The style of modern Russian newspapers is strikingly different from that of Soviet newspapers of the so-called pre-Perestroika period. There is reason to believe that not only socio-economic and political factors directly, but also the philosophy and aesthetics of literary postmodernism, which have taken a prominent place in the cultural life of the country, played a significant role in the changes that have taken place and are taking place. This conclusion is supported by some clear, though incomplete (partial) analogies between the main style-forming features of postmodern fiction and some characteristic features of the style of modern Russian newspapers. Next, we show these correspondences by comparing the features of postmodern stylistics that are significant for our topic with their "reflections" (reflexes) in newspaper texts.

It should be noted that since Russian postmodernism "combines the unconnected, elitist and egolitarian at the same time",

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It uses the "language of mass culture", is extremely politicized and "very often manifests itself through radical, emphatically shocking techniques" (Skoropanova I. S. Russkaya postmodernistskaya literatura: Ucheb. posobie, Moscow, 2001, pp. 5, 63, 71). Some of the newspaper texts cited by us, from an ethical point of view, are beyond the traditional one the literary norm.

Intertextuality, understood as "conscious citationality", "dialogue between texts" and "interaction of various types of intra-text discourses" (Il'in I. I. Intertextuality // Modern foreign Literary Studies (countries of Western Europe and the USA): concepts, schools, terms. Encyclopedic Reference Book, Moscow, 1999, pp. 204-210, is widely presented in newspaper texts in the form of direct quotations, reminiscences of literary and other allusions, parodies of speech genres or specific texts.

Direct quote: "Did the moral level of the father of the people reach sky-high heights when he spouted:' As I said, so it will be! '" (Tomorrow. 1999. N 1); " Notice of dismissal <...> Ernst presented his deputy not without inner satisfaction, I think. Adding, however, the movie "Old Man, nothing personal", that is, nothing personal " (Lump. 2003. N 36).

Reminiscences: "It is often smarter to avoid an invitation, like Putin from Sharm el-Sheikh. Blessed is the man who does not go to the counsel of the wicked "(Aif. 2000. N 45. Here and further, the selections belong to us. - A. S.).

Cases of deconstruction (decomposition, updating) of recalled case texts (especially in headlines)are very frequent in newspaper texts: "Food in Russia is more than food" (Kome, pravda. 2001. Apr 13), compare: "The poet in Russia is more than a poet "(e. Yevtushenko); "I know there will be a summer cottage! I know how to flower " (Today's newspaper. 2001. February 17), cf.: "I know-the city will be, / I know-the garden will bloom" (V. Mayakovsky).

Allusions: "After collectivization, the peasants disappeared - only the collective farmers remained. < ... > The times of the annual "battle for the harvest" came, which we also lost every year... "(AIF. 2000. N 45); " Sortirophobia is an occupational disease of terrorists "(AiF. 2000. N 28).

Parodies: "In a businessman, everything should be fine - and the 600th merc, and a dacha in the Canaries, and a control shot in the head... "(TV. 2003. N 35). Compare A. P. Chekhov in "Uncle Vanya": "Everything should be beautiful in a person: the face, clothes, soul, and thoughts."

Allusivity and reminiscence, being very common techniques, create a kind of two-level organization of newspaper texts, "two-address", designed both for the elite and the mass reader, which is one of the most important features of the Russian language.

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history of poetics of literary postmodernism (Skoropanova I. S. Edict. op. p. 69).

Mixing equal-style elements in newspaper texts, which are based on neutral and bookish vocabulary, is carried out mainly due to the wide inclusion of colloquial and-especially-slang words and phraseological units: "Drunkenness, like love, happens for calculation, stupidity or drumming" (Novaya Gazeta. 2001. 25 - 26 Jan.); " And the blame for everything is the industry restructuring plan developed by Anatoly Borisovich. As it turned out, not only the Communists and internal enemies of Chubais are rolling a barrel at him in this regard" (Kontinent. 2000. N 26); "Ilya Muromets lay on the stove for 30 years and 3 years. Russia has never known such a hangover before!" coms. 2003. N 15).

The use of jargonisms and jargonoids in the newspaper in the functions of intimization of narration, characterization and emotional evaluation is very common and corresponds to such a feature of postmodernism as increased interest in the linguistic elements of mass culture (Skoropanova I. S. Decree. op.p. 63).

Hybridization of speech genres is expressed, firstly, in the mobility of borders between traditionally distinguished groups of information, analytical and artistic genres; secondly, in the globalization of the comic category, the spread of its influence on all genres of the newspaper, which contributes to the partial similarity of their stylistic appearance. Third, the post-Soviet era saw the emergence of new hybrid newspaper genres. Examples include materials published in Komsomolskaya Pravda under the headings "People who Surprised us", "Viability of political actors", and blitzepigrams: "State Duma deputies at the first autumn session in the 62nd (sixty-second) We have once considered the issue of removing the chief Russian electrician from his job. And how else can you prove that the parliament doesn't care about the reforms?!" 2003. 12 Sep.); " Moscow Shaimiev: "I publicly promise: there will be no fourth term!" It seems that this is becoming a favorite phrase not only for repeat offenders, but also for presidents" (AIF. 2001. N 14); " Recent aviation accidents and catastrophes, often caused by the excessive use of exhausted flight equipment in order to obtain financial or some other effect, respond with bitter pain in the souls of all those who treat aviation with trust, love and pride.
Then the fire, then the engine stalls, then death!..
It can be seen in the callousness of our cool time
First thing, first thing was profit!
But what about the technique? And then the technique"
(A. Burimoev. Lit. gazeta. 2002. N 30).

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From the point of view of intent, content, and composition, the first genre is an isoverbal comic (ironic or satirical) commentary on some socially significant event, fact, or statement of a famous figure (whose photo precedes the text); the second is a comic commentary on a quote; a blitzepigram is a convergence of two semantically complete but related texts: a prose text, a prose text, and a prose text. and a poem.

If the hybridization of genres is understood as their parody "mutations", then it should be borne in mind that in modern newspapers (especially such as Literaturnaya Gazeta, Komsomolskaya Pravda, Segodnyaya Gazeta, and some others), taken together, there are dozens of such genres. Here are some examples of the most common ones.

Comic proverb: "One head is good, but with a body it is better "(Your Dodyr. 2001. N 28); comic aphorism: "Love people, and there will be more of them" (AiF. 2001. N 39); comic announcement: "TV news. Instead of Dmitry Dibrov's program "Oh, lucky guy!" on the NTV channel, Sergey Dorenko's program "Oh, you bastard!" (Your Dodyr. 2001. February 26 - March 4); comic news article: "The correspondent of "Stengazeta" found out that after the action "Werewolves in uniform" no less important operations will be carried out "Goblins in jackets", "Swamp Kikimora in reception rooms" and "Water with adjustable keys". All this will be held under the banner of the campaign "Inventors of horseradish in the mass media" "(Lit. gazeta. 2003. N 33).

The language of a modern newspaper reflects the "Multiplicity of language games" as a characteristic feature of a postmodern text (Skoropanova I. S. Edict, Op. 53, 60). Various autonomous small-format speech genres of newspapers and fragments of large newspaper genres are also created using different types of language games. Moreover, for many cases of language play in the newspaper, a combination of entertaining/entertaining and politicized content is characteristic. Here are some examples of different types of language games in the newspaper.

Pun type: "There are not enough memorial celebrations in the year - / More and more in honor of imaginary deities" (Lit. newspaper. 2001. N 22) - a pun based on a paronymy; "Previously, in our country, everything was decided by grandfathers, and now - "grandmas" " (AiF. 2000. N 46) - a pun based on homonymy.

Word-forming type: "Listening to Dorenko, Veshnyakov falls into the electoral commission" (Tomorrow. 1999. N 46); Gref-fruit" (Tomorrow. 2000. N 28, title).

Phraseological type (deconstruction of phraseological units and other precedent texts): "Roofs are still leaking, but now

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more often - "go"" (Lit. newspaper. 2001. N 31-32); " A wife with a human face "(Lit. newspaper. 2003. N 33).

Phonostylistic type (in particular, adding elements of rhythm and rhyme to the title text): "Not a piglet under the heel, but a thousand "bucks" in the fist " (Moscow. coms. in Krasnoyarsk. 2000. 5-12 Oct.); "Fake pills made a lot of babies" (Coma, true. 1998. Aug 6);" For hospital beds - prices are decent " (Today's newspaper. 1997. 15 Oct.).

Less often, such a technique can be found in other parts of the text, for example, in the end: "The Chairman of the Federation Council criticized the Law on Avtograzhdanka with surprising consistency, for which the Federation Council itself voted: "I have a very negative attitude to this law. We thought about hardware, but we didn't think about people."

Insuring yourself from stupidities, it would be nice to think while voting! "(Coma, really. 2003. N 32).

The use of the game shows that the modern newspaper is not alien to the phenomenon of carnivalization, which means in the postmodern interpretation "the centrifugal force of language, the "cheerful relativity" of objects, participation in the wild disorder of life, the immanence of laughter "(Skoropanova I. S. Decree. op. p. 58).

Newspaper texts often include "blurring the lines between the aesthetic and the unsightly, the beautiful and the ugly, art and non-art, etc." (Modern Philosophy: Dictionary and Anthology. Rostov-on-Don, 1995, p. 60); " increased interest in the dark, forbidden, marginal <...>, rejection of aesthetic (we will add - and ethical. - A. S. ) taboos." Signs of this phenomenon can be seen, for example, in the following newspaper contexts: "I must say that the spectacularly sprayed brains of the murdered man greatly brightened up the ascetic interior (and the fox terrier too) of the room where the main actions of the fairy tale that I just told you took place, my friend" (Today's newspaper. 2001. July 2-3); "They say that the Marquis de Sade / was once hired as a kindergarten manager. / Long kindergarten then / remembered soup with a cat / and cutlets from the nurse's ass "(Lit. newspaper. 2003. N 13).

The tendency of modern newspapers to depict the dark side of life is already noticeable in the headlines of published materials. For example, in only one issue of the newspaper Moskovsky Komsomolets in Krasnoyarsk (2004. N 1), we counted 26 headlines of brutal content: "A teenager beat his mother and sister with a hammer", "For the sake of business, a student was ready to walk over the corpse of his mother", "Gold was not removed from the murdered businessman", etc.

"Aestheticization of the ugly" is associated with the concept of corporeality, which, according to postmodern researchers, is "the antithesis of the concept of spirituality", "rehabilitation of sensuality" (Lexicon of non-classics. Art and aesthetic culture of the XX century, Moscow, 2003.

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P. 434), "accentuating the affective aspects of sensuality <...> with an acute interest in its pathologic aspect, and, finally, sexuality as a visually concentrated manifestation of sensuality" (Il'in I. P. Telesnost ' / / Sovremennoe zarubezhnoe literaturovedenie, pp. 266-267).

Corporeality as "accentuating the affective aspects of sensuality" is often associated with aggressiveness, which gives rise to a special style - the style of linguistic extremism. For example: "There are a lot of fucking psychics out there now - isn't it time for us guys to roll our third eye?" (Lit. gazeta. 2003. N 33).

One can also distinguish such a principle of constructing a postmodern text as nonselection. According to I. P. Ilyin, it "reflects various ways of creating the effect of deliberate narrative chaos, fragmented discourse" (I. P. Ilyin Nonselection // Modern foreign literary studies... p. 240). Let us consider these methods, identified by I. P. Ilyin in relation to the texts of fiction (while preserving its wording), in their relation to newspaper and journalistic texts.

Syntactic ungrammaticity, in particular, is "a type of it when the sentence is not fully formed, from the point of view of the laws of grammar, and phrasal cliches must be supplemented by the reader in order to make sense" (Ilyin I. P. Decree, op. p.239). This definition corresponds to a stylistic device that is quite common in newspaper texts, such as incompleteness of a statement, for example: "Berezovsky is an iconic figure of the time, the era of the oligarchs. We say Berezovsky, we mean... And vice versa" (Parliamentary newspaper. 2000. July 25); "[Solzhenitsyn] returned to Russia as promised. The parliamentary louts yawned ostentatiously, full-screen, as they listened to his speech in front of them. Don't sword beads... "(Lit. gazeta. 2003. N 49); " Here comes Putin... "(Coma, pravda. 2002. July 4; title).

The means of creating a "fragmented discourse" in a newspaper should include such fairly frequent techniques as parcelling and segmentation (segmented constructions).

Parcel: "How many people do we have in important positions that do not correspond to them! Who took them through "blat", bribes, intrigues, deception, betrayal" (Lit. newspaper. 2003. N 13).

Segmentation: "Memory... It is like a permanent sentry, put on duty by conscience to guard those shrines in the soul, on which the sense of military duty is tempered" (Tomorrow. 1999. N 37); "To mix so many myths to the name and authority of the president - how to understand it" (AIF. 2000. N 46); "About 700 thousand rubles - so much everyone needs to have today to cover their minimum needs" (AiF. 1995. N 32).

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"Semantic incompatibility", which can manifest itself as "a consistent mixture of phenomena and problems of different levels, an equation in its significance of both completely insignificant and significantly problematic", as well as "a combination in one work of clearly factual and clearly fictitious" (Ilyin I. P. Decree. op.pp. 239-241). This feature of literary postmodernism is often shown in newspaper texts. Let us point out here the oxymoron and sillepsis-techniques that are equally characteristic of literary and journalistic texts.

An oxymoron: "I don't give them (money - A. S. ) at all for hearing this inspired nonsense for more than ten (!) years in a row" (Lit. gazeta. 2003. N 26); "He invited his lawyer Klavdiya Sinitsyna, a male woman" (Ibid.); "And just as he turned the corner onto the embankment, he felt the loud, I would not even be afraid to say, yelling silence of the crowd" (Lit. gazeta. 2000. October 9-15).

Sillepsis (involving the inclusion of names of objects, phenomena, and concepts that are logically and/or ontologically heterogeneous in the enumeration series): "Still life with a clumsy teenager. A big barrel, a bell, a gold coin, the slogan "Tit for tat", the dregs of a fish catch, a clumsy teenager" (Lit. newspaper. 2003. N 26); " In the new Russian barber shop: -What kind of temples will we make-straight, oblique or flying! "(TV. 2003. N 33).

"A method of redundancy that suggests to the reader either the presence of too many" connectors "(connecting elements) that should draw his attention to the coherence of the text, or an annoying descriptiveness that overloads the recipient with an excess of unnecessary information" (Ilyin I. P. Decree, op. p.239). This characteristic of the postmodern text in the newspaper corresponds to the widespread use of polysyndeton (stylistically significant multi-union); various kinds of repetitions (lexical, syntactic, lexico-syntactic); amplified utterances (in particular, the accumulation method). These techniques have a large number of structural variations, so we will limit ourselves to a few examples.

Polysyndeton: "[About the culture] But her life, and her present existence, is not truly life." Russia. 1998. July 27); "I am not envy, and not black" (AIF. 1995. N 45; title); "And the president decided, and the Duma approved, / and the media swore to the whole country trumpeting! / But there was not enough money for the military: / So far, only enough for myself!" (Lit. newspaper. 2002. N 28 - 29).

Repeats: "[Laws] cannot be fulfilled: so they are composed, so they are thought out, so they are provided (AiF. 2000. N 42) - an isocolon reinforced by anaphora; " The Internet is teeming with aspiring writers, well-known writers, prominent writers who have published their own books.

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writers and simply graphomaniacs " (Tomorrow. 2000. N 51) - gradation repeat; "Let's be friends together" (AiF). 1998. N 31; title) - tautological repetition; "The hero of the production was replaced on the screen by a murderer and a rapist, and instead of a machine tool and a blast furnace, we see corpses, corpses, corpses" (Lit. gazeta. 2003. N 14) - repeat-gemination; " Geniuses have insight for a long time. We have a glimpse, sometimes. But these moments save, save" (Lit. gazeta. 2003. N 34) - paired synonymous repetition.

Accumulation: "We are in the center of the flow of temptation: buy, eat, taste, smoke, get short, look at what you can not look at, do what traditional morality categorically forbids, deceive, bypass, do meanness - and you will enjoy" (Lit. newspaper. 2003. N 13); " Perhaps if all the reforms were implemented normally, if two trillion dollars did not flow abroad, if our entrepreneurs did not build five thousand eight hundred enterprises abroad at their own expense, if such a voucher was not carried out, if there was no default, if everything was implemented in a normal way, we could now have a prosperous state based on normal liberalism, and the standard of living of the population would be 10 to 15 times higher than the present "(Tomorrow. 2000. N 31); "My dear, the only one, gentle, sweet, kind, sultry, good, desired, beloved, native, unique, unsurpassed! Detochka, twig, swallow, rybonka, sparrow, pussycat, lapushka, my little bird, turtledove, golubushka, asterisk, goat, sun, goldie ... Diamond of the soul, light of the eyes!.. Pearl of the heart! Well, if you were a human being, well, give me a beer! " (Today's newspaper. 2003. December 27).

Researchers of literary postmodernism also mention the phenomenon of "cross-cutting contrast, or inconsistency of the postmodern text" (Ilyin I. P. Decree, op. p. 240). The principle of contrast, as well as the corresponding stylistic effect, are implemented in the techniques mentioned above. This can also include zeugma. "Hence the conclusion: beer should be fresh. And girls-too "(Lump. 2001. Apr 17); " Alcohol causes short-term dilation of blood vessels and the circle of friends "(TV. 2003. N 53); to the antanaclass: "We have not noticed that the people are worthy of the rulers they have (and who then have them, the wits add)" (AiF. 2001. N 6); the antithesis: "Optimists invent the airplane, pessimists invent the parachute" (TV. 2003. N 53); anti-phrase: "Especially touching is the scene with the roasting of a screeching old woman (for some reason, all sorts of resorts like Buchenwald, Auschwitz and Mauthausen are immediately recalled) "(Today's newspaper. 2000. July 8-14); "A cheerful children's radio program. Competition for young experts. Grand prize: the encyclopedia edition of "The Hundred Greatest Deaths of the World". For a happy childhood, a gift is simply not enough-

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menimy! "(Lit. newspaper. 2003. N 30); reception of deceived expectations: "I started writing aphorisms early: my wife and children were still asleep "(Lit. gazeta. 2001. N 31-32); " If you are very afraid to get fat, drink 50 grams of cognac - it dulls the feeling of fear "(Coma, pravda. 2001. December 14); clash of elements of different styles: "Even the eternal oppositionists from the Communist Party of the Russian Federation demonstrate loyalty to the Kremlin and try in every possible way to attach themselves to any initiatives of V. Putin" (AiF. 2000. N 46); "Champagne from a shoe is not vodka from kirzach" (TV. 2003. N 53).

Some of these techniques (especially such as antithesis, clash of styles, and deceived expectations) can perform a text-forming function, permeating the entire text ("end-to-end contrast"), or be the dominant technique that determines the nature of the main stylistic effect.

From all this, in our opinion, we can draw the following conclusions::

The stylistics of modern Russian newspapers reflect many essential features of literary postmodernism: intertextuality (quotability, reminiscence, allusiveness, parody, stylistic and genre hybridization); expansion of the comic in its axiological and entertaining forms, carried out, in particular, in various methods of language play; aestheticization of the ugly; hypertrophied physicality with sexual accentuation; non-selectionism with a tendency to deconstruct traditional stylistic and genre norms, turning to extreme stylistics that exploit rhetorical techniques that give the most striking stylistic effects based on contrast.

It can also be argued that modern Russian newspapers show (to a greater or lesser extent) such specific features of Russian postmodernism as politicization, literary centrism (in the sense of orientation to the techniques used in fiction), anti-normativity (banter), shock aesthetics ("chernukha", "pornukha"), counterfactuality, mystification (fantasy constructs). These features as specific to Russian postmodernism are noted in the " Lexicon of Non-classics... "(p. 353).

In comparison with the artistic postmodern literature, the newspaper discourse reflects the stylistic features of postmodernism, with the exception of politicization, in an incomplete, adapted way, which is explained by the discrepancy between extralinguistic factors that ultimately determine the stylistics of fiction with the dominance of the aesthetic function of the language and the stylistics of the newspaper, where the informative function is decisive.

Krasnoyarsk

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