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The peculiarities of irony as a text-forming category
Mukaddas JALOLOVA
Andijan State Institute of Foreign Languages
ARTICLE INFO
ABSTRACT
Article history:
Received April 2024
Received in revised form
10 May 2024
Accepted 25 May 2024
Available online
25 June 2024
This article considers irony as a substantive category
associated with the worldview and aesthetics of the speakers.
The correlation between stylistic and conceptual types of irony
is analyzed to reveal the commonality and differences between
linguistic and extralinguistic forms of irony realization,
reflecting the speaker
’
s worldview. The nature of irony is
directly dependent on the personality of the speaker: his social
status, logical reasoning, aesthetic views, and ethical ideas
–
this
is reflected in the ratio of irony, expressed only by linguistic
means, and irony, expressed mainly by extralinguistic means.
Particularly significant for the implementation of irony is the
role of the context, which can be wide and narrow. It is the
awareness of the recipient about the context that is the main
condition for the communicative success of irony. We also
emphasize that if the linguocultural or socio-historical contexts
are not taken into account, irony also does not achieve its goal.
Future teachers should develop a need to express their thoughts
in the best possible way following the goals and objectives of
the transmitted information, taking into account the situation of
communication. Enriching the speech of students of a
pedagogical university using creating humor and irony is one of
the aspects of their speech development.
2181-3701
/©
2024 in Science LLC.
DOI:
https://doi.org/10.47689/2181-3701-vol2-iss1
This is an open-access article under the Attribution 4.0 International
(CC BY 4.0) license (
https://creativecommons.org/licenses/by/4.0/deed.ru
Keywords:
irony,
literary,
category,
text,
diverse,
humor,
range,
means,
expression,
linguistic,
discourse,
stylistic,
device,
forms,
artistic,
reality.
1
Teacher, Department of Integrated Course of English Language Teaching, Andijan State Institute of Foreign
Languages.
Xorijiy lingvistika va lingvodidaktika
–
Зарубежная лингвистика
и лингводидактика
–
Foreign Linguistics and Linguodidactics
Special Issue
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1 (2024) / ISSN 2181-3701
584
Matn shaklashtirish kategoriya sifatida ironiyaning
xususiyatlari
ANNOTATSIYA
Kalit so‘zlar
:
ironiya,
adabiy,
kategoriya,
matn,
rang-barang,
yumor,
diapazon,
vositalar,
ifoda,
lingvistik,
nutq,
stilistik,
qurilma,
shakllar,
badiiy,
reallik.
Ushbu maqola istehzoni ma
’
ruzachilarning dunyoqarashi va
estetikasi bilan bo
g‘
liq substantiv kategoriya sifatida k
o‘
rib
chiqadi. S
o‘
zlovchining dunyoqarashini aks ettiruvchi ironiyani
amalga oshirishning lingvistik va ekstralingvistik shakllarining
umumiyligi va farqlarini ochib berish uchun ironiyaning stilistik
va kontseptual turlarining
o‘
zaro bo
g‘
liqligi tahlil qilinadi.
Ironiyaning tabiati s
o‘
zlovchining shaxsiyatiga bevosita bo
g‘
liq:
uning ijtimoiy mavqei, mantiqiy fikrlashi, estetik qarashlari,
axloqiy
g‘
oyalari
–
bu faqat lingvistik vositalar bilan ifodalangan
ironiya va asosan ekstralingvistik vositalar bilan ifodalangan
istehzo nisbatida aks etadi. Kinoyani amalga oshirish uchun
keng va tor b
o‘
lishi mumkin b
o‘
lgan kontekstning roli ayniqsa
muhimdir. Qabul qiluvchining kontekstdan xabardorligi
ironiyaning kommunikativ muvaffaqiyatining asosiy shartidir.
Shuningdek, lingvomadaniy yoki ijtimoiy-tarixiy kontekstlar
hisobga olinmasa, ironiya ham
o‘
z maqsadiga erisha olmasligini
ta
’
kidlaymiz. B
o‘
lajak
o‘
qituvchilar muloqot holatini hisobga
olgan holda, uzatiladigan ma
’
lumotlarning maqsad va
vazifalariga muvofiq
o‘
z fikrlarini eng yaxshi tarzda ifoda etish
ehtiyojini rivojlantirishlari kerak. Pedagogika oliy
o‘
quv yurti
talabalari nutqini yumor va ironiya yaratish orqali boyitish
ularning nutqini rivojlantirishning bir jihati hisoblanadi.
Особенности иронии как текстообразующей категории
АННОТАЦИЯ
Ключевые слова:
ирония
,
литературный,
категория,
текст,
разнообразный,
юмор,
диапазон,
средство,
выражение,
языковой,
дискурс,
стилистический,
прием,
формы,
художественный,
реальность.
В данной статье ирония рассматривается как
содержательная категория, связанная с мировоззрением и
эстетикой
говорящих.
Анализируется
соотношение
стилистических и концептуальных типов иронии с целью
выявления общности и различий языковых и внеязыковых
форм реализации иронии, отражающих мировоззрение
говорящего. Характер иронии напрямую зависит от
личности
говорящего:
его
социального
статуса,
логического мышления, эстетических взглядов, этических
представлений –
это отражается в соотношении иронии,
выраженной только языковыми средствами, и иронии,
выраженной преимущественно внеязыковыми средствами.
Особое значение для реализации иронии имеет роль
контекста, который может быть широким и узким. Именно
осведомленность реципиента о контексте является
главным условием коммуникативной успешности иронии.
Также
подчеркивается
,
что,
если
не
учитывать
лингвокультурный
или
социально
-
исторический
Xorijiy lingvistika va lingvodidaktika
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контексты, ирония также не достигает своей цели.
У будущих педагогов должна формироваться потребность
выражать свои мысли наилучшим образом в соответствии
с целями и задачами передаваемой информации, с учетом
ситуации
общения.
Обогащение
речи
студентов
педагогического вуза средствами создания юмора и
иронии является одним из аспектов их речевого развития.
INTRODUCTION
There is reason to believe that irony plays an extremely important role in
aesthetic, literary, and artistic works. In literary texts, it refers to elements that have a
special role. The role of irony, and its place in the work of art, is the subject of many
works, both purely literary and literary-linguistic. Irony as an actual object of research in
the modern humanitarian paradigm is dynamic in terms of definition. Linguistics
comprehends this multi-level, linguo-cognitive and discursive phenomenon both as a
stylistic device designed to “strengthen and decorate” speech, and as a way for the
development of the thought process, and as an aesthetic “aspect” of thinking. It is well
known that the interpretation of irony is determined by the context, external or internal,
as well as the implicit or partly explicit nature of ironic information. The synthesis of
opposite meanings in an ironic text/discourse allows us to speak of its metasemiotic
nature since one of these meanings is always at a higher level.
Irony in a literary text has a diverse range of means of expression both at the
linguistic and textual levels. At the heart of these linguistic and speech mechanisms for
creating ironic meaning is connotative associativity, which arises from the interference of
implicit meanings, iconic images, and concepts. Coming from this we put the following
purposes to this article.
1. Determining the ratio of types of irony in the creation of character images.
2. Determining the difference between linguistic and extralinguistic forms of irony
realization in a literary text.
3. The role of irony in teaching English.
METHODS
Research methods are subject to the solution of the task and are a combination of
descriptive, semantic-stylistic, contextual, textual and extralinguistic, stylistic analyses,
statistics
LIRERARY REVIEW
Several researchers emphasize the ever-increasing role and importance of irony in
modern fiction, especially in English. According to Ch. Gliksberg, now we can talk about
the presence of a special ironic vision of the world, characteristic of modern literature. D.
Myukke substantiates the emergence of this special way of seeing the world by the
course of development of European thought, especially by the growing importance in it of
skepticism, relativism, liberalism and positivism. Although irony became the object of
study of many scientists (M.A. Bagdasaryan, O.P. Ermakova, Yu.V. Kamenskaya,
S.I. Pokhodnya,
V.V. Ovsyannikov,
N.K. Salikhova,
V.Z. Sannikov,
A.V. Sergienko,
G.G. Tremasova, Zh.E. Fomicheva and others), most of the authors devote their research
to the lexical-semantic and grammatical text (in whole text) remains outside the field
their vision. Only a few works deal with the aesthetic aspect of irony (S.I. Pokhodnya,
O.P. Ermakova, A.V. Sergienko, Yu.V. Kamenskaya, Zh.E. Fomicheva,).
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The discursive form of representation of irony is an ironic act, during which the
worldview position of the subject of irony, his picture of the world, as well as its
perception by the addressee are verbalized. The nature of an ironic act is determined by
those intentions that are decisive for its producer: it becomes either interpretive or
ironic. Of course, irony in a literary text is an element of the author
’
s worldview. So,
A.V.
Kuznetsova emphasizes: “The well
-known thesis that a literary text does not always
assume the facts of reality as the starting point of the narrative, but forms an artistic
reality that comprehends them, determines the study of a literary text in the cognitive
paradigm as an aesthetically motivated model of reality and verbal embodiments of the
cognitive components of the concept system creator, as well as a representation of the
structure and type of consciousness of the author” [10].
At present, researchers have concluded that it is necessary to distinguish between
two concepts: irony
–
as a stylistic device and irony as a result
–
ironic meaning, created
by some multi-level language means, the interaction of which ensures the meaningful
unity of the text. We call the second type of irony conceptual irony. Currently, the
researchers concluded that it is necessary to distinguish between two concepts: irony
–
as a stylistic device and irony as a result
–
an ironic meaning created by a number of
multi-level means of the language, the interaction of which ensures the meaningful unity
of the text. We call the second type of irony conceptual irony.
The study of irony at the textual level was carried out by S. I. Pokhodny. Thanks to
the involvement in the analysis of irony of such textual categories as cohesion,
retrospection, prospection, subtext, and modality, it became possible to study complex
forms of irony (associative with its subspecies
–
citation). The results of the research on
the existence of complex textual forms of irony, as well as the significant role of textual
means in its implementation and the special place of irony in the ideological and
figurative structure of the text led to the introduction of the term "ironic sense" by S. I.
Pokhodnyaya into scientific use in 1984. This term makes it possible to include the text in
the field of study and widely use it in the study of textual forms of irony. Actually, the
designation "meaning" is clear and applicable both to the sentence and to units larger
than the sentence.
Describing irony as a separate category of the comic, Zh. E. Fomicheva focuses on
its subjective nature and points out that "irony, based on the attitude of the subject,
unlike other categories of the comic, does not have its subject, but can choose any object
and phenomenon" [ 7:7]. The peculiarity of irony also lies in the fact that a small
statement implies a large content with significant meaning.
As A.F.
Losev points out, “an expression that expresses less than it is necessary,
than it is supposed to express is ironic” [4: 34].
The nature of irony is directly dependent on the personality of the author: his
social status, political beliefs, aesthetic views, and ethical ideas
–
this is reflected in the
ratio of irony, expressed only by linguistic means, and irony, expressed mainly by
extralinguistic means, which is still insufficiently studied and needs further development
for a deeper interpretation of the writer
’
s artistic thinking.
III. Main part
In the last two decades of the 20th century, irony became the main stylistic
dominant in literature, which, of course, is associated with a new social breakdown at the
turn of the century, and with the spread of the poetics of postmodernism in world and
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domestic culture. Undoubtedly, irony can act as the most important category of text
organization.
The text-forming function of irony is understood as its ability to be a connecting,
constructive element of the semantic-semantic space and the formal organization of the
text. It is about irony in a broad sense, as about creative principle that organizes the text
as a whole". In our opinion, the author
’
s ideas to consider irony as a text-forming
category capable of being an organizing element of the text echo the theory of S. I.
Pokhodny about the existence of associative irony, which serves as an expression of the
author
’
s worldview and a means of creating an integral text system.
Thus, the need to distinguish between two concepts became obvious: irony as a
means of technology, a stylistic device, and irony as a result
–
an ironic meaning created
by several multi-level means of the language, the interaction of which ensures the
meaningful unity of the text. “The recognition of the existence of two types of irony in the
text makes possible a deeper level of analysis of textual material, since as the plan of
expression becomes more complex, the semantic nuances become more diverse, and
their understanding is ensured by the indispensable presence of contexts of a large scale.
This is a hidden type of irony, which is characterized by a gradual increase in implicit
information. The irony of this type is part of the author
’
s idiostyle, a component of his
worldview position.
Irony, functioning in the text, acts as its special component and represents an
ambiguous and complex aspect of the study. As a text-forming category, irony forms a
special ironic modality in the structure of the text, which implements “the author’
s
evaluative-ironic attitude to the events described from certain aesthetic and ethical
positions with the help of multi-level explicators of modality that actualize the hidden
semantic plurality of the statement” [5: 15].
In a literary text, irony occupies a special position, as it acts as a way of explicating
the author
’
s worldview, his worldview, a form of analysis and interpretation of the
problems of a certain time and the corresponding society, based on the value position
and critical attitude of the author.
According to A.I. Dyrin, irony can increase the potential of textual information and
strengthen the anthropocentric orientation of the text [2: 13]. Representing the implicit
assessment of the author in a literary text, irony allows him to be as honest as possible
with the reader and reliably convey the essence of the phenomenon being represented,
without openly declaring it.
Irony is characterized by a three-level complex of means of representation, the
choice of which depends on the communicative situation:
1) paralinguistic means are represented by kinesics (gestures, facial expressions,
pantomime) and intonation (speech melody, timbre, pauses, stress). For ironic discourse,
the priority is precisely the verbal-paralinguistic nature of the means of expression.
irony: through the verbal channel, encoded information / pseudo-information about the
hidden meaning is transmitted, and the paralinguistic channel transmits the code of the
implied meaning. Paralinguistic means as markers of rational information retain their
influence in the sphere of colloquial speech, being used for the explication of value
attitudes, assessments, and emotionality;
2) linguistic, mostly stylistic or lexical means:
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stylistic contamination, figurative and expressive means (first of all, epithets),
vocabulary of different levels, for example, neologisms and archaisms), tale forms of
narration, which, if the subject of irony is not sure that the addressee has information, are
often supported by paralinguistic means;
3) a literary text, in which the communicative process is mediated, uses specific
means of manifesting irony
–
author
’
s instructions, remarks, quotation marks, italics,
parody, and pun.
The expression of irony is determined by a complex of factors, among which one
should single out the subjective and objective correlation of the value potentials of the
object and subject of irony, the moral measure and context, the nature of the relationship,
and the social status of the participants in ironic communication, ethical and linguo-
rhetorical goals and objectives.
Particularly significant for the implementation of irony is the role of the context,
which can be wide and narrow. It is the awareness of the recipient about the context that
is the main condition for the communicative success of irony. We also emphasize that if
the linguocultural or socio-historical contexts are not taken into account, irony also does
not achieve its goal.
As you know, irony lies in implying the opposite in outwardly positive
characteristics. Sometimes what is meant is expressed in terms of linguistic units, which
in themselves are difficult to translate, but more often the problem lies in the
inconsistency of the traditional ways of expressing irony in different cultures. The
expression of irony, ridicule is carried out in various ways, which may differ in form,
content and functions in different languages and speech traditions.
The simplest way to express irony in English and Uzbek is quotation marks, when a
completely standard and expected word or phrase is quoted in a standard context. Such
situations, as a rule, are easily translated in a similar way, with the exception of the
quotation area, which may vary depending on the coincidence or divergence of the
grammatical components of the original unit:
Ex. When I left my public school, I had an extensive knowledge of Latin and Greek
literature, knew a certain amount of Greek and Latin history and French grammar, and
had "done" a little mathematics.
Xususiy gimnaziyani tamomlaganimdan keyin men antik adabiyotni yaxshi bildim,
antik tarix va fransuz tili haqida tasavvurga ega edim, shuningdek, matematika asoslarini
ham “o‘tdim”.
A more complex kind of irony is the opposition of two qualities or two mutually
exclusive possibilities in the same closed context. Complications in the translation of such
contexts arise if two contrasting elements in the source text require transformations in
the target language themselves and in the transformed form often do not provide the text
with sufficient ironic expressiveness:
Ex. I went to Balliol University a good classic and a complete ignoramus.
The translation of this sentence is connected with the need to transform the word
classic, as a result of which the resulting correspondence is not expressive enough to
create an ironic contrast
–
"a specialist in classical philology, with good knowledge in the
field of classical philology", etc. The most common technique that helps in such cases, the
translator is to add, allowing you to combine the opposing elements of the ironic context:
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Ex. Men Balliolga klassik filologiya b
o‘
yicha mutaxassis va boshqa barcha sohalarda
mutlaqo savodsiz sifatida bordim.
As always, the problem that causes inevitable transformations is the presence in
the ironic context of components unknown to the translating culture:
Ex. Sometimes peasants cross Nevsky Prospect, hurrying to work, in boots so soiled
with mud that even the Catherine Canal, known for its cleanliness, would not be able to
wash it off.
Ba
’
zan dehqonlar Nevskiy prospektidan ishga shoshilib, loy bilan ifloslangan
etiklarda kesib
o‘
tishar edi, ularni hatto tozaligi bilan mashhur b
o‘
lgan Ketrin kanali ham
uni yuva olmas edi.
The task of developing the speech of students, both schoolchildren and students,
has not lose its relevance, despite the great attention paid to this issue by methodologists
and practicing teachers. The level of speech development of young people remains low
and continues to decline. This is explained by several reasons: the state of the general
culture of young people, the inability to evaluate and use the possibilities of the language
to convey this or that information, the lack of critical speech analysis skills, as well as the
abundance of incorrect and inexpressive speech presented by the media.
Insufficient expressiveness is also characterized by the speech of students of a
pedagogical university, and future teachers, for whom, as for all workers in the "man-
man" system, the word is the main instrument of professional activity.
RESULTS
Future teachers should develop a need to express their thoughts in the best
possible way following the goals and objectives of the transmitted information, taking
into account the situation of communication. Enriching the speech of students of a
pedagogical university through creating humor and irony is one of the aspects of their
speech development.
Irony remains a significant technique used in modern scientific and pedagogical
practice. Let us consider the features of the forms of its objectification in modern
pedagogy. In books for students of English-speaking philologists, the authors have always
resorted to using various variants of irony. We have carried out a content analysis of the
content of the textbooks.
The empirical object of the content analysis was illustrations devoted to the
problems of economic and social life in textbooks for students of philology.
The methodology of the study was to follow the techniques and procedures
necessary for the analysis of the meaning-bearing content of a pedagogical orientation.
The category of analysis was the concept of "irony", the unit of account
–
a drawing in
which you can there were signs of irony.
The results of the study showed that the authors of educational books, when
depicting the phenomena of economic and social life, quite often resort to elements of
humorous and ironic reproduction of reality and characters.
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Picture 1. Frequency distribution of ironic drawings in educational books.
As shown in the histogram, the largest number of drawings with humorous or
ironic discourse falls on the first two years of study at the institute. Good printing
performance and modern style of drawings make them very attractive for students to
develop reading skills.
Humor and irony in teaching can be used to arouse interest in the subject, increase
the entertaining presentation of the material. It is no coincidence that they were
creatively used by well-known teachers, such as, for example, Sh.A. Amonashvili, V.P.
Shatalov and others. The teacher must not only understand the comic himself, but also
teach this understanding to schoolchildren, develop their sense of humor. This is
necessary because "A child, learning to grasp humor, understand a joke, masters the
world of meanings, learns the flexibility of thinking, the speed of conclusions; after all,
laughter is a colossal thought accelerator
’
.
CONCLUSION
In conclusion we may say that. in a work of art, the method of irony becomes the
constructive basis of the narrative. The author constructs the image of the narrator, who
directly owns the text of the work; Behind this image, at a higher level, the image of the
author “shines through”, who ultimately owns the entire text, together with the image of
the narrator created by him. The narrator
’
s statements (+ situation, context) are built in
such a way that what the narrator says is serious (and for him this is “true”), the author
evaluates ironically (from the point of view of the author, this is false); each such a
statement becomes at the same time a stimulus for irony (that which is ridiculed) and at
the same time the ironic statement itself.
It is necessary for students develop the ability to skillfully and appropriately apply
the personal communication of creating humor and irony in their future educational and
extracurricular pedagogical activities, and simply in interpersonal relationships. Cicero
noted that a strong impression is made (along with other figures) “what is most of all
invested in the minds of people is irony, when one thing is said, and of course another,
which is especially pleasant in speech, being said not oratorically, but colloquially
language.
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и лингводидактика
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