Authors

The article examines the semantic organization of text-work by means of textual units, which convey meaning, unlike linguistic units, which convey significance. Textual units differ: a) in structure — simple (indivisible in meaning) and complex; b) by origin — unoriginal (quotations) and original; c) by function — neutral and marked: key units that accumulate meaning, and unit-keys that reveal meaning; d) by semantic volume — intratextual and intertextual; e) by position in the text — structurally marked and structurally unmarked. Certain formal and functional ways of their use in a text allow to identify textual units: repetition, their use for explanation or replication. In the Russian philological tradition, these units were called “symbols” [Vinogradov, 1980], “abbreviations of meaning” [Bakhtin, 1986], “narrative keys” [Toporov, 1983; Nikolaeva, 2012]. The author of the present article introduces the term “textforms” (“key textforms” and “textform keys”) which makes it possible to view textual forms as units of text grammar and grammatical forms as units of language grammar. The article presents an analysis of textforms that organize the semantic dimension of texts of confessional culture (“The Tale of Boris and Gleb”) and texts of secular culture that differ in artistic principles and forms of presentation of these principles (Pushkin’s novel “The Captain’s Daughter” and Brodsky’s poem “December in Florence”).