American Journal Of Philological Sciences
206
https://theusajournals.com/index.php/ajps
VOLUME
Vol.05 Issue06 2025
PAGE NO.
206-209
10.37547/ajps/Volume05Issue06-56
Stylistic Convergence and Idiolect Relationship in
Linguistics
Abdupattoev Muhammadtohir Tojimamatovich
Doctor of Philology (DSc), Professor, Fergana State University, Fergana, Uzbekistan
Received:
23 April 2025;
Accepted:
19 May 2025;
Published:
21 June 2025
Abstract:
The article discusses the formation of stylistic convergence as a result of the combined use of several
syntactic-stylistic devices. This phenomenon is considered a characteristic of the author's idiolect, and the impact
of stylistic changes in speech composition, as well as their influence on the artistic and aesthetic function of
speech, are discussed.
Keywords:
Idiolect, syntactic-stylistic figure, convergence, paradigmatics, syntagmatics, syntactic figure,
repetition, stylistic device, structural parallelism, rhetorical question, anadiplosis, antithesis, contrast.
Introduction:
In recent years, as a result of the
emergence of the anthropocentrism theory in
linguistics, studying the individuality of the creator as a
subject in understanding and assimilating his or her
ideas by the reader is becoming increasingly important.
As a result of such research, the term "idiolect"
emerged and gained popularity in linguistics. The
formation of the concept of idiolect simultaneously
leads to the formation of the concept of a language
personality (the speaker). Sh. Balli writes, "Without
going beyond the scope of language, without paying
attention to its creator, without taking into account the
main carrier of language - the human factor - it is
impossible to come to accurate conclusions about
language and its nature" [1.12]. He also emphasizes
that stylistics is the person himself. Therefore, the
concepts of language personality and idiolect are
closely intertwined.
The concept of a language personality combines
knowledge and ideas from the fields of linguistics and
psychology. The theory of the language personality
studies the information about the carrier of language
and their linguistic characteristics. In the process of
studying a language personality, their idiolect and the
potential of the language of the era in which they lived
or are living become clear. Therefore, great creators
enrich the language of their time with unique units. For
this reason, it is important to study the idiolect of the
creator as a language personality. Studying the
language of an ordinary citizen, a political figure, a
leader, or a creator provides information about their
ability to use language and their speech capabilities, as
well as about their personality. That is why the concept
of idiolect is widely used in modern linguistic research.
Thus, idiolect is a collection of the speech-stylistic
peculiarities of a creator, a publicist, a scientist, or
certain language carriers, through which the linguistic
character of the language personality is realized [2.21].
In linguistics, the concept of idiolect is also used in
works that study the style of a literary work, in the
sense of clarifying the issues of the style of a particular
creator or a particular work.
In research aimed at the linguopoetic analysis of poetic
works, idiolect is defined as a complex system of
linguistic methods and tools that serve to illuminate the
artistic world of the creator [3.137]. This definition
shows that the creator subordinates to the linguistic
laws that are unique to him/her and that he/she alone
follows in the style of choosing words and expressing
thoughts.
Accordingly, as a linguistic term, idiolect is a shortened
form of the combination of individual style and
expresses the meaning of a unique complex of style
that includes the characteristics of a certain creator's
American Journal Of Philological Sciences
207
https://theusajournals.com/index.php/ajps
American Journal Of Philological Sciences (ISSN
–
2771-2273)
use of language. This term is used in scientific works
devoted to the analysis of a literary work, in the sense
of the unique and unique style of the author of the
speech, and includes the meaning of the skill of
choosing words, the syntactic peculiarity of the
author's speech, and the style of conveying thoughts,
which sharply distinguishes it from the style of other
authors.
In this sense, studying the skill of a single author in
creating speech and using the artistic and expressive
means of language is becoming increasingly relevant. In
particular, when studying the author's idiolect within
the framework of the stylistic convergence
phenomenon, which is "based on the combined use of
several stylistic methods and tools for the purpose of
performing a single stylistic function" [4.69], the
researcher achieves their full goal.
METHODS
The term "convergence" was first used by the German
linguist M. Riffaterre, who defines this concept as
follows: "Convergence is a speech phenomenon that
occurs as a result of the combined use of two or more
syntactic-stylistic means for a specific stylistic purpose"
[5.7].
Studying the participation of the stylistic convergence
phenomenon in the composition of literary texts is, in a
sense, one of the linguistic criteria for identifying and
evaluating the author's idiolect.
The essence and relevance of the issue lie in the fact
that studying stylistic convergence at the intersection
of the fields of communicative stylistics, cognitive
linguistics, and anthropocentrism theory helps to study
the main linguistic features of the language personality,
that is, the skill of the author of the speech in forming
the mechanism of creating text (speech) and
influencing the reader in the communication process.
After all, "in linguistic research, an approach to the
issue from the point of view of several fields and based
on the criteria of several fields leads to effective results
in linguistics" [6.112].
RESULTS
Relying on a communicative approach in studying the
author's idiolect creates the possibility for a specific
language personality to determine the speech strategy
as a result of communication with the reader and to
take advantage of the opportunity to choose individual
means for conveying information. This, in turn,
determines the cognitive direction that reveals the
author's large-scale communicative purpose in the
communication process. The use of stylistic
convergence in revealing the communicative purpose
provides the opportunity to fully and accurately use the
impact mechanisms that draw the listener's or reader's
attention to the main information in the text, and
serves to form the text and powerfully convey the
content of the text through stylistic colors.
With the help of the convergence of stylistic means, the
author brings the most important information to the
foreground and emphasizes the meaning of linguistic
units that illuminate the main idea. In this way, in the
author's idiolect, convergence creates a special and
unique image of objective reality by the language
personality, and at the same time, the interpretation of
the text and the author's pragmatic manner are
realized. In addition, convergence also reflects the
speaker's attitude to the addressee and focuses the
reader's attention on the most important information,
linking the parts of the text, ensuring the ease of
reading the text, and the clarity and effectiveness of its
content.
Since one of the main features of a literary text is how
it is received and felt by the addressee, in this case, the
communication act is shaped by the degree to which
the addressee is ready to receive the information
conveyed through the text, the willingness to receive it,
and its attitude to its content. Proceeding from this, the
author of the text faces the task of optimizing speech
cooperation with the reader in the first place. Speech
cooperation in this case means the author's effort to
use various stylistic methods and tools more effectively
in order to ensure the communicativeity of
communication with the reader. In this process, the
author chooses a cognitive path that is specific and
appropriate to the topic being covered in order to
achieve communicative productivity, and achieves the
intended goal in this way. In choosing a speech tactic,
the author implements strategies that reflect the
communicative purpose or pragmatic attitude. All of
these constitute strategic methods aimed at
influencing or changing the reader's worldview and
ideas about the objective world. In this way, the use of
the stylistic convergence method is also considered the
most productive tool along with the above.
DISCUSSION
As we mentioned above, the stylistic convergence
method is based on the combined use of several
syntactic-stylistic figures and means in one text or text
fragment. Through it, the idea is conveyed to the
listener easily, conveniently, figuratively, and
powerfully, and at the same time, stylistic colorfulness
and expressiveness are provided in the speech. This is
especially evident in texts formed by skilled and
experienced creators with fully formed idiolects.
Let's turn to examples:
"Love
–
ember, they say, will fade,
American Journal Of Philological Sciences
208
https://theusajournals.com/index.php/ajps
American Journal Of Philological Sciences (ISSN
–
2771-2273)
Love
–
arrow, they say, will fly,
Love is absent, they say, so it is,
From me, your heart is cooling down." (Iqbol Mirzo)
In the above passage by Iqbol Mirzo, the syntactic-
stylistic figures of structural parallelism and repetition
are used together, revealing the phenomenon of
stylistic convergence. If you pay attention to the
example, it can be observed that the lexemes sevgi,
deydilar (love, they say) are repeated in the lines
(lexical repetition), and in the lines, that is, in three lines
of the passage, identical parts (units that come in the
same function and position in syntactic terms) have
formed structural parallelism. As a result, the
phenomenon of syntactic-stylistic convergence has
emerged through the combined use of repetition and
structural parallelism. It is observed that the use of
convergence, along with giving the poetic text
expressiveness, imagery, and stylistic colorfulness, has
also shaped the internal rhythm of the text.
The convergence of syntactic-stylistic figures is mainly
realized in two aspects, that is, in the aspect aimed at
implementing two communicative purposes. Firstly, it
is used to focus the reader's attention on the content
of the convergent parts and to manage the reader's
attention in this way, and secondly, it performs the
function of emphasizing or highlighting an object or a
certain feature of it, which is the object of description
or information in the text [7.45]. In addition, it conveys
information in an emotional-expressive way, and in this
way, ensures a communicative harmony intertwined
with feelings between the addresser and the
addressee. Communicative harmony between the
addresser and the addressee means not only
information but also harmony of experiences and
feelings for the communicants. Communicative
harmony brings about intellectual, emotional, and
aesthetic harmony between communicants and
encourages not only the addresser but also the
addressee to creative activity
–
to think, reason, and
imagine.
The linguistic evidence collected and analyzed
regarding the study of the author's idiolect and the use
of syntactic-stylistic convergence in it shows that the
language's influence mechanisms are optimally formed
in them and impress the reader. At the same time, it
vividly demonstrates the author's pragmatic purpose,
encouraging the reader to change his/her ideas about
a certain object, to fill in and concretize existing
information. Most importantly, the author achieves
his/her goal more fully and powerfully through the
convergence of syntactic-stylistic figures:
"You looked at the elders mysteriously,
You held out your flower to the elders,
I became an unfortunate child,
Watching your path at nights." (Shavkat Rakhmon)
In the given passage, we can observe a unique example
of syntactic-stylistic figures convergence. In this
passage, three stylistic devices
–
repetition, structural
parallelism, and inversion
–
are involved. In the
passage, anaphoric repetition is based on the
repetition of the katta (elder) lexeme with a change in
its grammatical form, but without changing its
semantics, structural parallelism in the form of a
complement-predicate in the first and second lines,
and it is observed that the parts sirli, gulingni, shurlik,
yulingni (mysteriously, your flower, unfortunate, your
path) come in an inversional position. The combined
and purposeful use of these syntactic-stylistic devices
by the author has increased the expressive function of
the speech appearance, along with ensuring the
melody in the lines, and emotional-expressiveness is
conveyed to the listener at a high level. In addition,
through the above example, we can observe that the
author is loading a cognitive-pragmatic function in the
linguocognitive and communicative directions through
stylistic convergence, and the stylistic colorfulness of
the speech is being ensured.
In addition to all of the above, in our research, which is
devoted to such a complex phenomenon, it is worth
noting that the linguopoetic essence is formed by
stylistic convergence, which is one of the important
means of its formation. This stylistic device, which is
distinguished by its originality and uniqueness in its
essence, can create the perfect opportunity to give
more aesthetic pleasure to those who read the work in
artistic works. Because the poet must not forget that
the main criterion of the effectiveness of his poetry is a
work that touches the heart of the person who reads it,
in which the reader experiences joy and satisfaction. It
is believed that poetry acquires the property of artistic
influence on the addressee, including high aesthetic
influence, through stylistic convergence and other
linguopoetic means.
Stylistic convergence can perform functions in two
directions at the same time. The first function is the
ideological-content function, in which stylistic
convergence can emphasize and highlight two or more
ideological-content signs, that is, how many syntactic-
stylistic means are used in the composition of stylistic
convergence, each of them performs one ideological-
content function, and emphasizes the meaning of the
part that comes in the function of which part, and its
semantics is emphasized by focusing the reader's
attention on it. The second function is related to
stylistic discourse, which increases expressive-
American Journal Of Philological Sciences
209
https://theusajournals.com/index.php/ajps
American Journal Of Philological Sciences (ISSN
–
2771-2273)
emotionality:
"We retreated far forward,
We conquered... to be defeated.
We have conquered, we are defeated now,
There is no cackle to laugh." (H.Davron)
We can continue the above ideas with the help of this
example. In this speech passage from H.Davron's work,
the antithesis type of contrast method is used as the
most active syntactic-stylistic means. Contextual
antonyms chekinmoq-olga, yengmoq-maglub bolmoq
(retreat-forward, conquer-be defeated) used in the
passage were used for the formation of this tool. By
opposing and contrasting events, the author is
implementing the ideological-content contrast method
by focusing the reader's attention on the meaning of
each antonym. In addition, if you pay attention, it can
be observed that the meaning of the above lexemes is
emphasized and stated with logical emphasis. Another
syntactic-stylistic means used in the passage is
repetition, and this means, used together with the
contrast method, has created the phenomenon of
stylistic convergence. The repeated use of the lexemes
yengmoq, maglub (conquer, defeated) in different
grammatical forms in the lines has revealed the
repetition method. The convergence of these two
syntactic-stylistic means performed the function of
raising emotional-expressiveness to a high level in
stylistic discourse at the same time.
Or take the following example:
"Who put a gold chain around your neck?
Who tied you up, putting a gold chain?
Which tall fortress's flower are you?
Even when you laugh, why are you so mournful?" (Iqbol
Mirzo)
In this linguistic evidence, anadiplosis (from Greek:
ἀναδίπλωσις —
doubling, emphasis
—
the use of a
word or phrase that appears in the first line repeatedly
at the beginning of the next line) of repetition,
rhetorical question, and antithesis have formed stylistic
convergence. The fact that the phrase tillo zanjir (gold
chain) comes in the first line and is repeated again at
the beginning of the second line as anadiplosis, that the
passage is completely formed on a rhetorical basis, and
that antithesis through the contextual antonyms kulgu-
qayg’u (laughter
-mourning) is skillfully used shows that
in Iqbol Mirzo's idiolect, stylistic convergence has
served to reveal a clear communicative purpose and to
ensure emotional-expressiveness in stylistic discourse,
thereby influencing the feelings of the reader.
CONCLUSION
In general, stylistic convergence is one of the main
factors in studying and evaluating the author's idiolect
and emerges as a linguistic sign of the creator's skill.
This phenomenon, which is used in the works of
experienced creators with fully formed idiolects, is
assessed in linguopoetics as a sign of high artistic skill.
With the help of the convergence of stylistic means, the
author brings the most important information to the
first plan and emphasizes the meaning of linguistic
units that illuminate the main idea. In this way, in the
author's idiolect, convergence creates a special and
unique image of objective reality by the language
personality, and at the same time, the interpretation of
the text and the author's pragmatic manner are
realized.
In conclusion, it can be stated that in 21st-century
linguistics, the phenomenon of stylistic convergence is
considered one of the significant features of an
author's idiolect. This is because it is precisely through
stylistic convergence that the author's speech mastery
finds its full expression, enhancing the emotive and
expressive qualities of the speech and increasing its
impact on the listener.
REFERENCES
Балли, Ш. (2001). Французская стилистика (2
-
е изд.,
стереотипное). Москва: Эдиториал УРСС, 27–
28.
Кожина, М. Н. (Ред.). (2006). Стилистический
энциклопедический словарь русского языка (
2-
е
изд., испр. и доп.). Москва, 95–
96.
Abdupattoev, M. T. (2023). The role of occasional units
in the formation of the author’s ideological style.
International Bulletin of Applied Science and
Technology
(IBAST),
3(8),
186
–
190.
https://doi.org/10.5281/zenodo.8278262
Арнольд, И. В. (2002). Стилистика. Современный
английский язык (4
-
е изд., испр. и доп.). Москва:
Флинта: Наука.
Riffaterre, V. (1959). Criteria for style analysis. Word,
15(1), 15
–
18.
Винокур, Т. Г. (2009). Говорящий и слушающий:
Варианты речевого поведения (4
-
е изд.). Москва:
Книжный дом «ЛИБРОКОМ».
Коваленко,
Г.
В.
(2011).
«Избыточность»
стилистической
конвергенции
в
аспекте
коммуникативной стратегии сотрудничества в
идиостиле И. Стоуна. Вестник ТОГУ. Лингвистика и
педагогика, (
4)23, 209
–
218.
