EXPLANATION OF THE LANGUAGE FEATURES OF A WORK OF ART

ISSN: 2582-4686 SJIF 2021-3.261,SJIF 20222.889, 2024-6.875 ResearchBib IF: 9.948 / 2024 VOLUME-5, ISSUE-12 145 EXPLANATION OF THE LANGUAGE FEATURES OF A WORK OF ART Shukurova Bahor Boltayevna-Senior Lecturer, Termez State University of Engineering and Agrotechnology, (PhD) Annotation Linguistic features of a work of art are often studied by linguists. Since a literary text is a separate poetic system, its structure is formed on the basis of the criteria and laws of artistry. Therefore, the language of a work of art passes from one semasiological system to another. The article analyzes the linguopoetic features of the narrative genre based on the stories of Shukur Kholmirzayev, Erkin A’zam, and Nazar Eshonkul. Keywords: storytelling, linguopoetic features, semasiological system, narrator's speech, hero and character speech, dialectism. Linguists often study the linguistic features of a work of art. Since a literary text is a separate poetic system, its structure is formed on the basis of the criteria and laws of artistry. Therefore, the language of a work of art moves from one semasiological system to another. The famous structuralist and semiotician Roland Barthes called this the “second semasiological system”. In this poetic area, the concept in the language system is radically transformed and transformed into a form. This form, saturated with the content of the text, gives rise to a new concept. This is no longer, as has been said, a concept in the linguistic device, but a new concept that arises from the essence of the literary text and serves to reveal its overriding concept. This unique philological phenomenon is studied not only by linguists, but also by literary critics. Before starting the process of studying the language of a work of art, first of all, it is necessary to distinguish between the following two literary and poetic phenomena: 1) the narrator's speech; 2) the speech of the hero and characters in the work. Although these speeches included in the literary text are created by the same author, they differ significantly from each other in terms of syntactic structure, vocabulary (word composition), and style of expression. The narrator's speech differs in a number of features not only from the characters, but also from all the author's speeches outside this text. This is because each literary text is an independent artistic field, and its general spirit, the dominant worldview in it, influences not only the poetic and ideological construction of images, but also the speech of the narrator and characters. It forces them to speak and communicate in the "language" that is necessary for them and helps to reveal their artistic concept. This indicates that the text is a separate literary and poetic phenomenon that is independent of the author's will and personal points of view. When inexperienced or talented writers write about a region, they use dialect words excessively in order to give it a “local flavor”. In particular, dialect words are used one after another in the characters’ and sometimes even in the author’s (narrator’s) description. This is certainly not the right way. Firstly, the norms of the literary language are violated, and secondly, it becomes difficult for the reader to understand such a work. ISSN: 2582-4686 SJIF 2021-3.261,SJIF 20222.889, 2024-6.875 ResearchBib IF: 9.948 / 2024 VOLUME-5, ISSUE-12 146 After Abdulla Qodiriy, most writers who entered the field of national creativity also followed the path set by the master artist in using dialect in their works of art, that is, they used non-literary units characteristic of dialects only in very necessary places. We can clearly see this feature in Shukur Kholmirzayev’s story “Khorazm, my soul”. In this work of about nine pages, only five dialectisms are used. However, those who communicate in the Oguz dialect of the Uzbek language usually use dialect words more during a conversation. Nevertheless, the author in this work only introduces a limited number of dialect words into the speech of the central character in necessary places to emphasize the territory to which the hero belongs, as well as to more deeply express the narrator's character and psyche. Sh. Kholmirzayev. E. A'zam. N. A number of stories written in the years after Eshonkul's death are presented in the form of gurung, that is, an address to an interlocutor or a letter. An examination of these gurung-stories in terms of artistic language reveals the following features in them: I. The text usually uses simple sentence constructions: “Papay’s tooth ached. He was lying down and grinding his teeth. What we call Papay is a small boy, five years old. His real name is different, Papray is his nickname. He himself was the reason for this nickname. When he was young, he walked in his grandfather’s yard, slept with his grandfather, and stood with his grandfather.” (Erkin A’zam. “Toothache”).[1] II. The narrative is not addressed to all readers, but to a specific interlocutor or narrator himself, sometimes to a specific character in the work; Often the narrator tells his story in the form of an address to some (unknown to the reader) interlocutor: “Were you surprised to see my complexion? My illness is not contagious. Autumn has come. Ah, what a beautiful season. The season beloved by poets. Do you like Abdulla Oripov? I like him very much.” (Shukur Kholmirzaev. “Humor”).[1] III. Since the narrator's story is in the form of dialogue, it uses incomplete and simple compound sentences, inversion, typical of "living language": " Was this a dream? When will you wake up? This was not the end of the dream. This was its beginning (Nazar Eshonkul. "Free Birds"). IV. In the text of a work of fiction, including the story, there are means of communication typical of living speech - barbarisms, dialect words, vulgarisms, words imported from other languages or some linguistic units, pronounced in pairs or involuntarily. In short stories, these can also be found in the narrator's statement: "I entered Rayzdrav. Then I entered Oblzdrav. I entered Gorzdrav. Snow. Ice. My car's tires are so luxurious. My creativity has been lost” (Shukur Kholmirzaev. “Ustoz”).[3] This piece of fiction uses foreign words (barbarisms) that are not accepted for the literary language: rayzdrav, oblzdrav, gorzdrav. In fact, it should have been in the form of district health department, regional health department, city health department. V. The presence of irony and alliteration in the speech of the narrator and characters. Irony and alliteration in the speech of the narrator are used relatively more in several short prose works by Erkin A'zam. "Yes, after you eat your soup, you can even tolerate the smoke from the stove, brother! We will endure, we will endure, our ears have already gotten used to it. If a person stops whining for just a moment, it seems like he has lost something. This is also a blessing of the neighborhood. Okay, if he whines, ISSN: 2582-4686 SJIF 2021-3.261,SJIF 20222.889, 2024-6.875 ResearchBib IF: 9.948 / 2024 VOLUME-5, ISSUE-12 147 let him whine, if he howls, let him howl. If he becomes a puppy, he whines — that's his duty. It's good to go back — the times are tough, all kinds of foreign copies can't reach these parts. Be wise!"..[4] The study of these small prose works shows that the presence of irony and sarcasm in the speech of the narrator and characters is primarily related to each creator's attitude to life and humanity, his tendency to satire, his personal and unique style, as well as the literary method in which they created. This phenomenon can be clearly seen in the stories of Shukur Kholmirzayev, Erkin A'zam, and Nazar Eshonkul. In general, each literary text is a poetic territory with its own independence. Its general spirit, the dominant worldview in it, influences not only the poetic and ideological construction of images, but also the speech of the narrator and characters. It forces them to speak and communicate in the “language” that is necessary for them and helps to reveal their artistic concept. This indicates that the text is a separate literary and poetic phenomenon that is independent of the author’s will and personal points of view. The study of literary works, which are the object of our work, from the point of view of artistic language provides the basis for arriving at such a generalized view. Observations on modern narrative poetics show that in recent times there has been a certain increase in the number of works in the form of a chorus. Such small epic works have the following features: 1) the text usually uses simple sentence constructions; 2) the narrative is not addressed to all readers, but to a specific interlocutor or narrator himself, sometimes to a specific character in the work; often the narrator tells his story in the form of an appeal to some (unknown to the reader) interlocutor; 3) since the narrator's story is in the form of a dialogue, incomplete and simple compound sentences, inversion, characteristic of "living language", are used in it; 4) the narrative text contains means of communication characteristic of living speech - barbarisms, dialect words, vulgarisms, the involuntary or distorted pronunciation of words or certain linguistic units imported from other languages. In short stories, these may also appear in the narrator's narration. REFERENCES 1. Bart R. Selected works (semnotics, poetics). – Moscow: Progress, 1989. – 616 p. 2. Nazar Eshonkul. Yalpiz hidi. – Tashkent: Sharq, 2008. – P. 386 3. Erkin Azam. Shovkin. Novel, story, stories. – Tashkent: Uzbekistan, 2011. – P.26. 4. Shukur Kholmirzaev. Selected works. Volume 2. – Tashkent: Sharq, 2005. - P. 87. 5. Shukurova B. Dialectism in modern Uzbek storytelling. Republican scientific and practical conference on the topic "Modern issues of terminology and dialectology". 2023, pp. 223-227 6. https://ziyouz.uz/ozbek-nasri/erkin-azam/erkin-azam-aralashqorgon-hikoya.