Xorijiy lingvistika va lingvodidaktika
–
Зарубежная
лингвистика
и
лингводидактика
–
Foreign
Linguistics and Linguodidactics
Journal home page:
https://inscience.uz/index.php/foreign-linguistics
Expression of Uzbek and English culture: the role of
paralinguistic means in enhancing interpersonal
communication
Jamila DJUMABAEVA
1
, Shoira SARIMSAKOVA
2
National University of Uzbekistan named after Mirzo Ulugbek
ARTICLE INFO
ABSTRACT
Article history:
Received February 2025
Received in revised form
10
March 2025
Accepted 25 March 2025
Available online
25 April 2025
This article analyzes the significance of paralinguistic
elements including tone, pitch, loudness, speech pace, and
pauses in improving verbal communication. These nonverbal
clues have a big impact on understanding the messages as they
reveal emotions and intentions that words alone might not be
able to. For example, a shift in tone might represent sarcasm or
sincerity, while a change in pitch can indicate enthusiasm or
urgency. These strategies are crucial for productive
interpersonal communications and creating enduring
relationships
because
they
facilitate
straightforward
communication and rapport-building.
2181-3701
/©
2024 in Science LLC.
DOI:
https://doi.org/10.47689/2181-3701-vol3-iss4
/S
-pp2
09-216
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:
paralinguistic means,
cultural variations,
interpersonal relationships,
The House on Mango Street,
Bolalik.
O‘zbek va ingliz madaniyati ifodasi: shaxslararo muloqotni
kuchaytirish jarayonida paralingvistik vositalarning
ahamiyati
ANNOTATSIYA
Kalit so‘zlar
:
paralingvistik vositalar,
madaniy farqlar,
shaxslararo munosabatlar,
"Mango ko‘chasidagi uy",
"Bolalik".
Ushbu maqolada ohang, tonlama, ovoz balandligi, nutq
sur’ati va pauzalar kabi paralingvistik elementlarning og‘zaki
muloqotni takomillashtirishdagi ahamiyati tahlil qilinadi. Bu
noverbal belgilar xabarlarni tushunishga katta ta’sir
ko‘rsatadi, chunki ular faqat so‘zla
r bilan ifodalab
bo‘lmaydigan his
-
tuyg‘ular va maqsadlarni namoyon etadi.
Masalan, ohangning o‘zgarishi kinoya yoki samimiylikni,
1
Doctor of Philology, Professor; National University of Uzbekistan named after Mirzo Ulugbek.
E-mail: j.djumabayeva@nuu.uz
2
PhD Student, National University of Uzbekistan named after Mirzo Ulugbek.
E-mail: sarimsakova_s@nuu.uz
Xorijiy lingvistika va lingvodidaktika
–
Зарубежная лингвистика
и лингводидактика
–
Foreign Linguistics and Linguodidactics
Special Issue
–
4 (2025) / ISSN 2181-3701
210
tonlamaning o‘zgarishi esa jo‘shqinlik yoki shoshilinchlikni
ifodalashi mumkin. Ushbu usullar samarali shaxslararo
muloqot va
uzoq muddatli munosabatlar o‘rnatish uchun
juda muhimdir, chunki ular ochiq muloqot qilish va o‘zaro
tushunishni osonlashtiradi.
Выражение узбекской и английской культур: роль
паралингвистических
средств
в
улучшении
межличностной коммуникации
АННОТАЦИЯ
Ключевые слова:
паралингвистические
средства,
культурные различия,
межличностные
отношения,
"Дом на Манго
-
стрит",
"Болалик
".
В
данной
статье
анализируется
значение
паралингвистических элементов, включая тон, высоту,
громкость, темп речи и паузы, в улучшении вербальной
коммуникации. Эти невербальные сигналы оказывают
значительное влияние на понимание сообщений, поскольку
они раскрывают эмоции и намерения, которые не всегда
можно выразить только словами. Например, изменение тона
может указывать на сарказм или искренность, в то время как
изменение высоты голоса может свидетельствовать об
энтузиазме или срочности. Эти стратегии имеют решающее
значение для продуктивного межличностного общения и
формирования прочных отношений, поскольку они
способствуют прямой коммуникации и установлению
взаимопонимания.
INTRODUCTION
The vocal components that go along with spoken language are the subject of the
important discipline of communication studies known as paralinguistics. These
components include things like speech rate, pitch, loudness, tone of voice, and pauses.
Although our words express explicit information, paralinguistic elements enhance
communication by incorporating subtleties and emotional context. The significance
of these non-verbal clues in comprehending the intended message is highlighted by
the fact that, for example, the same statement can convey multiple meanings based on
the speaker’s tone or pitch. Beyond only being a means of decoration, paralinguistics
is an essential tool for communicating attitudes, emotions, and social cues. These vocal
traits can affect how communications are understood, interpreted, and responded to
in social situations. Warm and inviting tones, for instance, might promote openness
and trust, but harsh or flat tones can cause defensiveness or misunderstanding. Hence,
paralinguistic components are crucial for verbal communication in order to express
meaning and emotion. In this article it is emphasized the importance of paralinguistic
elements in improving communicative efficiency in a variety of circumstances by
analyzingvarious kinds of paralinguistic features and how their influence on
interpersonal relationships. A wide comprehension of paralinguistic techniques can
result in better communication techniques in the personal and professional fields,
better interpersonal relationships, and better conflict resolution.
Xorijiy lingvistika va lingvodidaktika
–
Зарубежная лингвистика
и лингводидактика
–
Foreign Linguistics and Linguodidactics
Special Issue
–
4 (2025) / ISSN 2181-3701
211
LITERATURE REVIEW
Over the past few decades, the study of paralinguistic features those nonverbal
aspects of spoken language that accompany speech and add meaning has grown
considerably as a subfield of linguistic pragmatics. Prior pragmatic models placed a
strong emphasis on verbal communication techniques, but researchers quickly
realized how important suprasegmental and nonverbal cues like pitch, tone,
intonation, volume, and pauses are in influencing interpersonal interactions (Trager,
1958; Crystal, 1969). Trager (1958) was the first to systematically examine the
paralinguistic aspect of language, characterizing paralinguistics as the study of
vocalizations and voice characteristics that influence listener perception but do not
change word meaning. Pitch is one of the most extensively researched characteristics
and is frequently connected to social standing and emotional expression. A
fundamental phonological viewpoint on pitch contours and their practical
applications in English discourse was offered by Ladd (1996). He maintained that
pitch variation is socially significant and context-sensitive rather than random.
Similar to this, Gussenhoven (2004) investigated how, depending on the intonational
structure and cultural norms, pitch can convey paralinguistic meaning like politeness,
irony, or insistence. Tone is closely related and is important in intonation languages
like English but especially important in tonal languages. One of the first to claim that
“tone is the melody of meaning” was Bolinger (1978), who
also investigated how
variations in tone impact how speaker attitude is interpreted. His research
emphasized that tone not only conveys affective cues but also differentiates between
deference, hesitancy, and assertiveness. Brazil (1997) conducted a thorough
investigation of intonation as a more general prosodic phenomenon, contending that
it is a tool for structuring discourse and demonstrating speaker commitment.
According to his model, boundary tones and pitch movement indicate how speakers
handle interaction and package information. This supports the findings of
Wennerstrom (2001), who showed that intonation serves linguistic and social
purposes, expressing politeness strategies and structuring conversations across
cultural boundaries. There has also been a growing interest in the function of silence
and pauses. According to Jaworski (1993), silence is a culturally charged act of
communication that frequently conveys consideration, discomfort, or politeness
rather than a lack of communication.
Volume
and
tempo
serve as additional markers
of speaker emotion, authority, and relational stance. Scherer (2003) analyzed vocal
intensity and speed in emotional speech, showing that louder, faster speech often
correlates with urgency or enthusiasm, while lower volume and slower tempo may
express politeness, hesitation, or submission. These vocal cues play a pivotal role in
modulating interpersonal dynamics, especially in hierarchical or formal interactions.
Since the 1980s, nonverbal communication has drawn increasing attention from
Uzbek linguists. One of the pioneers in this field, A. Nurmonov studied important
facets of nonverbal communication, focusing on paralinguistic elements, their
classifications, and their usefulness in social situations. His research laid t he
groundwork for understanding how these elements contribute to the pragmatic
structure of communication in Uzbek culture. This framework was further developed
by M. Saidxonov in his paper “Nonverbal Means and Their Expression in the Uzbek
Xorijiy lingvistika va lingvodidaktika
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Зарубежная лингвистика
и лингводидактика
–
Foreign Linguistics and Linguodidactics
Special Issue
–
4 (2025) / ISSN 2181-3701
212
Language,” whic
h provided a comprehensive analysis. He not only categorized
paralinguistic tools but also looked at their verbal equivalents.
RESEARCH METODOLOGY
The two main literary sources used in this research are Sandra Cisneros'
The
House on Mango Street
, which represents English lit
erature, and Oybek’
s
Bolalik
,
which represents Uzbek literature. These texts were selected because they depict
interpersonal communication and cultural identity in an expressive manner,
especially through the use of paralinguistic elements like tone, pitch, intonation,
pausing, and volume. The chosen sections were closely analyzed to determine how
these nonverbal cues either reinforce or alter verbal etiquette and cultural
significance in casual conversations and narrative voice.
This study used a qualitative, text-based analytical approach. The politeness
theory of Brown and Levinson (1987), particularly as it relates to the way
paralinguistic cues indicate both positive and negative politeness strategies, informs
the analysis. The study also makes use of Edward T. Hall's (1976) framework of high -
context and low-context communication as well as Goffman's (1967) theory of face to
further the cultural interpretation. Thematic and pragmatic analysis was used to
examine passages from each literary work, paying particular attention to how vocal
nuances, like tone shifts or silence, enhance interpersonal meaning and fit within
cultural norms.
ANALYSIS AND RESULTS
Spoken communication depends much on paralinguistic elements, which
complement verbal content by expressing emotions, social relations, and cultural
values. These include tone, pitch, tempo, rhythm, pauses, and nonverbal vocal cues.
Scherer ( 2003) claims that affective states directly correlate with vocal parameters
including intonation, tempo, and pitch and act as emotional markers generally more
powerful than the words themselves. These nonverbal signals, according to Burgoon et
al. (1996), have relational meaning and help people control intimacy, create
impressions, and understand social hierarchies. Literary story analysis especially that
of family-oriented works provides rich insight into how various civilizations make use
of these elements to preserve interpersonal harmony, negotiate social distance, and
build emotional intimacy.
1.
Emotional expression and tone (intonation)
Among the most obvious paralinguistic signals for conveying attitude and
emotional nuance is tone, sometimes known as intonation. As Crystal (2003) points out,
intonation codes speaker affects and interpersonal stance in addition to marking
grammatical limits.
The grandfather's intonation in Oybek’s Bolalik reveals sensitivity and
encouragement:
“—
Qani, o‘g‘lim, kechagi cho‘pchakni ayt! Juda yaxshi cho‘pchak
-da,
—
qistaydi
bobom meni.”( Oybek, “Bolalik”
-B.3)- ("Come on, my son, tell me about yesterday's broom!
It's a very good broom," my grandfather would say to me.)
The affectionate term
“o’g’
lim
”
along with the rising, warm intonation creates an
emotional closeness and trust. This reflects high-context communication typical of
Uzbek society, in which phrasing and tone subtly indicate relational dynamics and
Xorijiy lingvistika va lingvodidaktika
–
Зарубежная лингвистика
и лингводидактика
–
Foreign Linguistics and Linguodidactics
Special Issue
–
4 (2025) / ISSN 2181-3701
213
deference to family roles. A similar moment from The House on Mango Street captures
emotional tone by Esperanza's name contemplation:
“
M
y father plays on Sunday mornings when he is shaving, songs like sobbing.” (
The
house on Mango Street. p. 13)
In this instance, the metaphor "songs like sobbing" captures the tonal
undercurrent of melancholy, which is expressed not only through the content but also
through Esperanza’
s perception of her father's musical intonation. Pitch and emotion
are deeply felt and culturally encoded in the music, which serves as a paralinguistic
mirror.
2.
Tempo of Speech and Pauses
Listeners’
perceptions of calm, excitement, or urgency are largely influenced by
speech rate and pause patterns. Rapid tempo frequently denotes increased arousal or
enthusiasm, whereas slower tempos are linked to formality or thoughtfulness, as noted
by Knapp and Hall (2006). In
Bolalik
, tempo reflects the narrator’s childhood
excitement:
“Men chollarning atrofida aylanaman. Dam bobomning, dam o‘rtog‘ining
govronday uzun hassasini ‘ot’ qilib minaman…” (
Oybek, Bolalik, -B.3)- I circle around the
elders. At times, I mount Grandpa’s, at times, my friend’s long staff, pretending it’s a horse.
The child’
s limitless energy and curiosity are reflected in the fast tempo and lack
of long pauses. The reader is drawn into a vibrant, emotionally charged scene that
reflects
youth
thanks
to
the
narrative
rhythm.
Similarly, poetic repetition is used in The House on Mango Street to mimic speech
tempo:
“My mother’s hair, my mother’s hair like little rosettes, like little candy circles…” (p.
11)
3.
Stress and Pitch
Stress and pitch fluctuation highlight important emotional components in speech.
Pitch shifts are frequently associated with affective arousal, indicating surprise, joy, or
anxiety, as noted by Scherer (1986). This is demonstrated in Bolalik when the youngster
yells:
“—
Tishing qani?
—
so‘rayman labini cho‘zib tortib.”
(Oybek, Bolalik.-B.3.)
Where
are your teeth?”
I ask, pulling at his lip.
“
Tishing qani?
”
conveys playful surprise and intense curiosity through its rising
pitch and stressed delivery. These characteristics enhance the moment's emotional
realism. Esperanza’
s commentary in The House on Mango Street uses implied pitch and
stress:
“You don't pick your
sisters;
you just get them and sometimes they come like Nenny.”
(p. 12)
Although it isn't stated explicitly in print, the vocal emphasis on "just" can imply
annoyance or resignation. Such prosodic characteristics are crucial in determining how
utterances are socially interpreted, particularly in close or emotionally charged
interactions, according to Gumperz (1982).
4.
Laughter and Feelings
Rich paralinguistic signals include sighs, laughter, and other vocalizations.
According to Glenn (2003), laughter is a social and emotional cue that frequently
Xorijiy lingvistika va lingvodidaktika
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Зарубежная лингвистика
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Foreign Linguistics and Linguodidactics
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214
conveys affection or solidarity. In
Bolalik
, laughter and affectionate gestures convey
familial bonding:
“
Bobom quchoqlab yuzimdan o‘padi. O‘rtog‘i soqolini selkillatib kuladi: —
Esing
bajo. Ilohim mingga kir!
—
deydi
.”
(Oybek. Bolalik, -B.4) Grandpa hugs meand kisses my
cheek. His friend chuc
kles, shaking his beard: “May you live long and wise! May you reach
a hundred, God willing!” he says.
Touch, laughter, and blessing are all combined in this scene, which is typical of
Uzbek family interactions where social warmth is created and cultural values like
affection and respect are passed down through vocal and physical expressiveness.
Moments of quiet conversation or quiet laughter in The House on Mango Street reflect
emotional resonance:
“Rachel and Lucy look at me and don't laugh. Maybe because
I'm skinny. Maybe
because they're skinny too.” (p. 14)
The lack of laughter serves as a paralinguistic cue that conveys understanding
and empathy without using words. According to Jaworski (1993), silence can have a
powerful communicative effect, particularly in high-context cultures or communities
that are characterized by adversity solidarity.
5.
Rhythm and Melodious Speech
Speech patterns that are melodic or rhythmic reflect cultural aesthetics and
improve storytelling. Halliday (1978) asserts that rhythm shapes the expression of
emotional involvement and plays a role in the interpersonal function of language.
“Men jindak tixirlik qilgandan so‘ng to‘tiday g‘ujillab beraman.” (Oybek.Bolalik,
-
P.4)-
After I make a little noise, I’ll chirp like a parrot.
Birdsong is compared to rhythm
in Bolalik:
In oral storytelling traditions, the phrase "to‘tiday g‘ujillab" (chattering like a
parrot) evokes a lively, melodic image of the child's animated voice, emphasizing the
cultural value placed on expressive, melodic speech. Similar purposes are served by
Esperanza's rhythmic expressions in The House on Mango Street:
“Hips do not get big right away, sometimes they get bigger little by little.”
(p. 49)
A young girl’s inner monologue and physical awareness are reflected in the
repeated, measured cadence, which mimics speech rhythm. Here, rhythm imitates
casual, private speech patterns and personalizes the experience. From a cultural
perspective, both texts demonstrate how their respective communicative traditions
influence and reflect paralinguistic elements. Based on collectivist and high-context
cultural frameworks, Uzbek communication norms place a strong emphasis on melodic
expressiveness, indirectness, and emotional modulation (Hall, 1976). Respect,
emotional balance, and generational hierarchy are all upheld by paralinguistic traits.
On the other hand, The House on Mango Street's Mexican-American setting, which is
also high-context, combines symbolic tonal cues with direct emotional expression.
Pitch, stress, and silence are examples of paralinguistic devices that subtly convey
intimacy, resistance, and identity struggles.
CONCLUSIONS AND RECOMMENDATIONS
By comparing Oybek’
s
Bolalik
and Sandra Cisneros'
The House on Mango Street
,
this study examined how paralinguistic elements
—
such as intonation, pitch, stress,
silence, and pause
—
are used to convey cultural values and interpersonal politeness.
Xorijiy lingvistika va lingvodidaktika
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Зарубежная лингвистика
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The following significant parallels and divergences between the two pieces and the
cultures they represent can be inferred from the findings:
Isomorphic features:
1.
Intonation is a crucial tool for expressing characters' emotional states in both
texts, particularly during tense, nostalgic, or affectionate moments.
2.
Strategic Use of Pause and Silence: In both Uzbek and American contexts,
intentional pauses or periods of silence are employed to emphasize somber
feelings or establish contemplative tones in narration and conversation.
3.
The function of vocal stress in emphasis is to draw the reader's or listener's
attention to specific meanings by emphasizing significant or emotionally charged
words in both cultures.
Allomorphic features:
1.
Cultural Views on Silence: In
Bolalik,
silence is frequently interpreted as a sign of
deference, modesty, or emotional control, which is consistent with the traditional
Uzbek values of indirection and self-control. In The House on Mango Street, on
the other hand, silence may indicate resistance, internal strife, or emotional
disengagement, reflecting a more individualistic cultural framework
2.
Pitch and Intonation Patterns: The House on Mango Street usually uses rising or
fluctuating intonation to indicate assertiveness or emotional intensity, while
Bolalik
typically uses softer, downward pitch contours to convey politeness and
humility.
3.
Cultural Identity and Narrative Rhythm:
The narrative tempo of
Bolalik
is
frequently slow and introspective, reflecting the high-context nature of Uzbek
culture.
The House on Mango Street
, on the other hand, uses rhythmic, broken
storytelling that imitates spoken English and urban cultural rhythms.
In conclusion, our research confirms the importance of paralinguistic tools as
universally necessary but culturally specific aspects of human communication. To
further validate the interaction between verbal and paralinguistic cues across various
linguistic contexts, future research may expand this investigation by looking at a wider
range of literary genres or by incorporating audio-visual materials.
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Xorijiy lingvistika va lingvodidaktika
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Зарубежная лингвистика
и лингводидактика
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Foreign Linguistics and Linguodidactics
Special Issue
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4 (2025) / ISSN 2181-3701
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