Oxymoron Is a trope that implies a deliberate combination of incongruous, deliberate error. The term comes from the ancient Greek word οξύμωρον, which translated into Russian means "acute stupidity."

History of occurrence and function of oxymoron.

There is an assumption that the first oxymorons appeared as a result of illiteracy and a violation of the lexical combination of words. But it was precisely the unexpectedness of the result that was highly appreciated by the writers. Many authors have adopted a deliberate violation of the compatibility of the word and its definition, so there were "cold fire" and "hot ice" - perhaps the most common oxymorons in literature.

Oxymoron: examples.

Oxymoron in literature

For oxymorons In russian language characteristically purposeful, conscious, intentional use of contradictions in a phrase by the author in order to enhance the stylistic effect of speech. They often become very bright and unexpected expressions, therefore they attract attention and are remembered.

Examples of oxymoron:

• add by minus,
• noble bandit,
• honest swindler,
• friends terrarium,
• endless dead end,
• hot Snow,
• fried ice cream,
• courageous woman.

Examples of oxymorons from fiction.

Anna Akhmatova's oxymoron: "Look, she's happy to be sad so smartly naked." In the poems of Alexander Pushkin: "Mazepa, this frail sufferer, this corpse is alive, yesterday moaning weakly over the grave."

Oxymorons have been of great help to science fiction writers in creating dystopian realities. For example, in J. Orwell's novel "1984" the characters of the "future" are characterized by such slogans as:

• "War is peace"
• "Freedom is slavery"
• "Ignorance is power."

The oxymoron in the title is intended to grab the reader's attention. For example, we find it in the title of such works as:

• "Running on the Waves" by Alexander Green;
• The Living Corpse by Leo Tolstoy;
• Dead Souls by Nikolai Gogol;
• "Tomorrow Was the War" by Boris Vasiliev.

Oxymorons in headlines are often used by the media.

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Modern fashion allows us a lot, but even in such a democratic world, talent and a sense of beauty are needed in order to harmoniously combine the incongruous.

site has collected 10 key style mistakes on the example of stars, which should be avoided.

1. Two or more oversized items in one look

Freedom and convenience are in fashion, so it is not surprising that oversized clothes have been at the peak of popularity for several seasons. But a combination of the two should be avoided. loose fit, otherwise you risk becoming a shapeless figure... A few rules:

• The item must be 2 sizes larger. If you have high growth, you can choose clothes 3-4 sizes larger than yours.
• Best colors - neutral and pastel.
• Don't overload your look with accessories.

2. Sheer tights + winter clothes

Do not imitate the models on the catwalks, who often show off fur coats in nylon tights or even without them. This stylistic idea is fundamentally at odds with reality. ordinary life.
Rules for how to wear warm tights with classic clothes:

• Thick tights light colors very good on the catwalk, but usually look bad in real life. Give preference to dark colors.
• If you chose a dark colored dress and black shoes, do not wear transparent nude pantyhose. Give preference to tight black tights.
• The pattern on the pantyhose should not "cut" the leg horizontally with a striped pattern or sharp color transitions because this effect makes the legs shorter and wider.
• Modern fashion allows us to break the rule: the "airier" your dress looks, the thinner and more inconspicuous the tights should be.

3. Leather pants + leather boots + leather jacket

Leather items have long taken pride of place in our wardrobe. But it must be remembered that the best is the enemy of the good. So that you are not accused of lack of taste, we offer an alternative:

• Leather pants can be replaced with black tight trousers (dark jeans), complement with an elongated chiffon blouse and pumps.
• A win-win combination there will be leather pants + t-shirt white, denim shirt and moccasins.
• Play with contrasts. Rough biker jacket and light chiffon dress - amazing harmonious image.
• If you want to complement fishnet top and sandals leather pants then choose a matte leather item.

4. Beret + blazer

There is no more incongruous option than a beret and a down jacket. But most often difficulties arise when choosing a headgear for a sports jacket or down jacket, in this regard, such an error arises. Here's what the down jacket will ideally complement:

• Knitted set of scarf, mittens and hat.
• Hat with ear flaps. It will be great if the fur on it matches the color and quality of the fur on the down jacket.
• Snood. It will replace both a hat and a warm scarf.

5. Sports pants + pumps

This combination was spied on by the designers of famous houses, but you need to understand that the runway version looks strange in Everyday life... So how to wear sweatpants and look cool?

• Will look best loafers, army boots and other men's style shoes.
• Want a heel? Then it is better to choose shoes with massive heels.
• Combination sports trousers and a jacket. Choose non-cotton pants, and from genuine leather and complete the look with a white T-shirt.

6. Short top + leggings instead of jeans or trousers

Leggings are a controversial wardrobe item, but still have a right to exist. However, you should not combine it with a short top. What to wear leggings with:

• Long shirts, tunics and sweaters, short dresses will do.
• Pay attention to the material of the leggings: it should be dense and opaque.

7. Wedge Sneakers + Skinny Jeans

Wedge-heeled sneakers were in fashion 5-7 years ago. In combination with skinny jeans they begin to resemble a hoof. What shoes to choose for skinny jeans:

• Elegant stiletto heels.
• Short ankle boots on high heels.
• Suede boots combined with a turtleneck sweater.

Linguistics has long been not content with the study of dead languages, obsolete linguistic eras. Past language systems are difficult to interpret by us; we do not experience completely, but only partially, approximately, moreover, strongly rethinking, we perceive their elements. The documents from which we draw all our information about the language of the past are always inaccurate.

Due to this, the study of modern dialects is being put forward with increasing urgency. Dialectology becomes the main impetus for the disclosure of the basic linguistic laws, and only the study of the processes of living speech allows one to penetrate into the secrets of the petrified structure of the language of past periods. Only in relation to modern language is the method of a time section unconditionally applicable, the so-called synchronous method, which makes it possible to separate living processes from fossilized forms, productive systems from “linguistic dust” (the term of F. de Saussure), which makes it possible to see not only crystallized linguistic laws, but also emerging trends.

When treating about the linguistic phenomena of the past, it is difficult to avoid schematization and some kind of mechanization. Today's street conversation is clearer than the language of Stoglava, not only to the layman, but also to the philologist. Likewise, Pushkin's poems, as a poetic fact, now it is more incomprehensible, more incomprehensible than Mayakovsky or Khlebnikov.

Each fact of the poetic language of our time is perceived by us in an inevitable comparison with three points - the cash poetic tradition, the practical language of the present and the poetic task ahead of this manifestation. Khlebnikov characterizes the last moment as follows:

When I noticed that the old lines suddenly dimmed, when the future hidden in them became the present day, I realized that the birthplace of creativity is the future. From there blows the wind of the gods of the word [ II, 8] 1

If we operate with poets of the past, these three points must be restored, which is possible only with difficulty and in part.

At one time, Pushkin's poems were, in the words of a contemporary magazine, “a phenomenon in the history of the Russian language and versification,” and the critic then did not think about the “wisdom of Pushkin,” but asked: “Why do these beautiful poems make sense? Why do they act not only on our hearing? "

Nowadays Pushkin is a household item, a storehouse of domestic philosophy / We tend to talk about the ease, invisibility of technology as a characteristic feature of Pushkin. and this is a perspective error. For us, Pushkin's verse is a stamp; hence the natural conclusion about its simplicity. Quite different for Pushkin's contemporaries.

Meanwhile, science to this day treats only about the deceased poets, and if it occasionally touches the living, then only those who have been reposed in the literary circulation. What has become a truism in the science of practical language is still considered a heresy in the science of poetic language, in general, hitherto trailing in the tail of linguistics.

Researchers of the poetry of the past usually impose their aesthetic skills on this past, throwing current methods of poetic production into the past. This is the reason for the scientific inconsistency of the rhythm of the modernists, who read into Pushkin the current deformation of the syllabo-tonic verse. The past is considered, moreover, it is evaluated from the point of view of the present, but only then will scientific poetics become possible when it refuses any evaluation, for it is not absurd for a linguist, as such, to evaluate adverbs in accordance with their comparative merit. The development of the theory of poetic language will be possible only when poetry is interpreted as a social fact, when a kind of poetic dialectology is created.

From the point of view of the latter, Pushkin is the center of poetic culture, at a certain moment, with a certain zone of influence. From this point of view, poetic dialects of one zone, gravitating towards the cultural center of another, like the dialects of a practical language, can be subdivided: dialects that assimilate certain foreign facts, techniques. Finally, it is necessary to bear in mind the existence of archaic dialects with a conservative tendency, the centers of gravity of which belong to the past. 2 .

Khlebnikov is called a futurist. His poems are published in futuristic collections. Futurism is a new movement in European art. I will not give here more precise definition this term. It can be given only inductively, by analyzing a number of complex artistic phenomena.

New facts, new concepts evoke in the poetry of the Italian futurists a renewal of the means, a renewal of the artistic form, and this is how, for example, parole in liberta arises. This is a reform in the field of reporting, not in the field of poetic language.

Onomatopeia are of different types:

a) Onomatopeia straight, imitative, elementary, realistic, serving to enrich lyricism with elements of gross reality, not allowing it to become too abstract or too artistic(for example: Nick nak pum, arrow). b) Onomatopeia indirect, complex and by analogy... For example: in my poem "Dunes" onomatopoeia dum-dum-dum-dum expresses the powerful noise of the African sun and the bright orange heaviness of the sky, thereby conveying the relationship between the sensations of weight, heat, color, smell and noise ...

with) Abstract onomatopeia- the noisy and unconscious expression of the complex and mysterious movements of our receptivity. (For example, in my poem "Dunes" an abstract onomatopoeia: wounds wounds wounds does not correspond to any of the sounds existing in nature or produced by mechanisms, but expresses a state of mind.)

d) Psychic chord from several onomatopoeias, that is, the fusion of two or three abstract onomatopoeias " (Italian, translated by N. V. Kotrelev)].

And here the decisive stimulus for innovation is the desire to communicate new facts in the physical and mental world.

A completely different thesis was put forward by Russian futurism:

Since there is a new form, therefore, there is also a new content, the form thus determines the content. Our oratory ... throws a new light on everything. Not new ... the objects of creativity define its true originality. New light thrown on old world, can give the most bizarre game (Kruchenykh. Collection "Three") 3 .

Here the poetic task is clearly understood, and it is the Russian futurists who are the founders of the poetry of the “self-contained, self-valuable word,” as canonized nude material. And it is no longer surprising that Khlebnikov's poems have something to do with the middle of the Stone Age, then the Russian-Japanese war, then the time of Prince Vladimir or the campaign of Asparukh, then the world future.

But this exhausts the relationship of emotional and poetic languages. If in the first affect dictates the laws of the verbal mass, if it is precisely “the riot of para-excitement that explodes the pipe of the period”, then poetry, which is nothing but statement with an attitude towards expression, governed, so to speak, by immanent laws; the communicative function, inherent in both the practical language and the emotional language, is reduced to a minimum here. Poetry is indifferent in relation to the subject of the statement, as inversely indifferent, according to Saran's formulation 5 , business, more precisely, subject (sachliche), prose, for example, in relation to rhythm.

Of course, poetry can use the methods of emotional language as akin for its own purposes, and such use is especially characteristic of initial stages development of one or another poetic school, for example, romanticism. But not from Affekttrager, according to Sperber's terminology 6 , not from interjections and not from the co-ordinated words of the hysterical reportage decreed by the Italian futurists, the poetic language is formed.

Poetry is language in its aesthetic function.

Thus, the subject of the science of literature is not literature, but literary what makes a given work a literary work. Meanwhile, until now literary historians have been predominantly likened to the police, which, with the aim of arresting a certain person, would have captured, just in case, everyone and everything that was in the apartment, as well as those who accidentally walked by in the street. So for literary historians, everything went to the needs of everyday life, psychology, politics, philosophy. Instead of the science of literature, a conglomerate of home-grown disciplines was created. It was as if it were forgotten that these articles go to the corresponding sciences - the history of philosophy, the history of culture, psychology, etc., and that the latter can naturally use literary monuments as defective, second-rate documents. If the science of literature wants to become a science, it is forced to admit the "device" as its only "hero." Further, the main question is the question of the application, the justification of the admission.

The world of emotions, emotional experiences is one of the most familiar applications, more precisely in this case excuses, poetic language, this is that foldable place where everything that cannot be justified falls; applied practically, which cannot be rationalized.

Romantics are constantly characterized as pioneers of the spiritual world, singers of emotional experiences. Meanwhile, to contemporaries, romanticism was conceived exclusively as a renewal of form, as a defeat of classical unities. And the testimony of contemporaries is the only valuable testimony:

There is a certain gourmet and fat man who loves to pierce human souls with a spit, slightly enjoys the hiss and crackles, seeing shiny drops falling into the fire, flowing down, and this fat man is a city ( IV, 211).

What is this - a logical contradiction? But let others impose on the poet the thoughts expressed in his works! To accuse the poet of ideas and feelings is as absurd as the behavior of the medieval public who beat the actor who played Judas, as absurd as accusing Pushkin of the murder of Lensky.

Why is the poet more responsible for the duel of thoughts than for the duel of swords or pistols?

Moreover, it should be noted that we primarily operate in a work of art not with thought, but with linguistic facts. This is not the place to dwell in detail on this large and difficult question. I will give just by way of illustration examples of formal parallelism that is not accompanied by semantic parallelism.

We characterized above metamorphosis as the realization of verbal construction ; usually this implementation is a time deployment of reversed parallelism (in particular, antitheses). If negative parallelism rejects the metaphorical series in the name of the real series, then reversed parallelism denies the real series in the name of the metaphorical series, for example:

The very process of realizing inverse parallelism as a plot structure is found in Gogol's “Diary of a Madman”, as well as in Sologub's story “In Captivity”.

Here the following type of formula is implemented: A dove with a dove have mercy, Dobrynya shot at a dove with a dove: not two doves mercy, he did not shoot at a dove with a dove, but shot at Marinka in a high tower - he killed Marinka's dear friend.

An example of the implementation of the comparison is in Khlebnikov's play “The Mistake of Death”. The young lady death says that her head is as empty as a glass. The guest demands a glass. Death unscrews its head (IV, 251 pp.).

The realized oxymoron clearly reveals its verbal nature, because, having meaning, it, according to the definition of modern philosophy, does not have its own subject (like, for example, a “square circle”). Such is Gogol's "Nose", which Kovalev admits by the nose, while he jerks his shoulders, is fully outfitted, etc.

In the same way, in a wedding folk song, “... she jumped out, her eyes were blotted out”.

Here a person is a traditional semantic unit that retains all its properties, i.e. petrified.

The abolition of the border between real and figurative meanings is a characteristic phenomenon of poetic language. Often poetry operates with real images as with verbal figures (a technique of reverse realization) - such are, for example, puns.

Symbolism, like a poetic school, is based on the conversion of real images into tropes, on their metaphorization.

The idea of ​​space as a pictorial convention, of ideographic time seeps into the science of painting. But science is still alien to the question of time and space as forms of poetic language. The violence of language over literary space is especially clear in the example of descriptions, where spatially coexisting parts are lined up in time sequence. Lessing, on the basis of this, even rejects descriptive poetry or realizes the cited linguistic violence, motivating a fairytale time sequence with a real time sequence, i.e. describing the thing as it is created, the costume according to as it is put on, etc.

As for the literary time, a wide field for research is the method of time shift. I have already quoted the critic's words above: "Byron began to tell from the middle of the incident or from the end." Or compare, for example, “The Death of Ivan Ilyich”, where the denouement is given before the story itself. Wed "Oblomov", where the time shift is justified by the hero's dream, etc. There is a special category of readers who impose this technique on any literary work, starting reading from the denouement. As a laboratory technique, we find a time shift in Edgar Allan Poe's The Crow, which only after completion was, as it were, turned inside out.

In Khlebnikov's work, we observe the realization of a time shift, moreover, naked, i.e. unmotivated.

Panov - The combination of inconsistent.

Combination of incongruous

The Symbolists saw the world through a special “poetic figure” - a symbol. Comparison, like a scale, has two cups: that which is compared and that with which it is compared. If “what with what” is given, and “what” is left for the reader to guess, then this is a metaphor. Finally: a symbol is a metaphor with an unlimited number of interpretations. The understanding of what is being compared is left to the will of the reader, and the poet does not hinder her in any way.

For the Symbolists, the “poetic figure” turned out not to be an ornament, but a way to see the world, to build it in poetry. It is she in the textbooks - the "poetic figure", and in poetry she is the eye.

The poems of the first Symbolists - for example, Sologub, Balmont - are based on the lunar column of interpretations; the interpretations are semantically close, they are next to each other ... Let me remind you of the poem "Angel of Good Silence" by F. Sologub, one of the summit creations of Russian Symbolists:

Angel of good silence, Quiet subduer of passions, There is no crown, no radiance Above your head. Mildly lowered eyes, Thy camp was enveloped in darkness, Thin moisture of the night Wind two light wings ... ... In the difficult days of fatigue, In the night of powerless worries You rejected thoughts From inaccessible roads.

If we agree that the interpretation of this poem can be expressed in words (this is probably so), then a number of these interpretations will turn out to be endless: “The Angel of Good Silence” symbolizes creative will, rejection of the world of vanity, inner focus of faith, overcoming loneliness, poetry, devotion friendship, the achievement of peace of mind, creative purposefulness, moral search ...

The younger Symbolists - primarily Blok and Bely - saw a world that allows for sharp differences in interpretation. Blok's stranger is both the embodiment of Vladimir Solovyov's philosophical insights, and the one whom Blok loved, and his faith in man, and the tragedy of human loneliness ... about Christ; Son of Man and is a statistically definite detail of Russia:

I forgot. I ran. I'm free. The distance is fogging with a pale downpour. Lonely, poor field. Lonely outstretched into the distance. ... I ascend in bad weather, I face, brightened like day. Let the loving ribs crush My black, light shadow! Let my clothes be torn in the thorny, scourging rods. Rest on pathetic rags Kisses of the cold dawn ...

So, among the younger Symbolists, the goals of interpretation began to change. They show abrupt transitions from one interpretation to another.

Either because the river became turbulent, or the clouds rushed across the sky in a whirlwind - but the lunar pillars of interpretations began to intersect and coincide. And many different “that with which” (images given by the text) began to rely on the same series of interpretations, on one lunar pillar.

And the growth of hooliganism in Russia, and the unusually shining and long sunsets over Vasilievsky Island, and the prophecies of the mystics, and the growth of the strike movement, and the fury of the sectarians, and rasputinism, and the riot of floods and thunderstorms, and fires on estates, and vague predictions of the ancient prophets - all this was accepted by the poets as signs that the world, Russia, were brought to some edge.

Which edge is this? The interpretation of the image among the younger Symbolists, as already mentioned, was contrasted and multivalued, the lunar column was crushing and oscillating. Likewise, their tragic insights included a different understanding: alarming phenomena of the world were signs of the approaching end of the world, or revolution, or the second coming of Christ, or the death of humanism, or the rebirth of Russia, or a new invasion of the Huns, or the coming of the Kingdom of God.

They became a sign of the same series of interpretations: outbursts of hooliganism - and sunsets over Petersburg, strikes - and divinations of antiquity ... They all rely on the same column of interpretations, vague and mobile, like any lunar column ... Therefore, they themselves these, such incompatible images were brought together in one row, unexpectedly and bizarrely united in the poetic visions of the Symbolists.

In Blok's poem:

Today the folds of the shirt hung ugly. The most terrible thing in the room was a red chest of drawers. ‹. ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ›... In the open azure A thin hand spread a thin cross ... -

and the miracle of the cross, and the red chest of drawers - evidence of the impossibility old life, evidence of the edge.

Andrei Bely (for example, in the poem "Christ is Risen") has the same mixing of the real-terrible and the universally miraculous. In one row, incompatible, different objects become - as signs of the same multi-meaning entities.

So, two changes in the structure of the symbol: the number of interpretations becomes more heterogeneous, internally conflicting; very different images are based on the same understanding, and this allows them to be brought together, put side by side. The heterogeneity of a number of interpretations is carried over into a number of textually combined images.

As you can see, social reality was assessed by the poets of this circle (often deeply and insightfully, for example, in the works of Blok and A. Bely) according to the laws of the poetics of symbolism.

As a result of the changes, the poetic system of symbolism was brought directly to the line beyond which the poetic world of futurism begins.

It is not only in the figurative system that symbolism continues with futurism; the phonics of A. Bely in his book "Ashes" is already futuristic. This was convincingly written by V.V. Trenin and N.I. Khardzhiev. And no less convincingly said V.V. Mayakovsky: “I read all the latest, Andrei Bely. Disassembled by the formal novelty. But it was alien. " Yes, alien: the poetic system was brought to the line: it had to be crossed.

The eye of symbolism is a symbol, a metaphor with an unlimited number of interpretations. And the eye of futurism? The key poem for us will be "They understand nothing" by Mayakovsky:

He went to the hairdresser, said - calm: "Be kind, brush my ears." The sleek hairdresser immediately became coniferous, his face stretched out like a pear. “Crazy!” “Redhead!” - The words jumped. Swearing rushed from squeak to squeak, And do-o-o-o-lgo giggled someone's head, pulling out of the crowd like an old radish.

This was a revelation. Simple words, offensive - and such a response! It turns out they lose their temper. Raging. It turns out there is power here. We must tame her.

Let's call such a construction “shift”. Shift is the connection of the incompatible. For example, the words: "brush my ears." A shift is possible in the verbal structure of the work, in its rhythm, in rhyme, in the figurative system.

There is no such poetic figure in the curriculum lists. It could be placed somewhere near the oxymoron. Oxymoron combines opposites: “I love the magnificent wilting of nature” (AS Pushkin); “Look, she has fun to be sad / So smartly naked” (AA Akhmatova). But in an oxymoron context, a situation reconciles incompatible meanings. Their hostility to each other is tormented for an instant, and immediately comes calm: yes, there is really no collision!

Shift is an implacable, rebellious oxymoron. It does not bode well for reassurance.

A shift exists as a shift if it is not motivated. Let the situation disclosed in Mayakovsky's poem "They Understand Nothing" find the following explanation: "He said, comb my ears, because you were drunk," or: "made a slip," or: "joked." The tension of the shift disappears, the shift itself disappears.

The real shift is justified only "from the inside", by the structure of the work. It is it that, with its poetics, requires a shift. There is no excuse “from outside”.

Every poet takes any means, if they are needed for a poetic work: but among them there is a dominant; it determines the style of the work, that is, the view of the world. Khlebnikov, Mayakovsky, Kamensky, Kruchenykh, Aseev, Pasternak, Petrovsky looked at the world through a shift. It was their eye.

The emotional power of the shift is beyond doubt; Recall: “And before-oh-oh-oh-olgo someone's head giggled ...“ But is it possible with the help of a shift to fully reflect real world? Doubts can be at least partially dispelled by such a comparison. If you approach the matter abstractly, without referring to the reality of art, then you will be surprised: how can a violin concerto, how can the sounds of a violin adequately convey the diversity of life? The practice of art removes this doubt. Obviously, art, poetry, including, specifically, in its own way, expresses the world; if the symbol could become a sign of great social unrest among poets, then perhaps the shift is capable of expressing the richness of life. This article is an attempt to show this.

The shift is internally tense. On the one hand, it is a combination, integrity. On the other hand, in its composition there are such parts that are torn from this unity, strive apart. The contradictory nature of the shift is realized in different ways by different poets. Let us briefly compare Khlebnikov with Mayakovsky, his closest neighbor in the world of poetry.

In Khlebnikov's work, the shift is plastic: the parts flow into one another (while maintaining their mutual repulsion), the emphasis is on the fact that very different things are necessary for a given unity; the forces of separation are strong, but centripetal forces dominate them.

In Mayakovsky, the shift is represented by a poetic system, where breaks, breaks, and distances are sharp and definite. The unity within the limits of the shift is preserved, but not due to the all-encompassing flexible plasticity, but precisely due to the distance: if a gap is declared, then it is clear that it is between this and that - between the entities that created the gap. The gap itself is the guarantor of unity.

Let's make a comparison. The word is a natural example of the combination of the incongruous. Its basis is directed to reality, to the world: it names everything that is in reality and in the consciousness of a person. The base is the focus of the lexical meaning of the word. She looks outward into what is not the language, but the language is reflected. The end of the word is addressed to the speech itself: it shows the connection of words, it is needed for the construction of a sentence. And these so different neighbors can be mated in different ways.

In agglutinative languages, one is sharply and categorically separated from the other. Complete definition of the border, clear separation of all parts of the word.

In fusional languages ​​the same deep specification of the ending base is given, but the border between them is plastically softened, it is blurred; one part of the word flows into another - with the same fundamental difference.

Mayakovsky's poetics is agglutinative, Khlebnikov's poetics is fusional. This leads to a number of substantive differences, which will gradually become clear in the course of the article.

While some believe that if you wear trousers with sneakers, then this is a sign of bad taste, others, on the contrary, are sure that this is quite acceptable and practical style clothes. Therefore, designers, responding to emerging needs, exhibit at various shows fashionable clothes, its more and more new developments with this creative, supposedly incompatible element of style.

How to combine incongruous, or how to combine trousers or suits with sneakers?

This review is intended for those who still have doubts about the unusual combination. sports style shoes with business or official style clothes, how to wear and what are the nuances of the wardrobe for the right combination not previously combined. Moreover, such doubts are widespread among both the female and male parts of both the youth and older audiences, which are trying to follow fashion.

History of the issue

Any fashion originates from the so-called street environment or, as fashion designers call it in their professional slang: fashion street... And the first "swallow" of such an unusual combination of trousers with sports shoes were wedge sneakers for women. At first it was a combination of narrowed, then loose trousers with sneakers.

Over time, this combination expanded its influence to strict trousers, to trousers equipped with arrows, and eventually came to strict suits. classic style... Moreover, if in this case it is said about sneakers, then this is already, not at all sport shoes, which we are accustomed to seeing on athletes, is now called sneakers a huge number of shoe models, which are very far from its sports purpose.

Color solutions

As for the color of shoes, from the very beginning its choice is carried out both to match the color of the top, clothing, to the tone of trousers or various details of the wardrobe, and in the opposite combination - it all depends on the taste of the one who creates his image. The same democratic attitude remains with the choice of shoe material, from lacquered leather surfaces to suede and even textile materials.

Important! The choice of an image should start with the choice of a shoe model. For example, one that is offered in the shopping club catalog https://leboutique.com/catalog/men/athletic-shoes. And then the rest of the attributes of the image are matched to the shoes as the main element of the style. Although this advice is purely advisory in nature.

How to wear and what to combine with?

As a rule, sneakers are the only subject of the image that is related to sports, however, this does not mean that you need to focus your attention on sporty image... It can be both business and romantic, and, moreover, with a light and gentle coloring of romance.

The style of clothing largely depends on the purpose of the wardrobe. For example, for everyday wear with sneakers, skinny pants or ankle-length cropped trousers are suitable. In order to go to a party, girls may opt for leather pants.

As for the top, it depends on both individual preferences and anatomical features figures. Therefore, the top of the clothes can be either in the form of a top, or a T-shirt, or in the form of a blouse, or a sweatshirt. They can be decorated with crypts and even lace for girls. And in the form of the same T-shirt or vest with different prints - for guys.

Important! For girls and women in a cool period of time, oversized coats of knee length are most suitable for sneakers. As for short clothes, it is leather jackets- leather jackets and so-called bombers.

Other most spectacular images

Regarding the showiness, then, for girls:

• these are white, classic sneakers with black wide trousers and a biker jacket, which is not a memorable image of urban style;
• black skinny pants with a white tank top and jacket, for example, sand color in combination with sneakers. This image suitable for almost any life situation- even for a date, for a party or for going to the cinema;
• is an ensemble that combines sneakers with a classic-style jacket and trousers made in strict style dark blue color scheme. You can even go to work in it without fear of breaking the corporate dress code.

Another example for those who prefer the classics. We choose strict trousers, no matter what they are, straight or cropped. We put on either a blouse or a shirt, and we tuck them into trousers, only in the front. As a result, in combination with sneakers, dynamism and ease of the image are provided.

Moreover, if the top is supplemented with a jacket or jacket, and in cold weather with a long English coat, then this is great for both a daily and a festive look.

If you are interested, what is an oxymoron then this article is for you. often sound very beautiful. The term in question, most likely, belongs to just such a category. Let's take a look at its etymology.

Oxymoron or oxymoron comes from the ancient Greek οξύμωρον, which literally means "witty-stupid."

In principle, it is already clear from the definition itself that this is a kind of contradiction. After all, if this or that word is witty, then it cannot be at the same time stupid.

However, this is the essence of oxymoron.

By the way, the stress in the word has two valid options, on the second and last syllable: Oxymoron and Oxymoron. Moreover, it is quite allowed to pronounce and write this term through the letter "and": oxymoron.

For clarity, we will give such examples.

Examples of oxymoron

1. Bigger half (if it is half, then it can no longer be more or less)
2. Living Dead
3. Dry water
4. old New Year
5. Deafening silence
6. Original copies
7. True lie
8. Impudent modesty
9. Well-bred boor
10. Dexterous muddler
11. Silent scream
12. Sworn friend
13. Public secret
14. Honest politician (subtle irony)
15. Swiss refugee (and this is quite for a witty person)

In short, you already understood that an oxymoron consists, as a rule, of two words that contradict each other.

It is important to note here that it is precisely such paradoxical expressions and phrases that attract the attention of our brain. This business is successfully used by talented advertisers and marketers.

Surely you know very popular films, the names of which are in pure form oxymorons. For example: " An ordinary miracle"," True Lies "," Back to the Future "," Married Bachelor ", etc.

Oxymorons in book titles

There are also many works in the literature that have the names of oxymorons:

1. "Living Dead"
2. "Living Power"
3. "Honest Thief"
4. "Dead Souls"
5. V. Vishnevsky "Optimistic tragedy"
6. "An ordinary miracle"
7. D. Galkovsky "Endless dead end"
8. L. Martynov "Rich beggar"
9. L. Gurchenko "My adult childhood"

Once you have mastered the meaning of the word "oxymoron", you can successfully use this concept when communicating with people. After all, this figure of speech stylistically decorates the conversation, giving to the speaking person the effect of a talented storyteller.

Oxymoron in literature

Note that oxymorons are often used by poets to embellish the sublime flight of a poem with casual contradiction. Here are some literary examples.

, "Poltava":

And the day has come. Gets up from the bed
Mazepa, this frail sufferer,
This corpse is alive, yesterday
Moaning weakly over the grave.

, "Soviet Russia":

, "Tsarskoye Selo Statue":

Look, she has fun to be sad

Such smartly nude.

, "Poor and smart":

Restless tenderness of a look,

And the fake paint sticks

And the wretched luxury of an outfit -

Everything is not in her favor.

, "From Karamzina's Album":

But their ugly beauty

I soon grasped the mystery

And I got bored of them incoherent

And a deafening tongue.

Well, now you not only know what an oxymoron is, but you have also met the most outstanding examples from world literature.

For dessert, we suggest looking at a magnificent, delicate and exquisite oxymoron in the form of a picture:

To fix this smart word in his vocabulary, use it a couple of times at home.

How to do it?

Well, for example, mom or wife will cook you food. After tasting the food, say gently: “Terribly delicious!”.

If there is no reaction, then try calmly but solidly to ask the question: "Well, how do you like my oxymoron?"

Believe me, admiration for your mind will not keep you waiting!

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