Fatinės kalbos funkcijos formos, semantika ir vaidmuo komunikacijos procese

SOCIAL LINGUISTICAL PROBLEMS QUESTIONS OF LITHUANIAN LINGUISTICS, XIX (1979) Liudvika DRAZDAUSKIENĖ FORMS, SEMANTICS AND ROLE OF FATINIAL LANGUAGE FUNCTIONS IN THE COMMUNICATION PROCESS Language functions are the general concept of linguistic communication that can be and has been an independent object of description [Laguna G. A., 1927, Mounin G., 1967 and others]. However, most often in descriptive works the functions of language are introduced to present a more complete picture of language use [Sapir E., 1969, Bühler K., 1934, Gardiner A. H., 1951, Henle P., 1958, Pollock Th. C., 1955, Hayakawa S. I., 1964, Herzler J. O., 1965, Boulton M., 1968, and others] or to support other sciences, for example, the theory of stylistics [Jakobson R., 1966, Bunorpamos B. B., 1963, 130—132, Axmanospa O. C. u nup., 1966, 161—183, Akhmanova O., 1970, 28—34; 1972, 78—85, partly Halliday M. A. K., 1973, 7—8, 103—104, Turner G. W., 1973, 203-226 and others]. The concept of language function is one of the most important categories of sociolinguistic research. In other words, the function of language in itself only appears in sociolinguistic research, and not in the theory of abstract language description. In English sociolinguistics [Firth J.R., 1957, Ouirk R., 1968, Halliday M.A.K., 1973] the function of language is understood as the goal achieved by language. In the generalized scheme of social language usage (table 1) by M. Halidėjus, language functions are incorporated in the middle definition of facts. Table | SOCIOLOGICAL NETWORK OF LANGUAGE Interpersonal Eini () BAR Ria || || | all | || I wo oo fra y USES of SITUATION MEANING FUNCTIONAL FORMAL GRAMMATICAL LANGUAGE TYPES POTENTIAL COMPONENTS POTENTIAL STRUCTURES of GRAMMAR From Halliday MAK. EXPLORATIONS IN THE FUNCTIONS OF LANGUAGE. London, in the sharing stage. In the works of those authors, who 1973, p. 101. 75 rely on the statements of descriptive linguistics about the dichotomy of language and speech, additional categories are introduced [AxmaHosa I." H., I'o66ener H. B. u ap., 1971], and the concept of language function, although specifically refined [Axmanosa I. H., I'o66ener H. B. u ap., 1971]. O. C. u 1p., but it 1966], cannot be be avoided. The first works use only one term, language function function language), t. y. distinguishing the concepts (a of speech of language o ir (language and speech), in sociolinguistics we have to talk about speech, language functions o ne (dyHKOŪKH petin, a He s35IKAa). In English sociolinguistics, the starting point is ne F. de Sosiūro (F. de Saussure's dichotomy of ir speech, the concept of multi-level 0 functioning of natural language. For example, M. in Haldane's formulation, language is not divided into an į abstract ir active. Language is a possibility of choice of meaning potential, which is limited by cultural-linguistic expression. This choice is further characterized by the relationship between “What I can express” (What I can mean) ir "What can I say" (What I can I say?) After accepting šį the postulate, terminological inaccuraciesdoes mų not remain, ir sociolinguistic categories do not require additional explanations. In the works of different authors the content of the concept of language function is understood differently. The ir number of functions varies. For E. example, Sapir ir B. Strang understands the function of language as a motif of communication distinguishes ir three functions (communication f., thought sustaining f.,socializing f.). M. Boulton (1968), J. F. Volvorkas [J. F. Wallwork, understands 1969] the function of language as contextually directed linguistic activity, but M. Boulton distinguishes five (emotive f., ceremonial f., magic f., ritual f., religious f.), o J. F. Walworth, — I-- Table 2 tonnes (language used for phatic communication, ceremonial purposes, language instrument action, language used as an keep the of records, convey ideas and inforto to R : craft:Jakabson ble self-improvement, to embody Faclors verbal in communication and enable thought) kalbos |functions. The functions of a single language GONTEXT its investigation based on the sequence ADDRESSER MESSAGE ADDRESSEE naked Lia Ios CONTACT M. Halidéi scheme or isolatedCODE mis sociologist systems, may seem a little artificial and mechanical, but it is possible. Vienos Functions of The study of the Language function is useful to justify R. Jakobson- 's language functions sisREFERENTIAL theme, because in it the language function is EMOTIVE POETIC Different aspects of the METALINGUAL language act are realized by the different CONATIVE linguistic priemoPHATICs, and all functions are perceived in close interaction, with one of them dominating in a specific situation (Table 2). The study of the maximum isolated fateful function is possible because this function has a very defined place in the communication process From STYLE IN LANGUAGE: fateful funked.by Th. Sebeok tion dominates the beginning of the speech acMass. MIT. 1966. p.353,.357. at the ir end. 76 Language in its fatal function is the social en rapport language, when it is spoken only to keep the silence. (Recently, it seems, the term has finally settled —calcified Yatine function,,,- atnueckas Oynkunsa- “, derived from the term proposed by B. Malinowski “phatic® [Malinowski B., 1936]. The term KoHTaKTOycTaHAB/IHBAIOIIA OVHKIKA [AxmanoBa O. C., 1966] is not entirely accurate, because the function of fatiné is not only to establish contact with the interlocutor. Fatiné function in the broadest sense is manifested in the establishment, maintenance and termination of linguistic-- social contact during the oral or written language act.) The forms of fatal function are very diverse, ranging from pure to fully integrated. The most elementary expression of this function is greetings, farewells and other polite formulas, and the most refined — verbal, or nonsense language (Stoškaus K. term, 1969), the well-known English ''small talk''. By hierarchically grouping, it is possible to distinguish several forms of manifestation of the fateful function: 1) unarticulated sounds and words filling pauses, noises; 2) greetings, farewells and other forms of politeness; 3) small talk; 4) introductions, acknowledgements, contents, endings: 5) summarizing phrases in a coherent continuous text; 6) titles, headings, sections; 7) technical separation of a paragraph in a continuing text, etc. 1. Of the non-articulated sounds that fill pauses (er, uhm, ahm, umps; é-é, hm, etc.) only one khm|h-khm is suitable for establishing contact, effective, understandable and independent of culture, language and place. This sound arouses such a sensitive reaction, especially in serving staff, that even an unconscious natural crackling draws attention, as if it were a sign of impatience. All other non-articulated sounds that fill pauses do not function as independent means of establishing contact. They are very abundant in broader contexts of fatic language and more effective in maintaining contact: 1) Um, you will remember, we're going to take —er —a new bit today; 2) Now, the meaning, I think, is —er —on the whole clear; 3) Well, I wonder if there will be spring? "What do you know?" The most characteristic pause-filling sound in English is er, in Lithuanian —Am-m, sometimes —ė-ė. Iš Among the contact-sir upporting pauses-filling words widely known is the English well, which, as illustrated by R. Jakobson in D. Parker’s text, can express the tension of the whole situation. ir The unqualified use of well may be a feature of a regional language variant. For example, some American linguists claim that Soviet The English spoken in the Union, which is generally of a very high standard, is characterised by the excessive use of well and just. There is no similar and so common word for filling pause in Lithuanian. Other words of this type (you know, you see, suppose, I believe, I think, mean; I say, I therefore, you know, apparently, (I) think etc.) ir effective ir are used ne only to establish contact, ir but as a sign of ir friendly tone and familiarity. In order to ir maintain contact, to fill in the pauses, especially in English, very often insert ah the prepositions ok, and the ir conjunctions and, but etc. It has been noted that English speakers have a fairly wide arsenal of standard sound words to fill pause, in Lithuanian language, not counting ir individual prepositions, o much less. jų In general, the frequency of the sound ir words that fill the pauses depends on the individual ir national character. 2. Greetings, farewells ir other formulas of politeness, such as: Hello! Hi! Hi! Hello! Hello! Good morning. Good morning. Good afternoon. Good afternoon. Good evening. Good evening. 77 Good night. Good night. How you do do. It's a pleasure. Eyes! Excuse me. I'm sorry. I am (so, very) sorry. Excuse me, excuse me. Thank you. - Thank you. Thank you. Thanks a lot etc. Thank you very much, ir etc., in language functions in ne its nominal value, but as a means of expression of humanity of contact. ir Iš in fact one of nė these formulas is not understood as a message of a good day for a person's physical condition. ar They show that the speaker knows the person, is friendly, and a member of the same community. An example of the functional importance of the leveled ir greeting-goodbye semantics is ,,Good morning“, embroidered on towels, Have good ir day, USA, a some places glued on the wall at the exit. Interestingly, urbanization has blurred the meaning of politeness formulas, greeting on ir the street only by expressing your friendliness to strangers is abnormal and practically impossible. However, apologies are one of the best means of expressing brief contact in the conditions of rapid urbanization are very formal. ir In the US, for example, politeness formulas are pronounced energetically, concisely, superficially intoned (e.g., Excuse me) and, depending on the situation, even casually stunted (e.g., [kkju] instead of [kkju]). Thank you). Among the villagers, farewells are ir much more meaningful. ir Even today, ir the Lithuanian peasant sometimes feels very unfriendly if he does not greet a random passer-by. su This expression of human contact is characteristic, for example, of the closed institutes of the major US cities. In English greetings, excepting only familiar universal Hello! and Hil, and in Lithuanian —„,,Labas- “,“ are clearly divided according to the time of day. Only in English remains an interesting feature to say goodbye to the greeting formula, changing the intonation. For example, Good morning!, said in a descending tone, means o "Good morning" in an ascending tone — "Goodbye." Ir In English, ir Lithuanian greetings are clearly divided ir according to the formality of situations. In familiar everyday situations, regardless of the age of the speakers, the maximum recurrence is Hello! (Lithuanian analogue "Hello"). In more formal situations, when there is a difference in age or position, the most common are Good morning!, (,,Geras rytas!“), Good evening! ("Good evening!") and so on. The Lithuanian “Hello” is relatively neutral; it lacks the constant connotation of formality, which is characteristic of the English Good afternoon!, used only in formal situations by high-ranking people (ambassadors, officers, managers, old professors, etc.). Compared to English, Lithuanian lacks another, now only used in the first acquaintance situation, also very formal greeting How do you do!, roughly corresponding to the very formally intoned Lithuanian “Labai malonu”, which is used much more widely in Lithuanian and expresses various nuances of meaning. The standard farewells in both languages are similar, neutral or familiar: Good bye! and "Goodbye!"; Bye, See you! and "See you soon"; Bye, bye!, Cheerio! and "All!", "With!" and specific familiar Tatty bye!, Toodle-oo! and their analogues „Atia!“ and,,Bai!“ in Lithuanian. The most formal farewell in English is the greeting formula (for example, Good morning?), pronounced in an ascending tone, the analogue of which in Lithuanian could be,,Likite sveiki!“. The formulas of apology and regret in English are much more emphasized than in Lithuanian. Sorry!, I'm so sorry! I'm so very sorry indeed!, I do apologize! Forgive me! and "I'm sorry!", "I'm very sorry!", Excuse me! *,,Give a gift“. 78 Interestingly, in English there is no analogy to the Lithuanian “Please”, which is said when giving something, and the answers to thanks in English are very diverse and quite gallant. For example: Not at all, It was nothing, Forget it, You're welcome, Glad to help, My pleasure, It was no trouble (No trouble), I'm only too glad to help, Think nothing of it, That's (It's) all right and the American That's O. K., compared to Lithuanian "Prašom" and "Nér(a) už ką". Only an overview of politeness formulas in English and Lithuanian shows that English speakers obviously do not waste linguistic activity to express or evoke good feelings. 3. small talk, which is expressed in everyday situations with at least one question: How are you? (possible and common variants: How's life?, How was it? —the most common answer is Fine! And you?), which in English can replace even the greeting, compared to the Lithuanian,,Kaip gyveni?“ (possible and common variants: „Kaip laikais(i)?- “, „Kaip sekasi?“, Žemaičių,- ,Kaip yr?“ —the most common answer is „,,Gerai“!- ,,,Nieko!“, „Gerai yr“) is completely analogous in both languages as well as short conversations about the weather, health, acquaintances, etc., before starting a more professional conversation or when you meet by chance. For example: “Good evening, Mrs Halifax. “Good evening, Bert. It's very cold out." "It's very cold in". "Hello!" "Hello!" "This is the weather... neither winter nor summer." “It’s snowing and it’s raining. You can’t expect anything from summer when winter is like this.” “Hello! How are you these days? Haven't seen you for ages!“ “I'm all right, I suppose”. “Hello, Ingrid! Are you better?” “Yes, thanks. I'm going back to work on Monday". “Taken a fair while, hasn’t it?” “There were complications...” “It’s ugly weather. Moist." “You can’t help but get sick in this weather. Cold to about five degrees, it would be different." “Good evening. You are disturbed by Danguolė, if you remember." “Ah, good evening. Of course I remember. Well, what are you going to tell me? *¢ How do you stick ?“ “Thank you, all right.” “Do you complain about your health? How's your baby?" “Thank you, all right.” "Are you all right?" "Hi, all right." “And how was Martin?“ Pra He's a nice chap, nis't he? He took me to a nice spot or two. He sends you is love." "He's not thinking coming of back?" doubt it. “I “He was nice me, Martin”. to “ Hello! “Hello! How are you?” “Fine. Er — that's a very good book you gave me“. "I'm happy you like it". “Very good, indeed”. "Hello, grandmother." "Well, well." 79 "Meet the... " "Well, we've met." "Oh, yes, you saw each other at our wedding." "Spring is coming soon..." "Yes, there is little snow to see..." “So he wasn’t there. This year, the children did not even get to ride on sleds...” Somewhat rarer in Lithuanian language are cases of very formal, refined nonsense language, as rarer are the situations of its emergence and a different history of education and culture than in English society. The only interesting thing is that the English and Lithuanian nonsense language is very stamped among educated English and Lithuanians. Among the less educated people, especially among Lithuanians, the language of the noobs is more sincere and original. A rare, but very obvious example is "Another forgotten word" instead of the standard "P. "Lithuanian Letter". The pure forms of fatic language are particularly characteristic of spoken language, and some pure forms are integrated into written language. In written language, the fateful function is less condensed than in spoken language, and formally all introductions, endings, and especially acknowledgements can be called forms of expression of the fateful function. Typical are the beginning and end of letters. For example: 1) Thank you so much for your last letter... I wish you all the very best, in everything. Yours, Ila. 2) Dear Ellyn, it was so nice of you to remember me. It took me months to respond to your last letter... With best wishes to you and yours. Love, Lorian. 3) Dear Louise, first of all, please accept my apologies for not responding sooner to the lovely letter and thoughtful gifts you sent at Christmas... A very happy New Year to you! Love, Ellyn Waldman. 4) Rita, I'm in a hurry to write to you, because my father will send you a letter today... 5) Dear children, thank you for the letter we received. Nothing new... we'll wait for you to arrive. Leave a message. Kissing all four of you. Parents. The material of the fatal function in the letters confirms a slightly lower emotional expression in Lithuanian, the lack of which we also noticed in the formulas of politeness (p. 78). In the English language, the word "dear" is not used, and in the Lithuanian language, the kind words are used only in letters from relatives and friends. The result of the graphic tradition is that "I" (/) is capitalized in English, and "you" is lowercase. However, this is a strange contrast to the Lithuanian cultural tradition, in which Sum in lowercase and "You" in uppercase. In English society, the expression of the fatal function in letters is so standardized that numerous letter writing guides (e.g. Alexander L. G., 1975; Gordon Humphreys, 1955 and others) provide complete addresses to the heads of various institutions and ranks, lists of letter opening and closing phrases for various occasions, complete letter templates and other details. The expression of the fatal function is traditionally established even in books published in countries of English culture. In English publications, after the title page, acknowledgments-- thanks are always printed, which are among the most standardized variants of conventional nonsense language. For example: I would like to express my gratitude to the authors of the papers included in this volume. I particularly wish to thank Anthony Cohen and Sieb Nootebom who encouraged me to edit this collection. The publishers who granted me permission to reprint the papers are also gratefully acknowledged, including the New American Library, the Yale Scientific Magazine, the British Journal of Disorders of Communication,... and Mouton and What? While most of the errors included in the Introduction and the Appendix were noted by myself, I am grateful to Peter Ladefoged and lisa Lehiste who tuned in their linguistic [phonetic ears to note many errors for me. 80 In addition I would like express to deepest my appreciation to Peter Ladefoged who continues to to serve as my teacher and as an inspiration in all of my work. I am of course indebted all to those who unadvertently provided the data for this book. They include many the of UCLA Linguistics Department students and faculty well other as personal as friends. They will undoubtedly recognize their particular contributions. Besides acting as a source of data, their many useful comments, suggestions, and criticisms have helped clarify own to thinking. my The fact that they not run when they do see approaching with me my ‘little black book’ is a tribute to their patience and intellectual honesty. Special mention must noted be the time and of effort contributed by Donald MacKay of the UCLA Department of Psychology in his many discussions with me on this topic. The typing the of manuscript by Renee Wellin also is gratefully acknowledged. The work reported here was supported part in by UCLA intramural research funds and part in grants by from the National Science Foundation, The National Institutes of Health, and the Office of Naval Research. Finally, would I like thank husband, Jack, to for his my encouragement and his ability overlook excuse constant to or my "errors" (V. Fromkin. Speech Errors as Linguistic Evidence). This example is not the most typical case in the thanksgiving books, because it contains original humorous-emotional deviations. However, jo the language is very stamped. Such similar ir acknowledgments repeating iš the book of į the book do ir not confirm anything but the social and copyright convention. Neither in Lithuanian nor in Russian publications there are analogous thanks-acknowledgements. Po in English ir publications, the content of the book, the most condensed section of information in the book, which integrates the fairytale function, because the content is the presentation recommendation, according to which books are selected in bookstores, often in the library. ir — o ir Thus, the place of the content at the beginning of the book is functionally justified. A strange, functionally unjustifiable tradition is to print the contents at the end of the book. The exclusively communicative function of the books is performed by ir subject-name indexes printed at the back of the books. The communicative role of indexes is so important that scientific literature is very difficult, be jų practically even impossible to read. Fatic function is integrated ir in the artistic work, only in this case fatica is maximum self-production, o (sometimes ends) the text condenses a lot of images often completed by ir the author of the whole idea of the work. So, for example, the fairy function is integrated by the introductory Antano Paragraph from Biliūnas’s short story “Fatherland”: If someone asked me where in the world the sun shines the happiest, the flowers bloom most beautifully, the birds sing, the trees chime, the wind blows, — aš I would answer — At home. If someone would ask me where on the whole earth is the most beautiful spring, the calmest summer, the most colorful autumn, the whitest fluffiest winter snow, I would also answer ir — aš — At home. If someone asked me which place binds a su person with the most beautiful memories, I would ir answer jo again — aš ir — su Fatherlasu nd, the places where we were born and ir grew up, iš where our life path began. Ir Wherever a person is, wherever he lives, wherever he travels, the fast-winged bird of the longing for the — homeland jį chases him everywhere, with the cry of childhood days overwhelmed the heart, but with thoughts returning to the corner of the earth, ir whose dust as the greatest sacred of long į tą wanderings is bowed down to touch with stirred lips even the people of the rarest heart. po The entire subsequent text of the story is — just one of the beautifully told cases of the manifestation of fatherly love. The idea of the short story lies in the lyrical introduction, with which the writer subtly establishes contact su with the sensitive reader. For a reader seeking superficial impressions, this kind of contact is too tiring. 6. Užs. No. 1554 81 All the writers who enjoyed complex introductions with descriptions of architecture (V. Hugo), nature (Th. Hardy, O. Wilde, V. Krėvė, A. Vienuolis and others), period (C. Dickens) or environment (intricate introductions are not typical of contemporary literature) harmoniously combined fairytale function with aesthetic function and, without starting an intrigue or story, informed the reader about the complex circumstances of life and feelings in which they would show their ideal of beauty. The fatal function (maintaining contact) in a coherent continuous text is performed by summarizing phrases, which are short and usually only summarize the information provided up to that point. For example: To sum up, we should be careful about formulas. But we should also continue to research all aspects of readability, with the object of learning something about it, not producing a usable formula (J. Dawkins. Syntax and Readability. Newark, 1975, 44). Short summarizing phrases are very helpful to keep in touch in lectures and technical literature. Because when the information load increases without interruption, there is a physical need for a pause as a means of maintaining contact to continue mental activity. Short summarizing phrases help to refresh the focus and strengthen the contact. Not to mention the stamped beginning and ending phrases, it is interesting to observe how the titles, headings and divisions of the chapters become an expression of a fatal function. That headings and titles should attract the reader with their content and typographical sophistication is known from textbooks of practical stylistics. Section breaks and text breaks, it appears, also integrate a fairytale function. For example, one of the last novels of the contemporary English writer M. Drebl, “The Realms of Gold”, is not divided into chapters, but the author occasionally interrupts the intriguing narrative in the aesthetic context with unrelated remarks, which as if divide into chapters, because the relevance of reality breaks the flow of emotional impression. For example: Janet Bird née Ollerenshaw was pushing her pram along Tockley High Street. The fact that she was doing this, as she was some 23 pages ago, does not indicate that no time has passed since that last brief encounter. Nor does it indicate a desire on the part of the narrator to impose an arbitrary order of significance upon events. It is simply a fact that Janet Bird spent a great deal of time pushing her pram up and down Tockley High Street. She did not have much choice. She had little else to do. One could, arguably, have picked her up at one or another of the various monotonous and repetitive tasks that filled her day, but she might as well be allowed some exercise. For she gets little (M. Drabble. The Realms of Gold. N. Y., 1976, p 121 —122). David Ollerenshaw threw his cigarette end into the crater. The volcano received it, spewing gently from its blackened lungs, like a tired old prophet. Imagine him, David Ollerenshaw, standing there, the only unbearded geologist in the business, fair-haired, long-necked, short-sighted, indefinably English, indefinably odd, with the oddness of one who spends much time alone, thinking about inhuman things. Watch him, as he begins to stumble, a small figure against a small volcano, down the mounds of pyroclastic rubble, back to his new car. Tomorrow, he sets sail "for Africa. And we can leave him there, on the eve of departure, and return home to Frances Wingate: she is a more familiar figure, a more manageable figure, in every way (p. 180—181). Judging from the text of this novel by the writer, visual-graphic or linguistic sharing of the narrative is necessary in order to make it physically possible to communicate with the writer. 7.Analoguous to the latter two (summary phrases, titles and divisions of chapters) is the case of the expression of the fatal function of the text division into paragraphs. Although the textbooks of creative writing state that a paragraph marks the stages of development of a thought or theme, the typographical separation of paragraphs also integrates a fairytale function. The first sentence of paragraphs is usually short. The shortness of the first sentence 82 and the graphic breakdown of the text draw ir attention and su strengthen the contact with the text. For example: This then style. is As technically manifested in literature it is not the power touch with to ease, grace, precision, any note the gamut human thought in emotion. of or It is essentially it similar to a good manners. It comes from endeavouring understand to others, of thinking for them rather than for yourself —of thinking, that is, with the heart well the head. as as It gives rather than receives; it is nobly careless of thanks or applause, not being fed these but rather by sustained and continually refreshed by an inward loyalty to the best (Sir Arthur Quiller couch. On the Art of Writing. Cambridge, 1938, 14). Although in classical definitions the fatiné function is usually described as a linguistic activity where one speaks only to communicate but not to convey information, it is really very difficult to determine the information load of even the most iš fatiné phrases. ir After all, even compliments or answers about air health have at least a small informational relevance. It ir would be more correct to say that language in ir its fateful function has no practical directionality and therefore does not acquire informational value. ir But there is no denying ir to the fact that in the fatal function of the language semantics is maximally sunk, because even a small effort to say ką something originally ar meaningful, answering a template į question, often conditions the interlocutor (especially anglo) perplexity ir confusion. Su thematic diversity of the fatal function of language is somewhat inconsistent with this statement. Maintaining contact can be about the weather, health, acquaintances, environment, travel, clothes, books, plays ir t. t. Recent research has shown that conversations about health are slightly more popular, or at least not inferior in popularity to conversations about the weather, which have long been called the most typical English social conversations. The natural role of the fatic function in the communication process is undeniable. Ši function remained even in societies that consciously did not promote it. It is possible to talk only about the improvement of linguistic contact in the process of communication about the ir fateful function as a form of expression of the individual ir culture of society. For, if about Pacific islands indigenous peoples B. Malinovskis wrote that whistling, whistling in a ir bunch around a fire, they show that they are members of that community, that they want to feel community, but modern society in many cases has replaced the linguistic form of human communication with the physical one. mą Quite often the attention of the surrounding ne is drawn by o speech, movement. Malinovskij deliberately stated that a person who is silent in society leads to the belief that he holds a stone in his hand. So is it ar possible be to replace the loss of speech activity with physical or silence, and what should this mean? The perfectly mastered linguistic ir technique of establishing and maintaining contact, as an expression of the fateful function, increases the persuasiveness of ir speech, oratory o success, indicates humanity, iš the ability to communicate, communicating person is inclined by nature. Thus, conscious improvement of the expression of the fatal function can only elevate the ir culture of ir the individual, society. The fatal function, as a linguistic category, has very clear distinctive features. The language in the fatal function is maximally stamped. This language is characterizgi ed by free word combinations of subjective qualification, uncomplicated, only linear syntax (there are no compound connective sentences expressing explanatory causal relationships at all), a lot of inserted words that significantly reduce categoricity increase familiarity, a lot of sounds filling ir pauses excessively emphatic intonation. The study of fat function provides ir material for theoretical generalizations. Language in its fatal function testifies to the mechanics of the language process and ir allows to formulate an interesting hypothesis about the role of accumulation of linguistic ir experience in its mechanical reproduction, o ne consistent generation in language. ii 83