COMPARATIVE ANALYSIS OF FOREGROUNDING IN ENGLISH AND UZBEK LANGUAGES

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1 COMPARATIVE ANALYSIS OF FOREGROUNDING IN ENGLISH AND UZBEK LANGUAGES Achilov O. R. Uzbekistan, Tashkent city, Tashkent Railways Engineering Institute, teacher of FLD ARTICLE INFO Received 05 March 2018 Accepted 20 March 2018 Published 12 April 2018 KEYWORDS convergence of stylistic devices, defeated expectancy, coupling, contrast, intertextuality, foregrounding, literary text, anthropocentric paradigm, extra-linguistics issues, author's world picture, cognitive linguistics, linguo-culturology, linguo-pragmatics, communicative linguistics and others ABSTRACT The work is devoted to identify the topicality of the work and determine insufficient knowledge of foregrounding in the literary text of Uzbek language, as well as the fact that the study of cognitive significance stylistically marked units and their role in a literary text is one of the urgent problems of modern style. This is due to the fact that the stylistic means hitherto mainly been studied in traditional terms, from the viewpoint of structural and semantic stylistic characteristics. However, the turn in anthropocentric paradigm led to the consideration of topicality in terms of their cognitive functions, as well as their role in the conceptualization and categorization of information about the world. The main objects are researched in the article: The convergence of stylistic devices, defeated expectancy, coupling, contrast and intertextuality are means of foregrounding in the literary text and it s been pointed as the main subject of the work is stylistic and cognitive functions of foregrounding categories in the literary text The Author. Integration of Uzbekistan in the world and international community, the speed of development of international, economical, political and cultural relations suppose global outlook in language study and teaching of foreign languages. Deep knowledge of foreign languages means not only mastering a language practically, but also study of its theoretical basis and up-date them with a new upcoming rules in order to be adequate with the recent period of language utilization, furthermore to push forward some novelties for future generation. In this plan the science of linguistics and cognitive linguistics are considered to be the main factors of mastering a language, development of education and qualification of personal depend. In modern stylistics the problem of cognition in every language is being more or less studied. And the cognitive stylistic interpretation of literary works is of great interest in modern linguistics. Traditional stylistics is the study and interpretation of texts from a linguistic perspective. As a discipline it links literary criticism and linguistics, but has no autonomous domain of its own. The preferred object of cognitive stylistic studies is literature, but not exclusively "high literature" but also extra-linguistics issues or other forms of written texts such as text from the domains of advertising, culture, politics or religion. It is always very difficult to advice on what to read how to cognize for people from different cultures. One never knows what will interest other people: fiction, drama, essays or books on travel. And it depends on the author s pen to make his work interesting and valuable. Here the role of writer or messenger and reader or receiver is great to tackle with the significant issues of foregrounding and moreover it is highly important to analyze them in different languages for outlining the similarities and discrepancies in English and Uzbek literary text comparatively. In the framework of modern linguistic paradigm, defined as anthropocentric, linguo- cognitive idea of human activities increasingly based on an awareness of how one feels, develops, evaluates the world and their experience of interacting with the world as it prepares experience through text education. In this regard, at present, more attention is paid to the study of generation and perception of the literary text and active development issues of individual author's worldview. Text as a structural 4(22), Vol.5, April

2 semantic whole, as the product's speech activity represents a fragment of a conceptual picture of the world. Therefore, one of the main problems of the analysis is to determine the literary text peculiarities of speech means, verbal signals, which finds its expression individually authors worldview. In this regard, the study of stylistic devices in the modern scientific paradigm is increasingly attracting the attention of modern scholars, as stylistic devices were one of the main markers of conceptual information embedded in the foundation of any work.[1] The practical value of work lies in the fact that the research category of foregrounding opens up new possibilities in front of practical stylistics, both in terms of general education, and in respect linguo-stylistic analysis of literary texts and their interpretation. Referring to Uzbek poets work, we may see that Rauf Parfi in the poem Tong otmoqda cites such great couple of words not only to describe the nature but also alive it with essence of beauty and charm whereas these type of features are the main characteristics of human being. As he used it with high touching sense so the readers can perceive the whole emotion of sun-rise and sun-set situation as they are in the very place by themselves. Through the lines you also may see it : Tong otmoqda,tong o qlar otar, Tong otmoqda, Quyosh- zambarak. Yaralangan Yer shari yotar, Boshlarida yashil- chambarak. Mainly, the poet used personification to cover all that charming moment of the nature by transferring humans feature to the nature. As we see, in the first and second lines the coupling word is Tong used twice in order to claim reader s attention to sunrise moment. Furthermore, the next lines kept the same descriptive feature to continue sunrise effect by using the words Yaralangan yer yotar, Boshlarida yashil chambarak. The rhyme of this poem is in type of a-b-a-b or rhymed words are: otar-yotar; zambarak- chambarak. But the word game or pun is also main feature of these lines and only sensitive reader may consider the implicit meaning of this poem.(it shows that is high time to resist or uprise against enemies, social problems and illegal governmental events). S. Levin demonstrates his method by analyzing XXX sonnet by Shakespeare. We will use his method with some additions necessary for disclosure of the contents, in an example let s look at the sonnet LXX III: That time of year thou mayst in me behold When yellow leaves, or none, or few, do hang Upon those boughs which shake against the cold, Bare ru in 'd choirs, where late the sweet birds sang. In me thou see'st the twilight of such day As after sunset fadeth in the west, Which by and by black night doth take away, Death's second self, that seals up all in rest. In me thou see'st the glowing of such fire That on the ashes of his youth doth lie, As the deathbed whereon it must expire Consumed with that which it was nourish'd by. This thou percievest, which makes thy love more strong, To love that well which thou must leave ere long. (W. Shakespeare. Sonnet LXXIII) Shakespeare again and again turns to thoughts of death and clothes them according to the traditional division of the sonnet into three quatrains and a couplet of three consecutive metaphors and generalizing ending. Three equivalent images occupy equivalent positions in each sonnet - a quatrain. In the first quatrain fading of man compared with the autumn. The second - with the evening twilight. In the third - with fading in the hearth fire. Main coupling, covering the whole sonnet is that each part begins with the words "you see in me", followed by poetic view as extinction of life, syntactically additions in positions. Thus, periodic equivalent positions created in a conventional frame of composition sonnet. Sonnet tradition prescribed and coupling expressed in rhyme scheme. Inside of the main coupling has a more privilege. So, in the main sentence: "you see in me" position of the verb occupy synonymous, i.e. the equivalent in the code of verbs: behold, see, perceive. The position of the direct object of the verb is placing exactly the phrase: that time of year, the twilight of such day. Semantic equivalence of elements of similar structures is fairly obvious. Turning to the next example in uzbek literary text we may come across to a number of features which is characterized with the coupling to describe the events or situation, to characterize the hero or 24 4(22), Vol.5, April

3 to build their image in uzbek national folklore. Mostly, there is 2 type of folklore writing ( nasr -prose and nazm -verse). Go ro g lining zo r deb ta rifi ketgan, Zarbasi toshdan o tgan,qilichining ishlovi yetgan, Tekkan omon qolmasin deb zaharning suvin yalatgan. This passage is taken from uzbek national folklore Go ro g li and we may see the written way of this passage is called nasr (or prose) in Uzbek literature. In national folklore this type of writing in nasr has also very specific role to increase the descriptiveness of the text, to specify the emotional moments or sensitive acts in literary text. Proceeding from this point, the verbs: ketgan, o tgan, yetgan, tekkan, yalatgan- they served as the rhyme of this passage and they spread over the sentences. Mostly, in both literatures as in English the same as in Uzbek, the rhyme is featured to come at the last part of every sentences or poems. But sometimes in Uzbek literature it is quite possible to notice the rhyme in every part or place of prose and verse. To confirm as well as to follow the said above issues, we would like to illustrate one more extraordinary example for coupling in Uzbek literature whereby all rhymes and coupled words spread over the poem again. Table 1. Ul sho xki ochildi xat-u Ruxsori Ochildi rayohinda yuzi Gulnori Xat-u yuzi besabr-u qarori man man Ruxsori gulnori man man Zori (Ogahiy) The poem is written by Ogahiy, in the style of Musoviyattarafayn (ikki tomonlama teng,bir xil) which indicates the same in both sides as horizontal and vertical lines are repeated in Uzbek literature. By analyzing the poem, we may state that the first horizontal line- Ul sho xki ochildi xatu ruxsori; is repeated in vertical version and these words are used as the starting words for the next lines. But not only the first horizontal line repeated in it. If we have a sight on Ogahiy s poem deeply, we may see the whole structure of this poem is constructed on the same writing as horizontal lines are repeated the same as vertical. While you read the poem either vertically or horizontally you can get the meaning of poem completely without missing any words, because all words are repeated twice according to author s writing. The rhymed words are: ruxsori, gulnor, besabr-u qarori,zori. As usual the rhyme used at the end of each line, besides them the repetition and parallel structure : ochildi the second word of first line repeated and served for starting the next line with ochildi again or the third word: xat-u repeated for starting the third line and definitely fourth word: ruxsori repeated in the last line. Each repeated words stress and highlight descriptive meaning by hinting to push the hidden meaning to foreground. Effect of coupling in the poem sustained convergence of other techniques as: repetition and parallel structure, antithesis, anaphora, alliteration, pun etc. The author s conceptual world picture indicates knowledge structures which concerns above-mentioned SD. Like a chain, all lines are connected to each other by this way of taking the word from first line and starting as well as continuing it in another line made the poem easy readable, more attractive and very memorable. Reader may imagine what comes later and this style helps to predict the next lines as well. This style is rather challenging to realize in writing, moreover it requires from writer a lot of experience, a great pen and brilliant knowledge in writing. This feature is quite rare to notice in English literature, but still in Uzbek literature we may face this type of coupling poems. The coupling modified and reached very grandiose form in Uzbek literature. It is possible to notice a number of selected, analyzed passage of English and Uzbek literary text for the sake of foregrounding respectively. Comparative analyses of common and distinctive features of foregrounding in English and in Uzbek L.T. eases the outline of the main basic interrelated point to link and observe the notion of foregrounding for both of them similarly. Furthermore, it gives a hand for the reader/ receiver to perceive the explicit and implicit information of the text more detailed in literary works. 4(22), Vol.5, April

4 The main criteria of Russian scholars in perspectives of foregrounding is the basic issue to emphasis in the paper. Obviously, the foregrounding regarded as a cognitive method to put forward the important information and it functions as "key" in the interpretation of text, " and moreover we stated that foregrounding facilitates the search of information by drawing attention to certain parts or details of the text " basing on D. U. Ashurova s point of view.[2] In Conclusion, we observed Cognitive linguistics is an interdisciplinary linguistic discipline, learning and exploring features of information processing methods of mental representation of knowledge through language. From the perspective of cognitive linguistics, language is seen as a means of creation and expression, storage and organization of knowledge in the human mind. Cognitive Linguistics explores the mental processes that take place in the perception, understanding, and therefore knowledge of reality, consciousness, and the types and forms of their mental representations in their linguistic reflection. At the present stage of development of C.L, identified its areas such as: cognitive semantics, cognitive grammar, cognitive stylistics. Cognitive stylistics is a rapidly developing field of linguistics. Many of the ideas and principles of cognitive linguistics are fruitful in stylistic studies. This applies primarily to the position of creative, active and cooperative, creative nature of human language. Cognitive stylistics connects the processes of creation and analysis of literary texts with general cognitive mechanisms of human consciousness. C.S. covers a wide range of issues, which include problems of cognitive style of representation of information; problems of conceptualization and categorization stylistically marked units; cognitive theory of metaphor; cognitive principles and perception of the text; theory of foregrounding, figure and ground; conceptual integration theory; theory of mental spaces, etc. Convergence of stylistic devices, defined as a cluster in one place several stylistic devices, is a means of enhancing expression consisting in concentration in any particular place in the text visual beam and means of expression, involved in the same stylistic features in order to create the effect of a greater artistic force. Convergence of stylistic devices, the defeated expectancy, coupling and contrast in a literary text have a large number of functions performed by stylistics. Common stylistic feature is the expressive function, and the ability of the before mentioned types of foregrounding to attract and hold the attention of the recipient for the section of the speech, which implements the interaction of stylistic devices. Besides expressive features inherent constantly convergence of stylistic devices and performs the following:1- descriptive function - the function of literary-shaped specification of depicted personage;2- characterological function - the function of the narrative voice characteristics of the subject (author, narrator) or character. This function plays an important role in revealing the conceptual information text using a character, his behavior, revealing the motives behind his actions. Analysis of this function helps the reader to penetrate into the inner world of the character, understand his thoughts and explain his behavior. 3-emotionally expressive function strengthening function of emotions (feelings, moods), emotional evaluation or emotional state of the subject of the narrative or character. Typed implementation of this stylistic function: strengthening specific emotions, emotional evaluation or emotional state.4-image bearing function- to create imagery - this feature is one of the main functions in stylistic literary text, as it is the image division distinguishes literary from non-literary text. Through analyzed passages in the researching work, it is possible to admit here as conclusion that cognitive principle of foregrounding as contrast and intertextuality are means of revealing conceptual features in English and Uzbek literary text have resemblance of description and perception of these notions in both compared LT. But differentiating points are also noticeable in the work and one of them is very significant to highlight that the usage place of foregrounding types as coupling, contrast and intertextuality are dissimilar in English and Uzbek L.T. Basically, coupling treated as a device for connecting parts of LT with the help of repetition, parallel structures and rhymed words; contrast is established having a position on the other or further side of something like opposite side of this or that point and the source of the contrast became antonyms, stylistic devices like antithesis, oxymoron and etc; the intertextuality is stated the relationship between literary texts. Overall those all mentioned cognitive principles of foregrounding accepted similarly in the very meaning in both compared English and Uzbek LT.However the resistance occurred in the place of usage in the LT. The usage place of coupling, and contrast in Uzbek poems is incredible and unpredictable. The coupling and contrast can be mentioned at any place of the poem or prose, even in horizontal or vertical lines. Hereby we may point out the results of study is differentiated on the level of structures, but semantically the cognitive principle of contrast, coupling and intertextuality have resemblance in both English and Uzbek LT. 26 4(22), Vol.5, April

5 Literary text is a reflection of the author's personality and language represents the author's view of the world individually. Choice of linguistic resources in a literary text is a represent means of author s outlook. Analysis allows us to draw conclusions about what the principle of cognitive advances in the literary text function mainly in the areas most important to the story, namely the culmination, concentrated in itself the content of the whole work. This allows us to consider the convergence of stylistic devices, contrast, intertextuality as one of the principles of foregrounding that facilitates the identification of conceptual information of a given work and expresses its general conceptual sense.ary text. REFERENCES 1. Арнольд И. В. Стилистика. Современный английский язык: Учебник / 4-е изд., испр. и доп. - М.: Флинта: Наука, Ашурова Д. У. Стилистика текста в парадигме когнитивной лингвистики // Филология масалалари. Ташкент, С Краткий словарь когнитивных терминов // Е. С. Кубрякова, В. З. Демьянков, Ю. Г. Панкрац, Л. Г. Лузина. Под общ. ред. Е. С. Кубряковой, М.: Фил. ф-тет МГУ им. М. В. Ломоносова, стр. 4(22), Vol.5, April