Nonfiction texts and fiction texts

As the essential features of fiction and non-fiction communication often referred to as:

1) the presence / absence of a direct link between communication and human activities;
2) the absence / presence of the esthetic function;
3) explicitness / implicitness content (absence / presence of overtones);
4) installation of the uniqueness of / ambiguity of perception;
5) installation on the reflection of the real / unreal reality (literary texts are not a model of reality, and deliberately constructed by the possible models of reality).

Characteristic features of fiction texts:

Fiction text is based on the laws of associative creative thinking, non-fiction - according to the laws of logical thinking. In the literary text material of life is transformed into a kind of " small universe" as seen through the eyes of the author. Therefore, in a literary text for image pattern of life is always present undertext, interpretive functional plan, "secondary reality." Nonfiction texts, usually one-dimensional and one-planned, real and objective reality. Fiction and non-fiction texts reveal different types of impact - on the emotional sphere of the human personality and intellectual sphere, moreover, in the law of artistic depiction of a psychological perspective. Finally, the difference between these texts according to functions - communicative and informational (nonfiction texts) and communicative and esthetic (literary text).

In fiction texts associative links are important, but these associations are different and have different interpretations in different authors. One more difference between two texts character of  analytism: in nonfiction texts analitism manifested through the argument, open evidence, in literary texts analitism is hidden, it is based on an individually chosen laws. The author, in principle, does not prove, and says, using specifically-shaped ideas about the world of objects.

Types of literary texts

Typologies of literary texts have been made since Antiquity and form a recurrent chapter in any treatise on poetics and rhetoric. These classifications are not only established at the level of scientific description.All users of literature, both writers and readers, are clearly aware oftypological differentiations. A theory of literary types therefore has tobe a model formally representing this knowledge, by providing the textual and contextual criteria underlying it. We have to stress that our systematic insight into literary classifications has scarcely advanced since Aristotle's Poetics, at least not until the work done from Russian Formalism onwards. The problem however is well known and literary types even have the special name of GENRE.13 In what follows we want to argue that satisfactory typologies of literary texts have to be based on generative text grammars, and more specifically on LITERARY TEXT GRAMMARS. Moreover, from the discussion in the previous section, we may even now conclude that any explicit typology in fact coincides with a normal empirical theory. Indeed, it is not sufficient to enumerate alleged distinctive traits of a postulated type of (literary) text, we must also specify on the one hand the relations between these traits, and on the other hand the relations between the distinctive and and the non-distinctive traits, i.e. general properties of the type of text we want to characterize. Such descriptions are plain theories and our typological knowledge derives automatically from an accepted partition of the universe of (meta-)discourse, i.e., from a division of the theoretical labour. It is further motivated by empirical reasons of the restricted For a survey of the work done on literary genres. At an early stage of research, which characterizes current theoretical poetics, we may be satisfied with the description of rather homogeneous subclasses of literary texts, that is, of types. The discovery of more general properties is either premature or leads to rather trivial generalizations blurring empirically interesting differences among types of texts. These facts have been intuitively recognized in traditional literarytheory: all manuals treat literature by studying its respective `genres'. A first remark that should be made in this context is that the notion of literature' itself implies or has implied a textual typology. Clearly, the distinction of a set of texts called literary' presupposes a set of non- literary texts, and exclusively and exhaustively defines the universe of texts. This is trivial only at first sight, because we also might give a nonbinary, nonexclusive, typology of that universe. Strictly speaking, some types of literary texts — like short stories — are 'closer' to some types of nonliterary texts than to other literary texts — e.g., poems.

This fact cannot be overlooked and seems to indicate that 'formal' (textual) resemblances or differences are often secondary criteria for typology. In many cases the performance-based functional criterion esthetic vs. nonesthetic seems to be dominant here.

Such typologies may have important heuristic value, although an explicit enumeration of differentiating criteria and the degrees in which these types satisfy them is necessary.

Monologue (Greek monos - and one Greek. Logos - speech) - a form of speech (text), extended expression of one person.
Dialogue (Greek dialogos) - a form of speech, representing a conversation between two or more persons.

Monologue text - is the text submitted in the first person or entity - an outside observer, the text also filed on behalf of an indefinite or impersonal.
Dialogue text is usually represented as a combination of replies belonging to different parties.
Dialogue exists as an independent publicist or philosophical genre (eg, Plato's dialogues).
Actually dialogue is the main form of speech in dramatic works, but in principle and monologue text (the author) can include dialogic fragments. Dialogic inclusions in form of speech often accompany the characters of fiction texts.

 Dialogue peculiar any scientific and popular scientific texts, although, naturally, the dialogic form more densely represented in the texts of discussion, polemic. Obvious or hidden dialogue is always accompanied by the presentation of new knowledge (theories, concepts), since it is necessary to refute the old. In popular science text appeal to dialogization other goals related to communication of promotional tasks. Educational and instructional literature also refers to the peculiar forms of dialogue, in accordance with its objectives - didactic.
Of course, the dialogic form used in the texts of scientific, popular scientific, educational, instructional, qualitatively different from the forms of dialogic literary text. They are usually not typical personification of speech as a literary text. Dialogue of nonfiction texts is of special means of expression that help the author to send their text to the reader, these often serve the purpose of speech means of establishing contact with the reader, they mimic the intimate conversations with him, allow the author to focus the reader's attention on important issues.
Dialogization means a lot: it is question-answer systems, address to the reader; adaptation to the joint reflection, action, and various forms of expression of motivation, ways of expressing requirements, recommendations, aimed directly at the reader; explication suspected reactions reported by the reader to the author, etc.
Fundamentally different means dialogization suit different texts, the differences concern only in their distribution in the text, in the saturation of those other texts.
The most commonly used means of syntactic dialogization (question-answer systems, rhetorical questions, exclamations, and various forms of address to the reader), and the other group consists of the actual text tools (references, footnotes, referring to the opinion of others).

Formal and informal texts

The extralinguistic factors influencing usage and development of language constitute one of the critical problems of linguistics. They are dealt with in sociolinguistics and linguostylistics. Sociolinguistics is interested in variations in language depending on social, educational, sex, age in social evaluation of speech habits in correlation of linguistic facts with the life and attitudes of the speaking community. Lingustylistics studies the correlation of speech situation and linguistic means used by speakers and different functional styles of speech and language. On various occasions a speaker makes use of different combinations open him in the vocabulary, parts of the words he uses will be independent of the sphere of communication. There are words equally fit to be used in a lecture, a poem or when speaking to a child. These are said to be stylistically neutral. The rest may consist of stylistically marked words, they not only does the speaker’s entire experience determine the words he knows and uses but also his knowledge of his audience and the relationship in which he stands to them governs his choice of words. Stylistically coloured or marked are words suitable only on certain definite occasions in specific spheres and suggestive of specific conditions of communication. These words is divided into formal and informal (also called colloquial) English or in other words stylistic characteristics of words we call functional style. The term functional style is generally accepted in modern linguistics. Professor I.V.Arnold defines it as a system of expressive means peculiar to a specific sphere of communication. When placed in different situations, people choose different kinds of words and structures to express their thoughts.