readability of the text is the lexical affiliation of words. Vocabulary is divided into common and specialized. One or another layer is used depending on the audience for which the ad is intended.

If the circle of potential buyers is extensive and heterogeneous, then you should choose common words that are widely used in everyday communication and understandable to every native speaker.

If the target audience is a narrow specific group, then specialized vocabulary is used. It includes professional, slang and foreign words, various kinds of terms.

The use of specialized vocabulary in a text aimed at a wide audience can damage its readability. If advertising is designed for representatives of a certain professional field, then the special words used by these people will be quite appropriate. Also, for example, the use of foreign words may be justified in a text intended for an educated audience.

An example of the use of common and specialized vocabulary.

Earth is 70% water. Are you filtering?

(household filters)

The jargon “filtering” will alienate the part of the audience that does not associate themselves with people using this word.

Who does not know - he is resting!

(drink RC-Cola)

The foregoing can be attributed to abbreviations and abbreviations, which can also be both general and narrowly used. Everyone knows, for example, what “etc.”, “etc.”, but what is “used” (used) is far from being guessed by every person.

In cases where it is necessary to replace a rude, aggressive or too direct expression with a softer one, a euphemism is used. At the same time, it is necessary to ensure that the reception does not impede perception, does not lead to misunderstanding. After all, one word can mean different things for different people.

Examples of euphemisms

Resold machines

(second hand)

Troublesome humidity

(sweating)

Irregularity

Pleasure without pollination

(sexual intercourse using a condom)

Night butterflies

(prostitutes)

If there is no confidence that the entire audience for which the text is intended will understand, adequately perceive this or that word, abbreviation, abbreviation, euphemism, then it is better not to use it.

When choosing words, one should not forget that people rarely use more than 800 words in communication, although there are several tens of thousands of them in dictionaries.

The readability of the text is also affected by the length of the words used in it. It can be measured both by the number of letters and the number of syllables. This does not change the essence. The main thing is that the readability of words proportionally decreases when the length of words increases. The shorter the word, the faster it is recognized, the faster it is remembered - this is especially important when developing headings, slogans and code.

In the process of working on the text, it is worth trying to find synonyms, antonyms, cognate words from other parts of speech (noun, adjective, verb, adverb) for each word. This will help to make sure that the choice made is correct, and if necessary, replace inexpressive words.

The choice of words is painstaking and extremely important work. It largely determines the quality of the advertising phrase, sentence, the entire text.

An example of words that should be used with great care due to their abstractness, clichédness, or certain associativity

well-being

fabulous

pride

really

worthy

health

ideal

test (better - "try")

quality

buy (better - “acquire”, etc.)

reliability

unique

normal

stunning

freshness

perfect

tradition

unique

wonderful

This list should also include all words using superlatives (“the best”, “most beautiful”, etc.), as well as stamp words (“leader”, “brand No. 1”, “world-class” etc.)

An example of the words "positive" attracting attention

modern

saving

OFFER

When constructing a sentence, it should be borne in mind that although the Russian language, in comparison with many others, has a freer structure, a certain sequence of words can still play a significant role. It is best to remember the information that is at the beginning and at the end of the sentence. Therefore, the most significant words should be placed at the beginning and end of the full phrase.

Due to the fact that we think in a certain way - forward, not backward - it is better to put forward the general concept, purpose or way of using the product in the first place, because the consciousness of the buyer is repelled from them. And then the name of the company or product should follow. So, "Peasant" oil is better than "Peasant" oil. The National Hotel is better than the National Hotel. "Your reliable partner is the Bank..." is better than "The Bank... is your reliable partner".

Depending on the tasks set, the sentences used in constructing the text can be affirmative and negative, declarative and interrogative, motivating and exclamatory, simple and complex.

As already noted in the "Nature of advertising" section, positive emotions, an affirmative beginning, are more characteristic of a person than negative ones. And in order not to get a reaction opposite to that envisaged, it is always worth avoiding the negatives “not”, “no”, “cannot be”, etc. Affirmative sentences are more preferable.

Declarative sentences are the simplest and most common. However, a text built only from such phrases may turn out to be too monotonous and boring.

Appropriately used interrogative sentences draw attention to the content of the question, increase the mental activity of readers. When a question is asked, the consumer is involved in preparing the answer. A person involuntarily tunes in to support the product.

When preparing questions, you should not use phrases that are devoid of specific content (“What does this mean?”, “How is it?”, Etc.). Any inappropriate question makes people feel dissatisfied due to the discrepancy between the insignificant value of the answer and the tension of attention, the mental energy spent on thinking about the question.

Due to the fact that a bright contrast excites attention and facilitates the work of memory, a comparison of opposing opinions also activates a person. The wording of what is stated is best given in the form of oral real or fictional, imaginary replicas. Brief quotations would also be appropriate.

When using juxtaposition, it is important to ensure that the evaluation of opposing views follows, rather than precedes, their presentation. Otherwise, counterarguments and doubt can be generated.

Not bad attracts attention, contributes to a better assimilation of the content of the text, anticipating objections that may arise from the consumer (“You Can object to me that ...”). Such an approach, however, is also fraught with the generation of doubt and requires really strong arguments.

Exclamatory sentences should be used with great care, as in most cases exaggerations, loud exclamations annoy rather than attract people. The use of declarative and interrogative sentences is significantly less risky.

An exclamatory sentence with a verb in the imperative mood may be appropriate in an advertisement for youth products or inexpensive consumer goods.

An example of using the imperative

Buy!

Come!

Look!

Choose! Etc.

However, this form will be inappropriate when it comes to a highly educated audience, as well as when advertising complex and expensive goods. Emotional pressure will not replace the necessary rational arguments, it can cause irritation. And the more demanding the command is that the consumer will choose or buy, the more he will avoid advertising that indicates to him.

When constructing a proposal, it is necessary to strive for the most simple constructions. It is best to write mostly in simple declarative sentences: subject, predicate, object.

If with the help of an active voice verb you can construct a phrase that is closer to the style of colloquial speech, then you do not need to use passive phrases.

Particular care should be taken to use personal forms and participles of the present passive tense

pledge. If possible, it is better to abandon participial and participle revolutions altogether. You can try to replace participles with personal forms.

You should not allow a heap of nouns that are dependent on one another, especially in the same case form (usually in the genitive case) or with the same preposition. Often this situation occurs when using a verbal noun instead of a verb.

Verb tense agreement should be checked.

It is better not to allow long enumerations. A cumbersome, complex phrase will make it difficult to understand and remember the content of the text. The optimal enumeration includes a maximum of three succinctly stated points. The abundance of commas tires readers.

In order to avoid complex sentences, it is easiest to break them down into several simple ones. One thought, one suggestion. If the thought cannot be expressed in the form of one simple sentence, one should try to facilitate the verbal construction. To do this, it is better to turn a complex sentence into a complex sentence. Such a sentence, where both parts are equal, is much easier to perceive.

When using complex sentences, it is worth resorting to the help of unions, first of all, “and” and “but”.

In general, complex, subordinate clauses and introductory words should be as few as possible in the text. To facilitate the perception of a phrase of a more complex structure, it is necessary to alternate with phrases of a simpler structure.

The readability of advertising is largely determined by the length of the sentence. The shorter the sentence, the easier it is to read. The reader's understanding of the text grows as the number of words in sentences decreases. There should be exactly as many words as necessary to convey the basic information about the product and achieve maximum expressiveness.

It is important to keep in mind that the readability of a test is affected not only by the number of words, but also by the number of syllables. In terms of the number of syllables, a three-word sentence can be much longer than a five-six-word one.

It is believed that an effective sentence should not contain more than 18 words.

Sentences don't have to be equally short. It is better when they are not monotonous, they differ from each other in length.

In order to "facilitate" the phrase, it is necessary to remove unnecessary, optional words. So, it is almost always possible to shorten service words (prepositions, introductory words, complex conjunctions). It is also possible to remake the sentence, when the compound word is replaced by a simple union.

Very often, you can painlessly shorten the word “this”, as well as words that repeat the meaning of the adjacent ones (“butter oil”, “reliable guarantee”, “high-speed express mail”, etc.) *

In many cases, it is possible to do without pronouns, unnecessary definitions. You should also refuse unnecessary introductory adverbs (“accidentally”, “ironically”, “simply”, etc.) If the sentence is well written, the reader will see both randomness, and irony, and simplicity.

Sentence reduction example

A company that makes you happy

It can be simpler: “We make you happy,” etc.

We sell the best technology

It can be simpler: “We sell the best technologies”

To find optional words, the easiest way is to remove them one by one from the sentence. Check, thus, how their absence affected the general meaning of the phrase.

It should be remembered that "brevity is the sister of talent."

Reasonable conciseness helps to achieve high expressiveness of the text.

PARAGRAPH AND PARAGRAPH

If a thought requires a sufficiently large amount of additional information, arguments, then it is better to express it in several sentences, devote a separate paragraph to it. Thus, according to the paragraphs, the reader to a certain extent can navigate where the thought begins and where it ends.

Between paragraphs there should be a semantic connection. To ensure the continuity of reading, maintaining attention, various techniques can be used. So, for example, the last word or phrase of a paragraph is inserted into the first sentence of the next paragraph. The following words and phrases can serve as good connecting links: and, but, so, nevertheless, nevertheless, nevertheless, of course, of course, understandable, consistently, in fact, desirable, generally recognized, therefore, moreover, further, on the other sides, indeed, in addition, etc. Therefore, all the necessary information is arranged in the most logical order.

Semantic blocks may not be limited to paragraphs, but make up separate paragraphs. This structure is commonly used in very long advertisements.

An example of breaking long text into paragraphs

CHIZHEVSKY CHANDELIER

SPECIALISTS RESPOND

On the pages of our newspaper, we have already written about Chizhevsky's chandelier. The flow of letters from readers that gushed after the publications testifies to how great is the interest in the legendary health apparatus, invented at the prompt of Tsiolkovsky by the outstanding Russian biophysicist, Professor A.L. Chizhevsky. Such a surge of interest did not surprise us. After all, more than 200,000 families in Moscow alone use the healing chandelier, which has become a truly folk remedy for the treatment of dozens of various diseases.

Today we are publishing answers to four more common questions from readers about the chandelier and its outstanding author.

Death by clean air

“I read in an article about Chizhevsky that his chandelier satisfies some kind of “hunger”. Or maybe there is no hunger at all, and all this is an invention of scientists?

I. Putilov, civil engineer

Chizhevsky used his famous chandelier to fight the monstrous danger, which, as he predicted, had already fallen on the heads of the townspeople. This is not at all about smog and monstrous gas pollution, it can still be somehow experienced. Another thing is worse, we are increasingly beginning to breathe dead air. It has everything except the most important thing: there are no electrically charged particles-aeroions, thanks to which the cells of our body work normally.

Remember what a surge of strength we feel in the forest, in the mountains, especially at the waterfall. There, we inhale a lot of air ions, a kind of healing air vitamins that can protect the body from many diseases. Chizhevsky just invented his chandelier in order to turn the most ordinary air of apartments and offices into healing, saturated with these very important vitamins.

His merit also lies in the fact that he was the first to experimentally prove that, perhaps, nothing is more terrible than air ion hunger. The professor set up chilling experiments at the 3rd Medical Institute in Moscow. In an airtight chamber, the experimental mice were fed and watered to their heart's content, but they were only fed air filtered through a dense layer of cotton wool. Since the air in cotton wool was not only cleansed of impurities, but also lost electrical charges, it lost air ions, which means it became dead. Already after 5-6 days, the mice began to get sick, lost their appetite. And in three or four weeks they inevitably perished. Experimental animals died, in fact, from clean air!

Chizhevsky called this phenomenon "aeroion starvation". Set out to rectify the situation, he used the principle of his electro-fluvial chandelier. He introduced a long needle into another chamber, where the mice were still alive, and applied high voltage to it. The air began to be saturated with electric charges, it acquired aeroioi. Inhaling them, the mice came to life, cheered up, they regained their appetite.

In Russia, as you know, there are no prophets of their own. Chizhevsky's experiments were treated with skepticism for a long time. And only when, in 1974, American researchers from the NASA space agency conducted almost the same experiments, all doubts disappeared - the great biophysicist was absolutely right.

He was also right that in the future such dead air would prevail everywhere in cities. And so it happened. Recent measurements in Moscow confirm that there are 10-20 times less air ions in the air than is required for normal life. Signs of the onset of air ion starvation are evident in many. This is increased fatigue, irritability, a decrease in the body's immunity and, as a result, a wide spread of chronic diseases. Not even suspecting this hunger, but nevertheless, fleeing from it, the inhabitants of the cities of the world intuitively tend to run away to nature in order to breathe air ions to the fullest.

Chandelier Chizhevsky can help in solving many of these problems. Moreover, it has long been successfully used to treat the respiratory, cardiovascular and nervous systems. And also its beneficial effect was noted by people who suffered a catastrophe at the Chernobyl nuclear power plant.

How to curb pressure

“I heard that Chizhevsky's chandelier lowers high blood pressure and raises low blood pressure. Is that really true? But can’t Chizhevsky’s chandelier confuse who should lower the pressure and who should increase it? ”

E. Plotnikova, housewife

Professor Chizhevsky's chandelier really helps people suffering from both hypertension and hypotension. At first glance, this is strange, because we are talking about two extremes: high or, on the contrary, low blood pressure. But if you delve into the essence, there is nothing strange here, because, unlike drugs that seek to “fix” pressure, Chizhevsky’s chandelier does not force the body. It only eliminates those violations that, in fact, led to the disease. And she does this fundamentally, positively affecting the mechanics of the blood.

In a healthy person, red blood cells - erythrocytes are electrically charged. It is very important! After all, microscopic negative charges cause red blood cells to repel each other, preventing them from sticking together and forming blood clots. When, due to pathological changes in the body, red blood cells lose their charge, blood viscosity increases, and this, of course, begins to interfere with smooth blood flow. It is for this reason that pressure is most often violated.

When, together with the air, we inhale the negative air ions of oxygen that the Chizhevsky chandelier produces, we, in fact, restore electrical charges on red blood cells. The viscosity of the blood decreases, the blood flow returns to normal. It becomes easier for the heart to pump blood through the vessels. It doesn't matter what it was - high or low pressure - it will normalize in any case when the charges on the erythrocytes are adjusted.

We also note that low blood pressure is often associated with weak work of the heart muscle. Chandelier Chizhevsky and here gives a healing effect. It has a positive effect on mitochondria - the energy stations of heart cells. The heart begins to work more energetically, which ultimately increases blood pressure.

Using his chandelier in the treatment of patients, Professor Chizhevsky received brilliant results. For one session of aeroionotherapy in hypertensive patients, the pressure decreased by an average of 10-20 units, while in hypotensive patients, on the contrary, it increased, approaching normal.

Of course, to obtain a stable result, aeroionotherapy must be carried out for at least several months. After all, the process of restoring blood pressure does not tolerate fuss. Pathology has been developing over the years, give the body the opportunity to correct “breakdowns” without haste and thoroughly.

And it is also known that both hypertension and hypotension can be caused by different causes. Therefore, the Chizhevsky chandelier, of course, is not a panacea and does not help in 100% of cases. But very often and drastically.

What the examination showed

“I recently heard in the Expertise program on RTR that Chizhevsky's chandelier cannot cure any disease. Moreover, it has not passed clinical trials. And I have been using Chizhevsky's chandelier - "Elion-132" for a long time, and now attacks of hypertension are less disturbing, and I feel much better. And now, after what they said on TV, I don’t even know what to think.”

Anastasia Petukhova, housewife

Don't worry. The Elion-132 Chizhevsky chandelier you are using has passed many years of large-scale clinical studies in the largest clinics and institutes in Russia. The medical examination was carried out by leading specialists of the Research Institute of Pediatrics of the Russian Academy of Medical Sciences, the Research Institute of Emergency Medicine named after. N.V - Sklifosovsky, Institute of Higher Nervous Activity and Neurophysiology of the Russian Academy of Sciences, Main Military Clinical Hospital. ON THE. Burdenko, Research Institute of Tuberculosis of the Ministry of Health of Russia, Institute of Theoretical and Experimental Biophysics of the Russian Academy of Sciences.

The results of the conducted clinical studies showed a statistically significant therapeutic effect from the use of aeroionotherapy using the Elion-132 apparatus. Independent experts - specialists of the clinics in which the studies were carried out, positively assessed the operation of the device. No adverse reactions or complications were noted during its use. And an undoubted positive effect was obtained, and with a wide range of diseases. Based on the clinical work carried out, doctors recommended including aeroionotherapy in the complex treatment of arterial hypertension and diseases of the gastrointestinal tract, bronchial asthma and allergic diseases, infectious diseases and chronic tonsillitis in children.

Therefore, the allegations that the chandelier of Chizhevsky "Elion-132" of the "Diod" factory will not help in the treatment of the disease, and even more so have not passed clinical trials, to put it mildly, do not correspond to reality. It is surprising that the journalists of such a popular program failed to find and provide the audience with really truthful data. After all, they are available to everyone on the manufacturer's website (www.diod.ru).

Children of Lieutenant Schmidt

“They say that Professor Chizhevsky invented a completely different chandelier, not like those that are now being produced by various factories. Is it so?"

A. Lieberman, accountant

It is true that all modern Chizhevsky chandeliers look very little like the one created by the great Russian biophysicist. His chandelier was like a large wheel covered in steel mesh, suspended from the ceiling by massive porcelain power line insulators. In order for the chandelier to work, a high-voltage power supply was installed in the next room - a cabinet the size of a two-chamber refrigerator. The cabinet housed a powerful oil transformer and mercury rectifier lamps from a stationary x-ray machine.

In the 30s, with the then level of technology, it was impossible to make a chandelier in a different way. Yes, Professor Chizhevsky didn’t really care.

It was important for the pioneer scientist to show the healing effect of the air ions that the chandelier gave. What he, in fact, did and for which at the World Congress of Biophysicists in New York in 1939 he was awarded the title of "Leonardo da Vinci of the 20th century."

But life does not stand still. Today's manufacturers, using modern technologies and materials, have turned a bulky high-voltage cabinet into a compact box-sized electronic unit. And the chandelier itself, thanks to plastics, has become several times lighter. Each manufacturer improvised as best he could, to the best of his imagination and taste. But almost everyone forgot about the main thing: that their "inventions" must pass the appropriate clinical trials, that is, no doubt, they must have a unique set of medicinal properties that made Chizhevsky's chandelier a legend. And these "electronic kids" of Lieutenant Schmidt went for a walk all over Russia.

A pleasant exception against this background is the products of the Moscow defense plant "Diod", which, after conversion, produces 5 models of Chizhevsky's chandeliers. Among them is the "Retro" model - an exact copy of the original with a modern electronic unit.

Chandeliers of the Chizhevsky plant "Diod" have passed clinical trials in the largest scientific centers of Russia. And everywhere the test results confirmed that the chandeliers of the "Diod" plant in terms of therapeutic effect are not inferior to the one with which Professor Chizhevsky himself experimented.

Unfortunately, other enterprises that have undertaken such a complex and very responsible business cannot boast of this. And, in order not to buy a “dummy”, contact only specialized stores “World of Ecology”, created under the program of the Moscow government at the Diod plant. And also to the official representative offices of this plant in various regions of the CIS.

The answers to the questions were prepared by the leading specialists of the institutes where the Chizhevsky chandelier was tested. The publication was prepared with the sponsorship of the Kaluga city branch of the Chernobyl Union of Russia.

The apparatus of aeroionoprophylaxis "Chizhevsky's Chandelier" is produced at the defense plant "Diod" under the program of the Moscow government.

Addresses of factory stores "World of Ecology":...

In all Mir Ecology stores you can get a free consultation with a doctor.

Short paragraphs, short sentences, short words add dynamism to the text.

To facilitate the perception of information, as well as to stimulate decision-making in the course of the text, repetitions are used: certain words, temporary accents, incentive phrases, the name of a product, company or brand

When preparing texts, it is important not to forget that the information that is best remembered is at the beginning and at the end. These are the places where you need to be especially attentive, aimed at the reader.

ARTISTIC TECHNIQUES

It is possible to enhance the figurativeness and concreteness of the text by processing individual words, constructing strong phrases and sentences. Various stylistic devices will help in this, allowing you to use words in a figurative sense. With this approach, there is a shift from a direct meaning to a figurative one, the features of an individual perception of reality are fixed in the word.

It is most appropriate to use artistic techniques in the heading, slogan, code and keywords - where a particularly strong impact on the reader is required.

The arsenal of techniques is quite large: metaphor, oxymoron, metonymy, synecdoche, hyperbole, litote, allegory, comparison, epithet, allusion, paraphrase, anaphora, epiphora, anticipation, antithesis, paronym, permutation, gradation, etc.

Metaphor is the transfer of the properties of one object (phenomenon) to another on the basis of a feature common to both compared members (“talk of waves”, “bronze muscles”, etc.).

An example of a successful use of metaphor in the title

KEEPING MONEY AT HOME MEANS FREEZING THEM!

BANK OF MOSCOW WILL UNFROST YOUR MONEY!

The Bank of Moscow offers deposits on favorable terms:

Prestige - for wealthy clients

Four seasons - will provide a good income

Moscow Municipal - the most popular contribution of 2002

Long-term accumulative - new service

Special deposits for pensioners with increased interest:

pension

Longevity

current pension

Deposits can be opened in rubles, US dollars and euros at any branch of the Bank of Moscow Branches of the Bank of Moscow:...

Personification is a kind of metaphor, the transfer of the properties of animate objects to inanimate ones (“her nurse is silence”).

Oxymoron (oxymoron) - a ratio in contrast, a combination of words opposite in meaning, a connection of concepts that is logically excluded ("a living corpse", "avant-garde tradition", "little big car", etc.).

Metonymy is the replacement of one word with another based on the connection of their meanings by contiguity (“the theater applauded” - instead of “the audience applauded”).

Synecdoche is a type of metonymy, the name of a part (smaller) instead of a whole (large) or vice versa (“my little head is gone” - instead of “I am gone”).

Hyperbole is a deliberate exaggeration (“rivers of blood”, “mountains of money”, “ocean of love, etc.”).

Litota is a deliberate understatement ("a man with a fingernail").

An allegory is an image of an abstract idea (concept) through an image.

At the same time, the connection between meaning and image is established by analogy or contiguity (“heart - love”, “justice - a woman with scales”, etc.).

Comparison is the likening of one object to another (“huge, like an elephant”). When comparing objects, a stronger one (explaining) transfers part of its positive and already known characteristics to an unknown object (explained).

Thus, it is easier to explain the unfamiliar through the familiar, the complex through the simple. With the help of comparisons, you can achieve greater clarity and originality.

However, comparisons are often lame and can be misinterpreted. A person can easily start thinking about the explanatory subject and get distracted from the intent of the advertisement.

It is always worth considering whether the product is being compared with an object worse than itself, whether the comparison will bring negative results. If in doubt, it is best to refrain from using comparison.

An epithet is a figurative definition that gives an additional artistic characteristic of an object (phenomenon) in the form of a hidden comparison (“clear field”, “lonely sail”, etc.) It should be borne in mind that small epithets weaken the text (“very”, “ too", "a little", "enough", etc.).

Allusion - a hint through a similar-sounding word or mention of a well-known real fact, historical event, literary work, etc. ("Secrets of the Madrid Court").

Paraphrase - an abbreviated presentation, a descriptive transfer of the meaning of another expression or word ("Writing these lines" - instead of "I").

Anaphora is the repetition of the same letters, the same parts of a word, whole words or phrases at the beginning of a sentence. ("Out of politics! Out of competition!" - Trading house "Party").

Epiphora - the repetition of the same words or phrases at the end of a sentence.

Anticipation is the use of one word with different meanings.

Antithesis is opposition in meaning, contrast. (“Small computers are for big people” - White Wind Company).

Paronyms are words that are similar in sound, but different in meaning ("base" and "basis").

Permutation is a change in the places occupied by words. ("Heart of the Mediterranean Sea. The Mediterranean Sea in the Heart").

Gradation is a consistent intensification or weakening of the power of homogeneous expressive means of artistic speech (“I do not regret, I do not call, I do not cry ...”).

Often phraseological units (idioms) are effectively used in the text - stable combinations of words that are metaphors, a figurative expression of a certain concept or phenomenon (“A mosquito will not undermine the nose”, “Coldrex” - “Seven troubles - one answer”, etc.).

Phraseological units are easily recognized by the reader. With their help, the memorability of individual phrases, the perception of the entire text is improved.

Winged words are also effective. These are apt expressions, quotations, aphorisms, which are widely used in live speech as proverbs and sayings.

An example of a fairly successful use of winged words in the title

FROST, SAFARI - A WONDERFUL DAY!

Finnish Lapland

Northern capitals

Scandinavian sagas

Ski and active programs

For New Year and Christmas visit the Snow Queen in Finland and Scandinavia

Tour operator Jazz-7

An example of unsuccessful use, "attracting" winged words in the title to the content of the advertisement

ONE IS A HIVE, AND TWO ARE APIECES.

folk proverb

When opening one card account with the BANK OF MOSCOW, you can become the owner of two cards of the international payment systems Visa International and Europay International at the same time.

Only from June 1 to August 31, 2002, with the simultaneous opening of two cards - Visa Classic and Eurocard / MasterCard Standard - using one card account, the BANK OF MOSCOW offers the following conditions:

The annual maintenance fee for two cards is $15.

The initial deposit for two cards is $100.

Placing an insurance deposit and maintaining a minimum balance is not required.

Visa and Eurocard/MasterCard cards issued by the Bank of Moscow are:

Convenience of non-cash payment for goods and services in Russia and abroad.

Performing cash withdrawal transactions

funds in the Russian and international network of ATMs,

with more than 700 thousand devices.

Conversion of funds placed on the card in any country of the world at the optimal exchange rate.

No need to declare money when traveling abroad.

Protection and risk management in case of card loss/theft.

Get a free GlobalOne calling card,

allowing to use the international communication system at a reduced rate.

The Bank of Moscow is the general partner of the Kremlin Cup tennis tournament.

Branches of the Bank of Moscow:...

Successfully used in advertising are unfinished sentences, indicated in the text by ellipsis. Human beings have a desire for perfection. In this regard, he tries to complete the sentence and is thus drawn into the active reading of the text.

Very often, well-known sayings, popular expressions, quotations from literary works are taken as the basis for unfinished sentences (“Fisherman fisherman ...”, “Without labor ...”, “I gave birth to you ...”, etc.). Naturally, the reader must complete the sentence exclusively with the variant of words provided by the advertiser.

Often, striving for novelty, originality, advertisers create neologisms - their own words and expressions, the unusualness of which is clearly felt by native speakers.

An example of the use of neologisms

Musicif

(Radio station "Europe Plus")

(fruit yogurt)

Wordplay can be based not only on sound content, but also on spelling.

An example of using a written play on words

THIS IS HE!

(Trading house "Oton")

buy an apartment!

(Mortgage company PIK)

Often, in pursuit of originality, words are created that, without a special explanation, do not understand part of the audience or no one at all.

An example of the unsuccessful use of neologisms

Night. party. Party3aHbi.

(cigarettes "PalMal")

Foreign words are not well known to everyone.

Giving rhythm to the text makes it easier to understand. A person smoothly slides his eyes over sentences structured by a certain combination of stressed and unstressed words. You can give a sentence a pronounced rhythm using a symmetrical sentence construction.

The axis of symmetry is a punctuation mark that divides the sentence into equal parts ("Dry skin - a happy baby" - Pampers diapers).

To memorize certain information, rhyme can be used - the consonance of the endings of words. Its most appropriate use is in headings, slogans and codes.

Rhythm and rhyme are often used in advertising completely unjustifiably. In the vast majority of cases, poetry is not an appropriate form for presenting the necessary commercial information. In addition, usually home-grown advertising poets clearly cannot compete with Pushkin and Mayakovsky. Their creations are not able to convince of the quality or usefulness of a given product, nor to induce the act of buying. Most often, with their creative attempts, they only manage to make potential buyers laugh.

An example of justified use of rhyme

Milk is twice as tasty if it's Milky Way

(chocolate)

The new "MIF-Universal" saves capital!

(washing powder)

Fresh breath makes it easier to understand

(mint sweets "Rondo")

“Moscow without ZIL is like a float without a sinker”

“If taxes began to dream of you,

You need to contact the "Partnership of Auditors"

And your problem will be solved immediately.

"New Year's is just around the corner

Our gift is the best"

(cameras)

"It will pass through Russia,

He'll do a slut. That "Toshiba" will hurt,

That "Compact closes"

(computer company)

“What is stopping you from changing your life,

Turn the dream of an APARTMENT into reality?

There are TWO OPTIONS for buying a home:

Months, years SAVE MONEY,

Or GET A LOAN

mortgage -

AND TOMORROW YOU CAN LIVE IN THE APARTMENT!”

(mortgage loans)

“And just two gas stations

And empty pockets...

I can't save...

It is very sad!

Refueling, time after time,

Saved on gas...

Because now my car

She didn’t become a spender at all!

(gas equipment)

“Our kitchen is the heart of the house!

Does not depend on volume

For every taste and color!

The store has a kitchen

Come buy

We are ready to offer!

The use of any artistic technique must be justified. Otherwise, it will not only be ineffective, but also worsen perception. The consumer may not understand the original meaning (“chip”), plunge into unnecessary associations (“Moscow without ZIL is like a float without a sinker”), smile where everything is very serious (“If you began to dream of taxes, In the“ Partnership of Auditors "You need to apply").

Almost all types of artistic techniques are used in advertising texts, but with different frequency. The total number of artistic techniques should be limited. Otherwise, a certain figurative noise will arise, distracting the reader from the essence of the advertising text. It is worth repeating once again that the best objects for applying artistic techniques are the title, slogan, code.

Various dictionaries will be useful in working on artistic techniques: synonyms, antonyms, homonyms, rhymes, ideographic, phraseological, phraseological synonyms, quotes, sayings, catchphrases, Russian slang, English-Russian phraseological, etc. But you should use the dictionary only as an auxiliary means. You should not look for a technique, a stress word or a catchphrase in the dictionary, and then attach the text to them.

In general, when editing an ad, you need to understand that good text does not appear immediately. You need to work on it for a long time and painstakingly: select words, build phrases and sentences, paragraphs and paragraphs. Edit, edit and edit...

TEXT DESIGN

Typically, an ad consists of two groups of elements: visual and verbal. Visual - this is a video image, an illustration, a brand name, sometimes a specially designed headline or slogan, as well as a trademark. Verbal - title, body text, code.

All textual and visual information should be designed in such a way as not to scare off a potential buyer with their appearance, but rather attract them. That is, verbal and non-verbal elements should be arranged in the form of a complete advertising composition.

The layout of visual and verbal elements is usually determined by which hemisphere of the brain will perceive this or that element. Since the right hemisphere is considered to be responsible for the perception of images, it is better to place them on the left side of the ad or screen.

For better perception of the text, it should be placed on the right side or under visual objects in the direction of eye movement (from left to right, from top to bottom).

Along with the arrangement of illustrations in the visual organization of advertising, the choice of font is of great importance. Its easy readability and associativity with the subject of advertising provide high-quality perception of information, as well as its memorability. In some cases, by attracting attention and arousing interest in the announcement of a certain group of consumers, it can compensate for the shortcomings of the illustration and headline. An incorrectly chosen font makes it difficult to perceive information. It can even completely scare the reader away from the ad.

To choose a suitable, effective font, you should pay attention to its readability, appropriateness, harmony and emphasis.

READABILITY

The easiest way to achieve easy readability of text in a newspaper or magazine is to choose the same font as used in a particular publication. People are used to it and perceive it without difficulty. But such a font will not distinguish the ad among journalistic materials and will not attract due attention.

In addition, readers may perceive the copying of editorial spelling as an attempt to "mask" advertising, deceit. Therefore, choosing a standard font for a particular publication is not the best way to ensure the readability of an ad.

The right approach would be to use writing signs that, on the one hand, are contrasting, distinguishing in relation to editorial ones, and on the other hand, do not attract attention solely to themselves with their sophistication and unusualness. The reader, noticing the font, should direct all his interest to the semantic content of the text.

In order to ensure ease of reading, signs should be simple, clear, and easily recognizable to the human eye. It should be borne in mind that readability is a relative concept. Often different people in different situations perceive the same font in completely different ways. In this regard, perhaps, a particularly striking example is the perception of writing signs by young people: a complex, illegible cluster of letters that adults will not read, teenagers can even master with pleasure.

In general, the legibility of a font depends on the legibility of individual characters, on the size of the letters, on the length, spatial orientation, alignment along the edge of the line, on the spacing between words, lines and paragraphs.

The legibility of individual characters depends primarily on their shape. The combination of strokes should provide fast, error-free recognition. The most readable form of letters is obtained with a certain combination of the proportions of the parts of the sign and the thickness of the strokes. So, when placing strokes in the vertical middle of a sign, one should focus on the optical middle, and not on the geometric one. That is, the horizontal stroke is placed slightly above the real center of the line. In this case, the sign will look proportional. If the stroke is placed strictly in the geometric center, then the upper part of the letter will appear larger than the lower one.

All horizontal lines are usually made somewhat thinner than vertical ones. In this case, the appearance of a visual effect is excluded, when horizontal strokes that are geometrically identical with vertical ones seem thicker.

In general, harmonious perception is provided by the following ratio of the thickness of the main strokes of the font to its height - approximately 1:5.

To make the letters look more balanced and stable, their lower part is made wider than the upper one.

Due to the fact that the letters, which are based on a circle and triangles (3, O, C, A, I, M), optically appear smaller compared to a square, their upper or lower parts are placed slightly above or below the lines of the line. In this case, some letters do not seem lower than others.

An important role in the readability of the text is played by inter-letter spaces. On the one hand, they should not be too small so that “sticking” does not occur. To do this, the distance between characters should be no less than the thickness of the stroke of numbers and letters.

On the other hand, it is necessary to exclude the possibility of visual breaks. To achieve this, the distance between the letters of one word must be less than the width of one letter. With a certain combination of letters (R and A, R and D, G and L, etc.), the spaces between the letters are simply not left.

In general, spacing between letters should ensure visual equality of spaces.

Ease of reading is also ensured by the standard letters. That is, in one text there cannot be different spellings of the same letter, unless there is a good reason for that. In addition, all signs of the same set must be solved in the same style. If, for example, one letter is built on the basis of a circle, and the other on the basis of an ellipse, then the perception of such a writing of the text will be significantly difficult.

The most popular way to build a font is from a square. First, the letters H and O are drawn. Based on their outline, all the other letters of the alphabet are lined up.

Typefaces can be divided into five groups based on style:

Latin;

Chopped;

Slab;

Inclined;

Ornamented.

The main distinguishing features of the Latin group of fonts are: moderate contrast; small transverse elements or serifs that complete the main vertical element in the letter and represent a smooth change in the thickness of the main stroke; different thickness of vertical and horizontal elements in the letter.

Latin(Times New Roman)

Latin(Academy)

Latin (Antiqua), etc.

The fonts in this group are the most popular. This is due to the fact that they have wide compositional possibilities and allow you to achieve contrast without changing the basics of the style. In addition, Latin fonts are the most readable even when using small sizes. This is ensured, on the one hand, by the clarity and simplicity of writing signs, on the other hand, by the use of serifs - special additional strokes to the main silhouette of the sign. Serif fonts are perceived much better than sans-serif fonts, as these visual elements help the eye to recognize a letter faster.

The best readability is provided by a straight light font with serifs. However, using a slicked-back typeface may not be appropriate if the print quality is poor. In this case, the serifs of the letters may not be printed, or vice versa - they may “fill in” with paint.

Sans serifs are characterized by the absence of serifs and the relatively equal thickness of vertical and horizontal elements. Accordingly, the letters of this group are practically devoid of contrast. In comparison with Latin fonts, sans-serifs are less readable, but they are still used quite widely due to the simplicity and clarity of the style, which gives the text a modern look.

Chopped (Futura)

Chopped (Helvetica)

Chopped (Arial), etc.

Block fonts are formed by a combination of Latin and sans-serif fonts. Their letters have the same line thickness and serifs. Just like sans serifs, slab fonts are less contrasting and readable than Latin ones.

Slab (Courier)

Squared (Prestige)

Slabs (Typewriter)

Italic fonts come in two types: cursive and cursive. The former are mainly modifications of the Latin group.

Italics (Baltica)

Italics (Kudriashov)

Italics. (Lazurski)

The second in their style resemble a letter by hand (handwritten).

Handwritten (Arbat)

Handwritten(Corrida)

Handwritten (Jikharev)

Italic fonts are less readable. At the same time, with the help of this group, one can emphasize the dynamics of the message, informality, lightness.

Ornamental fonts are often artistically decorated main fonts.

Ornamented (Astra)

Ornamented (Hair-1)

Ornamented (Izhitsa)

This group of fonts is usually used for decorative purposes, as well as to emphasize a certain atmosphere of the message. These are the least readable fonts.

All the above groups of fonts can be divided into two classes: highlight and text. The first ones are used when highlighting the keywords of the text, as well as in headings, subheadings, logos. The second - when writing the main text of the ad.

Highlight fonts - oblique and ornamented:

Inclined (Kudriashov)

Handwritten (Jikharev)

Ornamented (Izhitsa)

Text fonts include easily readable fonts - Latin (the most convenient due to serifs), as well as chopped and block:

Latin(Times New Roman)

Chopped (Futura)

Slab (Courier)

When choosing a font, you should keep in mind which letters the text mainly consists of. The fact is that different signs are recognized in different ways. For: more complex letters need more time, effort. So, most often people make mistakes when recognizing the letters: I, B, C, SH, W, P, E. The most accurately recognized are: O, C, T, R, U, F, Ch.

Letters in fonts based on straight lines and sharp corners are more recognizable than those with curved elements. Easily readable, as previously noted, is a group of Latin fonts.

Numbers, like letters, are the least recognizable when made up of curved lines. So, people most often confuse the numbers: 3, 6, 9. The numbers formed by straight lines are recognized faster and more accurately.

In terms of style, the most readable numerals are Arabic.

The legibility of the text, of course, depends on the size of the characters. They should not be too small or too large. The font size should correspond to the distance from which the average person usually reads a newspaper or magazine. As a guide, you can use the font size used for the editorial materials of the issue. Usually it is the 8th and, more rarely, the 6th pin. However, the 8th size is the minimum convenient for reading. People "tolerate" it when reading editorial content. In advertising texts, it is worth lightening the visual load - use the 10th size as the base size.

When using large arrays of text, it should be borne in mind that the larger they are, the larger the font size should be, and not vice versa, as is often the case in domestic practice.

In advertisements addressed to pensioners - people who are usually visually impaired - the font for the body text should be chosen larger than usual. However, a font that is too large is just as difficult to read as a font that is too small.

The readability of the font is also affected by the spacing between words or numbers. If the gaps are too large, then the eye, first of all, fixes the empty spaces between words, which complicates reading. If the gaps are small, then the reader must first visually separate the words and only then think about their meaning.

The distance between words can be slightly more than the width of one letter or equal to it. The width of the letter "O" is usually taken as the standard.

The distance between equivalent words is the same. Semantic phrases and sentences are best separated by somewhat larger gaps. The heading uses a space between words equal to half the width of the capital letter "H" of the heading font.

The readability of the text is affected by the length of the line. A person cannot hold his gaze for a long time without landmarks - the beginning and end of the line. They must be in his line of sight. In order for the line length to be suitable, not tiring in the main text, typed in the minimum convenient font, the number of characters should not exceed 40-45. As a guide, you can keep in mind the usual newspaper set - 27-35 characters with the 8th size.

The optimal line width is a distance of 5-8 centimeters. In this case, the line, being at the usual distance from the eye, is perceived without any significant eye movement, providing ease of reading.

Lines longer than 12 centimeters are very difficult to read. In this case, the person proceeds to visual coverage not of a group of words, but of individual words. Too short a line (less than 4 centimeters) also complicates perception.

It is recommended not to make the title longer than 45 characters, and each title line should be no more than 32 characters. Title of 2 lines - no more than 22 characters in each line, of 3 lines - no more than 15 characters. Single-line title - no more than 32 characters.

The apparent length of the heading can be reduced by using subheadings and varying font sizes.

You should also pay attention to the orientation of the lines in space. It is most convenient to read the location of the font in a straight horizontal line. Oblique, curvilinear or broken spelling of words and signs are unacceptable.

In case of emergency, the text can be placed at an angle or vertically so that after a mental rotation clockwise (but not more than 90 °) it becomes horizontal. This is due to the fact that the eye “lays” objects to the right more easily than to the left.

If the ad uses a large amount of text, it should be broken up more often into separate paragraphs, and if necessary, into paragraphs. This will greatly improve perception, as it will be easier for the eye to find the beginning of the next line. Large solid text arrays can easily scare off readers.

In a wide ad, in order not to use long lines, the text should be divided into several columns.

Unlike written speech, which is depicted on paper with the help of graphic signs (letters) designed to depict speech sounds, oral speech is a sounding, pronounced speech. Many documents (applications, complaints, memorandums) exist only in written form. Composing them, the writer can build his speech, gradually thinking over each word, correcting and supplementing what was written. Ultimately, this contributes to the use and development of more complex syntactic constructions than in oral speech, which is quite acceptable for an official business style. When compiling or editing business texts, you can safely use sentences, ready-made designs, which greatly facilitates the work.

However, in practice, you often have to work by compiling texts based on the notes of the oral speech of the leader, who dictated his future speech, fragments of the report, answers to questions from a journalist or a letter plan to a business partner, or other preliminary sketches. All this is different in style and cannot be published in this form. In this case, the literal recording of oral speech needs serious literary processing, which is performed by the referent, practically creating a new text on this basis.

Often, recording of oral speech with its subsequent literary processing is also resorted to in the case when, for example, a person has some valuable memories, information, but due to various circumstances cannot write them down, but prefers to dictate the text to a stenographer or speak into a voice recorder.

When processing a recording of oral speech, it is necessary:

• bring the grammatical and lexical basis of the text closer to the norms of written speech;
• verbalize the meaning conveyed by non-verbal means (for example, gestures);
• remove the phonetic features of speech;
• decide whether the use of neologisms and non-traditional grammatical forms is legitimate.

Oral speech:

How much the editor interferes with the text depends on

can be immediately thrown into the trash. There are those who can cross out half of them and throw them in the trash. As a rule, I was never ruled at all. I had two conflicts about the texts that I submitted, but in both cases it reached their top, and they called me, apologized, explained why they could not ... But as a rule, everything went in the form in which I wrote.

Written speech:

The degree of editorial intervention in the text depends on the quality of the manuscript. There are manuscripts, the text of which is completely unsuitable for publication. Others are in need of a major overhaul. My texts are usually not edited at all. However, twice I had disagreements with the editors. But both times the editorial board had to apologize to me.

Let's look at another text. Initially, the recording of the story of the German Slavist Wolfgang Kazak looked like this:

“I translated about 20 books of Russian literature into German. In passing I will say that I had a secretary, I dictated all these novels. Today I write translations on the computer. It's easier to fix. And then he dictated all the novels: both Tendryakov's "Payback", and Nagibin's "Get up and go" or Gogol's "Dead Souls" - he simply dictated everything.

This is connected with my service to Russian literature or mutual understanding between our countries through literature, to which I dedicated my life.

Translations of Russian literature of the 20th century were published in Germany, Switzerland, and Austria. Big list, and I wrote a review about each book.”

Here editing is extremely necessary for two reasons: firstly, this is oral speech, which in itself is replete with colloquial vocabulary, and secondly, this is the speech of a foreigner.

The editor removed numerous repetitions, built the text in a logical sequence, removed obvious signs of the speech of a person for whom Russian is not a native language. Writing of oral speech after correction:

“I have translated about twenty books by Russian writers into German. I dictated all of them to my secretary: Tendryakov's Payback, Nagibin's Get Up and Walk, and Gogol's Dead Souls.

My translations were published in Germany, Switzerland, Austria. A large list of books, and I wrote a review for each.

In this I see service to Russian literature, to which I devoted my whole life, because it is through literature that mutual understanding between people and countries is achieved.

Now I use a computer, which makes my work much easier.

Literary text processing is editing the text by a literary editor, aimed at making the text readable, stylistically even and logically coherent.

Thus, the literary processing of the text differs from the work of a proofreader, who only corrects spelling, grammatical, punctuation and other errors.

The main content of literary text processing is the correction of text defects related to style and logic, as well as the lexical compatibility of words and expressions.

Literary editing editor usually begins with the definition of the general task of the work, its genre, stylistic features.

The main techniques used by the editor are: replacement of an unsuccessful or inaccurate phrase; checking the agreement of the members of the sentence, especially if the agreed words are removed from each other; correlation of the control word with each of the controlled ones; simplification of complex syntactic constructions; elimination of verbosity, clerical turns and stamps, repetitions, etc.

Some examples of errors: n. The text can be correct in meaning, but uneven stylistically, it can use too official and too colloquial phrases in one context; the chosen style may simply not fit the purpose.

n Often there are excessively long, complex sentences and periods, unjustified use of pretentious words and phrases, incorrect use of phraseological units and other stylistic errors.

n One of the most common defects when translating from a foreign language is tracing - that is, a literal, literal translation without taking into account the rules of the Russian language.

n A. M. Gorky advised young writers: one must learn "the economy and accuracy of the language, liberation, purification of it from unsuccessful provincialisms, local sayings, as well as verbal tricks composed by young people from motives, should be" aesthetic ". . . The accuracy and conciseness of the language is, first of all, and only if this condition is met, it is possible to create a convex, almost physically tangible image.

These requirements are also the norm for editors working in electronic media where oral speech is used. Speech perceived by ear has more barriers to accurate, adequate perception.

Thus, the maximum semantic accuracy of the language and the penetration into the peculiarities of the author's individual style are two sides of the same process called literary editing.

n Consolidation - the most important quality of written speech - gives it certain advantages over oral speech. n Text is a consciously organized result of speech creation, a speech work.

Written speech can be complex in structure, it allows the inclusion of elements of various sign systems (numbers, formulas, drawings, drawings) and requires the addressee to be more independent and analytical in thinking than oral speech. In one and the same time, you can read almost 3 times more words than listen carefully.

Many graphic techniques of written speech do not imitate the techniques of oral speech and have independent meaning. So, the tabular form of organizing the material has no analogue in oral speech. Uppercase and lowercase letters can indicate in the text not only the meaning of grammatical forms, but also the emotional coloring of words. Paragraph indentation not only graphically clarifies the architectonics of the text, but in many cases also preserves the meaning of what was written "from the red line".

There are various ways to fix text: handwritten, typewritten, various types of polygraphic reproduction, fixing text on the display screen. The editor should be aware of the possibilities and features of each of these methods.

Fixation on a material carrier, the type of material carrier, the nature of communication channels (visual, auditory) can influence the perception of the text.

So, for a written text, it is important that the audience has the opportunity to re-read it, and the writer has graphic means of highlighting information, the use of fonts, frames, unusual spelling of words (SOSulki!, STADIUM. NOE feeling, etc.) Even punctuation marks become the most important element of the printed text.

There are other regularities in the construction of text on the radio, where the only channel of communication is spoken speech, and a return to utterance is impossible.

The fixedness of the text in a certain sign system (sign) allows the reader to comprehend and reproduce the whole text or rather large fragments of it.

The method of fixing written speech in printed text has been most fully developed. Printed text allows a return to what was read, the ability to present a complex text structure, including pictorial and graphic elements.

Written communication is focused on the maximum use of grammatical, lexical and stylistic means of the language, requires compliance with regulatory recommendations, allows the editor to make changes to the text, correct what is written, and improve the text.

The printed text loses the individual features of handwriting, but it is characterized by greater clarity and organization.

For many authors, fixing the text in writing is a necessary part of the creative process. “Writing with your own hand, holding a pen in your fingers, is our most direct relationship with a sheet of paper,” said the writer and essayist Marietta Shaginyan, who never used a typewriter.

Fixing the text on the letter is a complex process. Probably, everyone is familiar with that feeling of dumbness in front of a white sheet of paper, which many writers testify to. Written speech is the most accurate and detailed form of speech activity.

Sources: n Nakoryakova K. M. » Literary editing. ", M.: Ikar Publishing House, 2004. n http: //article. ucoz. ua/ n http: //www. biz translate. com/services/literature/ n http: //litklub. psi911.com

The place of fact in journalism.

Fact (from lat. Factum - accomplished) - a real event, phenomenon, case.

The object of journalistic display can be both reality itself, and social phenomena, and processes, and a person. In a word, in the field of view of journalists is the whole world in all its manifestations.

Involving in the process of cognition of reality, the journalist focuses on socially significant events. In the very act of choosing the object of cognition, in the specifics of its perception, various forms of reflection, in the assessment and interpretation of the life situation, the author's position appears. Therefore, speaking about the relationship between the objective and the subjective in a fact, many authors agree that the content of the fact is an objective reflection of an event that is outside of human consciousness, and the form in which this reflection is carried out is subjective.

After all, a fact, as a phenomenon of reality, can be classified in the following order:

Fact as an element of reality.

Fact as an element of consciousness.

Fact as a text element.

In the first case, he is a source of information, an object of knowledge. In the second case, it also turns out to be a means of cognition: we use it approximately in the same way as models of any of the objects of reality, considering them from different angles, observing their behavior in different conditions, and thereby obtain additional information that brings the fact of consciousness closer in meaning. with the fact of reality. In the third case, the dominant function is the function of storing information in material form. At the same time, the fact retains the first two rows of functions: they are implemented when the text contacts the audience.

A fact in journalism is a reliable reflection of a fragment of reality that has real representativeness. With its help, a model of reality is created. Various facts are used.

They also say that unlike, say, poetry, the art form in journalism plays a much smaller role. Content comes first. In the case of small informational genres, this is true: when reading a note about a fire, we want to find out where the fire was, why, what damage it caused, whether it caused human casualties (although here, too, one can mislead the reader by confusing, for example, with commas). In the works of analytical and artistic-publicistic form is one of the most important components of adequate perception of the text. It is clear that when reading analytical correspondence, we first of all pay attention to the harmony of the logical system of proving a certain thesis, to the connectedness of facts and conclusions, etc. But any thought must be expressed with the utmost precision, concisely, and succinctly. There should be no undesirable ambiguity, breaks in the logical chain - all that is fraught with mishandling the language, this subtlest and most precise instrument. No matter how talented a musician is, he will not be able to play well on an out-of-tune instrument. Linguistics gives this very "ability to tune" one's instrument, and in any way, which is especially important for the author of artistic and journalistic materials. The word is the most terrible weapon. We ourselves sometimes do not understand how much we are in his power. And a journalist should always remember this.

The form organizes and facilitates perception, affects it in the most direct way.

Collection, generalization, analysis and literary processing of factual material.

At the stage of developing the concept of a future work, a journalist needs to decide on the object of study. In this capacity, a specific everyday situation, and a problem that requires careful consideration, and certain social phenomena, and people's activities, etc. can act.

In all cases, the journalist is involved in the cognitive activity of collecting and analyzing factual data. For the successful implementation of this stage of work, a journalist needs to perfectly master the various methods of collecting primary information, since the content of the future work depends on the quality of the collected material. Therefore, in journalistic practice, a whole arsenal of methods for collecting primary information is used.

Traditional journalistic methods usually include observation, experiment and interview. All of them are focused on revealing the deep characteristics of the object under study and on elucidating patterns in social reality. With the development of journalism, these methods were supplemented and enriched with specific methods from sociology and psychology, representing "a set of techniques associated with this method, including pure operations, their sequence and interconnection."

All methods can be divided into two large groups:

The first of them are used in the collection of empirical data (observation, experiment, interview, etc.);

the second - when analyzing the information received (here we can name classification, grouping, typology, etc.).

In journalism, special methods are used in cases where, due to some circumstances, it is impossible to obtain information. It is in such situations that the correspondent, in order to achieve the goal, changes his profession, participates in social experiments, conducts focused interviews and expert surveys, tries to predict certain phenomena of reality. Due to the fact that each method is fraught with various procedural aspects, a journalist needs to know not only the sequence of certain operations, but also the various rules for analyzing and interpreting data.

The procedure is usually understood as the sequence of all operations, the general system of actions and the method of organizing the study. This is the most general, moreover, a collective concept related to the system of methods for collecting and processing information.

The sequence in the application of certain methods is quite consistent with the staged nature of the creative process associated with the creation of a journalistic text. The idea of ​​the future work can be correlated with the advancement of a number of working hypotheses about the state of the object under study. The stage nature of cognition of the object of reality implies its comprehensive study. At this stage, the journalist decides which method of collecting primary information is most preferable, which technique is more effective, and finally, in what sequence to study the object. At the stage of implementation of the plan, the journalist performs analytical work to comprehend the information received. Here it is required to skillfully use general scientific methods of data analysis and interpretation.

Speaking about the factors that determine the formation of the methods of a journalist's activity in a creative act, G.V. Lazutina highlights the following:

a) stages of the creative process;

b) the complexity of the tasks solved by a journalist on the way to the result of creativity;

c) the nature of information sources (more broadly, the structure of the information environment);

d) laws of knowledge, laws of perception and processing of information;

e) the laws of communication.

“This,” the author concludes, “determines the diversity of methods of journalistic creativity, firstly, and their correlation with a certain stage of the creative act, secondly.” 22 The task of a journalist is to see the rational grounds for using one or another method, depending on the tasks facing him.

So, it can be conditionally divided into two options: the use of sociological sources and sociological methods of collecting information.

So, sociological sources.

A journalist can take them as the basis of his research, use them as illustrative material for a more complete disclosure of his topic, or use different research data for comparison. It is also worth noting that a journalist can see his topic in any sociological study. That is why it is important for him to view data on topics of interest to him. He may be surprised by the numbers, given statistics, etc. “Sociological data can simply be an operational, “eventful” reason for a journalist to prepare a publication, broadcast, a kind of creative impulse.”

The journalist can also use his observations, superimposing them on the data of sociologists.

The journalist not only searches for a topic, but also adjusts its interest for the audience based on public opinion polls. “Today, opinion polls are an important tool on a journalist's workbench. Many messages are built around the results of surveys on a wide variety of issues, obtained from no less diverse sources. Editors of newspapers and TV news often ask reporters if they have poll results in order to expand on a topic or confirm the conclusions they make in their reports.

Why are polls important? Because polls are a measurement of public opinion, an indicator for a journalist. At the same time, public opinion is largely shaped by what people learn from the press. And so it turns out a vicious cycle: the public - the press - polls - the public.

Now let's consider directly the sociological methods of collecting and analyzing information that can be in the arsenal of a journalist.

Journalists can also use the survey method to study various problems and situations. However, for an objective selection it seems difficult for one journalist. That is why it is possible that in such a survey someone should help him.

Rapid polls on a random sample (telephone, street, etc.) are now often used by radio journalists, we can often see them as confirming some idea of ​​a journalist in a TV report, they are less common in a newspaper.

In journalism, the technique of structured observation can also be used. In the case of the social experiment, the journalist turns to the experimental method. Also, for the preparation of reviews, the method of content analysis or some of its elements can, of course, be used.