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(ISSN
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ABSTRACT
Language is an extraordinarily unique phenomenon as a central and at the same time extremely complex object of
study of old and new sciences that explore the essence, psyche and human activity from different angles. The path of
direct awareness and manifestation of this mysterious phenomenon is to divide the entire flow of speech into parts,
to divide it into pieces, to be able to imagine each part or particles separately, and also to be able to perceive
proportional and even disproportionate relationships between these parts or particles, there is no doubt that his mind
went through a long and difficult path of gradual improvement. He also discovered such ways of using language in
the process of human self-expression, development processes, connecting these speech fragments with each other,
as a result of which he became the author of a miraculous tool called artistic speech. Masterpieces of the word,
created as unique forms and samples of such beautiful speech - legends, myths, epics, fairy tales, proverbs, riddles,
songs, poems, dramas, stories, novels and novels live, are created and, of course, will be created as unique evidence
of artistic human genius. This art of magical speech is explored with such disciplines as linguistics, literary criticism,
aesthetics, history, so to speak, hand in hand, together, in cooperation. But regarding the study of the life of the
language in this special area, called fiction, although the beginning of the study of this problem dates back to ancient
times, disputes and discussions have never stopped. No one has ever denied the fact that literature is the art of the
word, and its primary element is language. In the history of mankind, the art of visual perception of the world, called
literature, was created, and the word, the means of expressing this art, is the painstaking task of fully interpreting the
language that constantly occupies the human imagination and thinking.
Research Article
THE TEXT AND ITS UNITS RESEARCH IN LINGUISTICS
Submission Date:
July 09, 2023,
Accepted Date:
July 14, 2023,
Published Date:
July 19, 2023
Crossref doi:
https://doi.org/10.37547/ijll/Volume03Issue07-07
Marufjon Yuldashev
Dsc In Philology, Professor; The Uzbekistan State Institute Of Arts And Culture, Uzbekistan
Dilrabo Andaniyazova
Phd In Philology Phd., Scientific Researcher Of The Institute Of Uzbek Language, Literature And Folklore Under
The Uzbekistan Academy Sciences, Uzbekistan
Journal
Website:
https://theusajournals.
com/index.php/ijll
Copyright:
Original
content from this work
may be used under the
terms of the creative
commons
attributes
4.0 licence.
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Publisher:
Oscar Publishing Services
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KEYWORDS
Text, units of text, text types, text semantics, linguopoetics, textology.
INTRODUCTION
The great enlightened writer Abdurauf Fitrat wrote in
the manual “Rules of Literature”: “If the goods
(material) in the visual arts are sound and melody, then
the visual arts are musical; if there are colors, lines, it
will be a picture; stone or other various minerals will be
sculpture; if it is wood, brick, ganj, earth, then it will be
architecture; and the actions of the div and face
(facial expressions), and the movements will be a game
(dances); and speech, sentence and word become
literature" and defines literature as follows: "Literature
consists in describing the waves in our thoughts and
feelings with the help of words and sentences and
creating the same waves in others".[1]
The well-known Uzbek literary critic O. Sharafiddinov in
his article “Literature begins with language” writes:
“There is
no literature without language, just as there
is no fine art without color and music without melody.
Literature is called human science. In fact, the writer
explores various human characters and discovers
important truths that help the development of society.
However, all this is realized in literature through
language”.[2]
The following remarks by the great writer and literary
critic P. Kadyrov are especially noteworthy here:
“Statues are made of copper and marble, buildings are
built of brick, glass and steel. In a literary work, instead
of copper, marble, steel and brick, an artistic word is
used. The difference between a literary work and
music, painting and other areas of creativity is that it is
created not through tones, lines, colors, but through
the word. This means that artistic language is one of
the main indicators that determine the specifics of any
literary work. The theory of artistic language is in the
first line of questions related to the theory of
literature”.
Similar comparisons related to the definition of the
primary element of a work of art have been mentioned
by other well-known researchers since the beginning
of the last century. In an article by V. M. Zhirmunsky,
the greatest philologist of his time, published in 1919,
“The Tasks of
Poetics”, one can see the following
thoughts: “All art uses certain material belonging to
the natural world. Art, with the help of the methods at
its disposal, carries out a special processing of this
material; as a result of processing, a natural object
(material) increases the value of an aesthetic object,
turns into a work of art. Comparing the raw materials
of nature and the material of finished art, we
determine the ways of its artistic processing. The task
of studying art is to describe the artistic techniques
(principles) of a particular work, poet or whole period
in historical terms or in a comparative systematic
order. For example, in a piece of music, sounds that
have an inevitable - relative and absolute - height, a
certain duration and strength, falling into the artistic
forms of rhythm, melody and harmony, which are in
one or another simultaneity and sequence, are the
material of music. The material of a color image is
visible forms drawn as forms of a color image, which
are located on a plane as a combination of lines and
spots of paint. The study of poetry, like the study of any
other art, requires the identification of its material and
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the means of creating a work of art from this
material”.[3]
Continuing his thoughts in this direction, V. M.
Jirmunsky proves the inconsistency of old views in
philology, such as “The material of poetry is images”,
and states as follows: “The material of poetry is not
images, not emotions, but words. "Poetry is the art of
the word, the history of poetry is the history of
literature". [4] Indeed, no matter how important the
place and functions of the image in fiction, especially in
poetry, and in some cases even determining ones, it
cannot exist separately from the word and language.
Without words, there is no image.
D. N. Shmelev’s book “Word and Image” begins with
the recognition of the truth about the role of language
in creating an image: “Language is not only the main
means of communication between people, a means of
forming thoughts, expressing feelings, desires and a
means of expression, but it is also a real external form
which is covered by the images of fiction”.[5]
Of course, whether it is logical thinking, which is the
main way of knowing the world, or figurative thinking,
which is another peculiar way of knowing the world,
there is always a dialectic of language and thinking,
that is, thought cannot live without language, and
language cannot live without thought.
It should also be said that among the arts, fiction is the
highest art, it is characterized by completely unique
features and rules. That is why, when dealing with
literature, it is desirable to be somewhat careful in
identifying its material with that of other arts. Already,
as the well-known philologist G. V. Stepanov
emphasized, “language mat
erial differs from all other
materials used by artists (marble, paints, wood,
granite, sounds in music, and so on) by the presence of
material and ideal aspects in it”. [6] For example,
marble as a raw material that has not been processed
by special artistic techniques and has not become a
work of art has only a material side, an ideal side, it
acquires artistic meaning only and only after
processing by an artist with a specific artistic purpose.
The same goes for colors, paints, wood, granite, sound
and so on. But language as the material of fiction has a
completely different nature. Language exists as a
certain material form and content, a semantic unity
even before its units are introduced into fiction.
Language units, such as words, phrases, sentences,
having their own lexical and grammatical meaning,
serve to identify and express the corresponding artistic
and aesthetic content in a state subordinate to the
writer's artistic goal. Thus, linguistic units that already
have meaning form the linguistic fabric of a work of art,
develop new, unique artistic meanings in accordance
with the artistic abilities of the artist.
The language of a work of art is such a complex and
unique phenomenon. Linguistics, in general, in the
history of philology, different approaches to its study
were used. V. Vinogradov, who has been studying the
language of literary works all his life, in his lecture "The
Science of the Literary Language and Its Tasks"
emphasizes that the word "language" is used in two
senses when discussing the language of fiction, that is:
1) one or another national language in the meaning of
"speech" or "text" (analysis material on the history of
the literary language, historical grammar and
lexicology), reflecting the system; 2) "language of art"
in the sense of a system of means of artistic expression.
[7] Such two different interpretations of the language
of a literary work and the presence of two different
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approaches to the study of the language of a literary
work are also noted by other foreign scientists. [8]
In Uzbek linguistics, it can be noted that in the works
devoted to the study of the language of works of art,
two directions came to the fore. In their books Kh.
Doniyorov and S. Mirzaev called "The Art of the Word"
the linguistic aspect of the direction, which sets itself
the task of studying such issues as the growth and
change of the language, the relationship between the
literary language and the national language, the
attitude of the writer to the national language, the use
of linguistic means, writing skills, interpreting the
direction of the conclusion about the style as a stylistic
aspect. [9]
The language of literary and artistic works of that
period is studied with the aim of scientific research of
the state of the language in a certain historical period,
its features, lexical, phonetic and grammatical
differences, general and various aspects of the current
state of the language. The current state of the
language, the analysis and study of the relevant
phenomena in it, is no exception. In this case, the
language of works of art and written monuments
serves only as material for research with the same
purpose.
It is known that the language of any work of art reflects
a certain universal language. The most objective mirror
of language changes, evolutions, development is
fiction at the level of genuine art. Even when
determining the norms of the literary language of the
era, the language of the works of skillful writers, real
"generals of the word" (F. Buslaev's expression), is one
of the main parameters. The source of the analyzed
material in most modern studies related to today's
Uzbek language is naturally the works of Uzbek
writers. The state of the language, its various
phenomena,
textbooks
describing
laws
and
regulations, and other teaching aids also draw the main
factual material from works of art (of course, there are
other sources).
In the description and study of the history of the
language, this path, that is, based on the language of
written monuments, literary and artistic works of the
corresponding period, lives as the oldest and strongest
linguistic tradition. A lot of fundamental research has
been created in Uzbek linguistics in this direction. [10]
Naturally, the text, like any whole, consists of its
constituent elements, certain units. There is a lot of
debate in linguistics about which units make up a text
or which units are considered text units when dividing
a text into fragments. At first glance, it seems that
assigning text units is not so difficult. But in fact, this is
not the case, so there are many different views on this
issue among researchers of text linguistics.
When defining the text, we paid special attention to
two main features, namely, coherence and integrity.
Naturally, coherence and integrity arise between
sentences and on the basis of the semantic-
grammatical unity of sentences. Almost all textual
scholars have never lost sight of these two signs.
Especially in the definitions given to the text by
Western linguists, it is regularly emphasized that the
sequence of sentences, the chain of sentences, is the
main side of the text, without which the text cannot
exist. For example, the Dutch linguist S. Dik sees "the
highest form of agreement in the textual chain of
sentences". [11] In other words, the text is formed as a
product of high-level coordination of independent
sentences (of course, in order to express certain
information). High-level coordination, of course, the
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integrity of the text itself, is the harmony of all aspects
between sentences that create a whole, that is,
semantic, syntactic, communicative, aesthetic and all
other aspects. The text exists as a result of such mutual
harmony and consistency of sentences. Based on these
one or two considerations, we can conclude that the
basic unit of the text is the sentence. But the
evaluation of a sentence as a text unit is not so
common in linguistics. On the contrary, there are many
controversial approaches to this.
Most linguists consider a sentence not a unit of text.
For example, I. R. Galperin says that the unit of the text
may not be a sentence, but a relatively large whole that
unites a number of sentences - a whole larger than a
phrase (“superphrasal unity”). He emphasizes that a
sentence participates as a component in such a whole,
and a sentence, which is an integral part of a larger
whole than a phrase, cannot be an integral part of the
entire text at the same time. [12]
From the same phrase, it can be seen that the
assessment of a larger whole ("superphrasal unity") as
the main unit of the text is common in almost all
linguistics. The concept expressed by this term is called
differently by different linguists, that is, there are
several synonyms for this term. For example:
“superphrasal unity” (O.S. Akhmanova), “complex
syntactic whole” (A.M. Peshkovsky, N
.S. Pospelov),
“text component” (I.A. Figurovsky), “prose stanza” (
G.Ya.
Solganik),
“syntactic
complex”
(A.I.
Ovsyannikova),
“monologic
statement”,
“communicative block” and others. [13]
In Uzbek linguistics, a number of different terms are
used to express this concept. For example, A.
Mamazhonov initially used the term “large syntactic
unit”, [14] but later on he regularly uses the term
“supra
-
phrasal syntactic unit”. [15] I. Rasulov and Kh.
Rustamov, who paid special attention to the stylistic
problems of the text, prefer the term "complex
syntactic integrity". [16] M. Abdupattoev, who
monographically studied such units in the Uzbek text,
considers it appropriate to use the term “supra
-
syntactic integrity”. [17] We also prefer the term
"supra-syntactic integrity" as a term that more
correctly and impartially reflects the essence of the
phenomenon.
In this Ph.D. thesis, M. Abdupattoev scientifically
substantiated the essence, syntagmatic and semantic-
methodological features of supra-syntactic units in the
Uzbek text. It should also be said that the researcher
has developed principles (semantic, grammatical and
compositional-stylistic)
for
determining
the
boundaries of the textual content of supra-syntactic
units, their selection. On this basis, he rightly stated
that the completion of a small topic in the text and the
transition to a new topic is one of the factors that
determine the structure of the supra-syntactic whole,
that there is a strong semantic-grammatical
connection
between
relatively
independent
sentences. that make up this whole, and that this
connection ensures the semantic-structural integrity of
the supra-syntactic whole.
Naturally, sentences participate in the formation of a
supra-syntactic whole, no one denies this. But the
combination of two or more sentences into a whole is
not just a process, but a rather complex and
multilayered phenomenon. There are a number of
factors that add to this set of statements. Most
researchers (I.R. Galperin, O.I. Moskalskaya, Z.Ya.
Turaeva, L.M. Loseva, A. Mamajonov, M. Tukhsanov,
M. Abdupattoev and many others), who thought about
this issue by the presence of a single subtopic, on this
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basis, commonality and mutual harmony of the
content of sentences, semantic-grammatical and
communicative integrity are noted as such factors. For
example, the following passage contains all these
factors, so it can be called a separate supra-syntactic
whole: When a person is too frightened, his limb
becomes immobile and painful, of course we know
that this is because he is very afraid. In fact, if a tiger
comes at us, we are very afraid, because death awaits
us, a person has nothing more to fear, except death in
the world. Naturally, we consider this fear natural. But
what is interesting is when we are waiting for the
happiness of the world, when a prophecy about
happiness is given to us, why we become the same as
when we are waiting for death, and our organic
organization forgives the first situation (A. Kadiri, "Past
Days").
It can be said that there is no doubt that supra-
syntactic units are textual units. They are undoubtedly
the basic unit of the text.
Some linguists talk about the presence in the text of
single sentences that are not part of the supra-
syntactic units, and evaluate them as "free" sentences,
on the basis of which they classify free sentences as
text units among the supra-syntactic units. [18] A.
Mamajonov and M. Abdupattoev also support this
opinion and, analyzing such free sentences in the text
in Uzbek, give an example taken from the novel
“Horizon” by Said
Ahmed:
That mulberry tree that hides the summer heat in its
chest, burning fields and stones, at noon resting its
head on the brave chest of a noble youth...
Those days promised Dildor great happiness, a life as
sweet as a dream. The deceived girl still felt the pain of
the moments when it was noon.
Many still do not know how much fidelity costs for a
woman.
Dildor couldn't blame anyone. She knew she had only
herself to blame. If she had not betrayed Nizamjon,
these days would not have happened.
The authors emphasize that the underlined sentence
belongs neither to the first supra-syntactic whole
consisting of two paragraphs, nor to the second supra-
syntactic whole in the form of the last paragraph,
therefore it is a free sentence. [19] It can be said that in
terms of content, such free sentences in the text serve
to express the author's explanation, mention of a
specific related topic, lyrical digression, and so on.
In this regard, the comments of M. Ya. Bloch are
especially noteworthy. In his opinion, the direct
element of a holistic text structure is not only a unit
larger than a phrase (in our opinion, a supra-syntactic
whole), that is, it is not only a combination of
sentences, but also separate sentences to which the
author of the text attaches an important status. The
very status of such sentences requires their selection
as separate paragraphs in monologue written speech.
[20] In this opinion, he seems to be referring to the
freedom of speech mentioned above. But M. Ya. Bloch
draws attention to the extreme importance of any
sentence in the text. He says that this is the most
important (cardinal) element of speech expression in
terms of text construction, which is confirmed by
studies based on observation of speech in various
forms and purposes (oral, written, everyday,
professional, quiet, emotional, and others). He writes:
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“This becomes clear as soon as we remember that
speech is an expression of predication, that is, the
assignment of the nominative content of speech to
reality. None of the "real" units of text presented as
alternatives to a sentence has its own means of
expressing predication. This means that the text
cannot express judgments and conclusions outside the
sentence, that is, the text loses its ability to serve as a
full-fledged means of conscious reflection of the
world".
A similar idea can be seen in the work of other
researchers. For example, the Russian linguist G. V.
Kolshansky emphasizes that the sentence expresses a
subject-predicate relationship and is a content-
structural unity that allows the content to be formed
as a logical thought in the text, and that the sentence
is “the main operational element of the text”. [21] We
can say that it is difficult to imagine without words the
content of the text, the relationship of this content to
the objective world, that is, its correct understanding.
It seems that the place of the sentence in the text
system, especially its ability to create a text, cannot be
denied. Speaking about the text-forming features of
speech, experts recall a very figurative saying (1838) of
one of the figures of Russian rhetoric I. Davydov:
"Speech is the grain from which a whole work grows".
[22] In general, the sentence is a unique material in the
formation of the text. Taking this into account, it is
appropriate to consider any sentence within such
units, recognizing both free sentences and supra-
syntactic units as text units.
One of the most controversial and widely studied
issues of text linguistics, in particular the definition of
text units, is the question of the essence, nature and
status of a paragraph in a text. In this regard, a huge
number of scientific works have been created in
Russian and European philology, their number exceeds
several hundred. Most of them discuss issues such as
the relationship between paragraphs and supra-
syntactic units (“supra
-syntactic uni
ty”, “complex
syntactic whole”, general and different aspects, their
level of significance in the text, and so on). But in
advance it must be emphasized that, in our opinion,
comparing a paragraph with supra-syntactic integers,
comparing them with each other, is not very
reasonable from the point of view of scientific logic.
In linguistics, one can meet several different points of
view regarding the interpretation of a paragraph and
its meaning. Let's look at some of them.
Comparing the supra-syntactic whol
e (“superphrasal
unity”) and the paragraph, O. I. Moskalskaya
emphasizes that the supra-syntactic whole is a
phenomenon that has a syntactic essence, and the
paragraph is a unit of the compositional level. [24]
Other researchers also pay attention to the status of
the paragraph as a compositional and stylistic unit in
the text. [23]
A number of researchers say that a paragraph cannot
be a syntactic structural unit. In their opinion, the
paragraph is not a unit of the language system,
therefore, it does not have grammatical features that
serve to distinguish it from other syntactic units,
therefore it is not a separate syntactic unit. Based on
this, they do not consider the paragraph to be a
syntactic category and state: "The syntactic structure
of the text has no unity, except for a phrase, a
combination of words, sentences, complex syntactic
units". At the same time, they emphasize that a
paragraph is a unit consciously singled out by the
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writer in order to facilitate the perception of thought
in the practice of writing.
And some linguists are trying to prove that the supra-
syntactic whole (“complex syntactic whole”) cannot
be considered as a syntactic unit in the text, and only a
paragraph can have such a status in the text. For
example, L. G. Friedman, who studied the same
question on the material of the German language,
believes that a complex syntactic unit does not have
relevant indicators that determine its status as a
syntactic unit, so it will be correctly interpreted in the
style of not a grammatical unit, but a logical-semantic
one. unit formed on the basis of the content
commonality of a number of independent sentences.
The author criticizes the fact that in the studies of a
paragraph as a stylistic, literary and compositional unit,
the features that secure the status of a syntactic unit
for it are either relegated to the background or
completely ignored. He puts forward a rather harsh
opinion about the essence and status of a paragraph as
follows: “We consider that a syntactic unit larger than
a phrase, being a unit of a relatively lower level and
having a different set of relevant features from a
sentence, is a paragraph... Without denying the role of
a paragraph as a compositional unit, we believe that it
is primarily a syntactic unit, because the syntactic
nature of a paragraph is the basis, the basis that allows
it to be used as a literary and compositional unit". It
seems that the researcher is interpreting a paragraph
as a syntactic phenomenon, just like a sentence, and is
trying to firmly establish the idea that the basic unit of
text is a paragraph.
This point of view, although not so sharp, is shared by
other linguists, especially specialists involved in the
methodology of teaching foreign languages. For
example, in one of the works of this direction, a
paragraph is singled out as an obligatory element of
text formation, it is emphasized that it is an integral
unit with its own structure in the linguistics of the text,
and on the basis of this it is concluded that the
paragraph is a “small text” inside a “large text”, types
content such as "paragraph-analysis", "paragraph-
description",
"paragraph-contrast",
"paragraph-
analog", "paragraph-definition" distinguish it.
Understanding
a
paragraph
as
a
syntactic
phenomenon or mixing the concepts of a paragraph
and a supra-syntactic whole is quite common in
different linguistics. You can even find several different
interpretations of a paragraph in a given work. For
example, in the book “Modern English Stylistics” by I.
V. Arnold, the paragraph entitled
“Text Level
-
Paragraph” begins like this: “A fragment of written
speech, from one paragraph to the next paragraph,
implemented as a complex syntactic whole and
forming a relatively complete part of an artistic text , is
called a paragraph". Noting that the origins of the
theory of the paragraph go back to the works of A. M.
Peshkovsky, and later studied by N. S. Pospelov, T. I.
Silman and many other linguists, the author further
clarifies his thoughts in this definition: “A paragraph is
a syntactically-intonational an integer of a higher level
than the sentence". But after one page, he seems to
change his mind. He emphasizes that the grammatical
and meaningful independence of sentences in a
paragraph is different for different writers, even in the
works of the same writer in different genres, and
therefore argues that "it is absolutely impossible to
give an example of the typical structure of a
paragraph". Based on the analysis of one or two pages
of examples, he comes to the following conclusion,
which con
tradicts his initial opinion: “Thus, since the
paragraph graphically reflects the logical-emotional
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structure of the sentence (statement), it can be
interpreted as a compositional device that makes it
easier for the reader to perceive the statement”. Of
co
urse, a paragraph cannot be both a “syntactic
-
intonation whole, greater than a sentence” and a
“graphic
-
compositional method”, that is, a whole
-unity
and a method are different concepts and phenomena.
The main points in the comments on the paragraph
considered so far can be grouped as follows: 1) a
paragraph is a syntactic unit, 2) a paragraph is not a
syntactic unit, 3) a paragraph is a compositional-
stylistic unit, 4) a paragraph is a compositional-graphic
method. As can be seen, each of these opinions denies
or does not fully recognize the other. Most linguists
argue that a paragraph is not a syntactic (in general,
linguistic) phenomenon, it cannot be such in its
essence. But, despite this, there is no end to the debate
about the relationship between a paragraph and a
supersyntactic unit (a complex syntactic whole).
In this place there are many scientific studies in
different linguistics devoted to showing that the supra-
syntactic unit (a common variant in Russian linguistics
is “super
-
phrasal unity”) and
the paragraph have a
different essence. Among them, however, two articles
stand out in particular. In particular, the articles by N.
A. Levkovskaya on the Russian-language material and
the articles by E. V. Referovskaya on the French-
language material approached this problem in a
peculiar way and tried to consistently identify specific
differences on the merits of the issue.
According to N.A. Levkovskaya, the division of the text
into parts is a multifaceted complex process, this
process as a whole has a two-sided character, that is,
firstly, it is an objective process associated with the
functional orientation of the text - the pragmatic
purpose of the text. Secondly, this is a subjective
process, depending on the intention of the author of
the text - the pragmatic goal of the author. When
dividing the text, a dichotomy arises between the
pragmatic goal of the text and the pragmatic goal of
the author. Supra-
syntactic unity (“supra
-phrasal
unity”) arises as a product of text division precisely for
the pragmatic purpose of the text. A paragraph is
created as a product of dividing text according to the
pragmatic purpose of the author. Accordingly, the
researcher says that the supra-syntactic unit is a unit of
subject division of the text, has intellectual
completeness, logical integrity. He emphasizes that a
paragraph, being a unit of subjective articulation of a
text, may not always have intellectual completeness,
and that in most cases a paragraph acts as a purely
emphatic means of increasing the effectiveness of
influencing the reader. The author of the article
emphasizes that although in a scientific text a
paragraph has the status of a structural, semantic and
communicative whole, in a literary text it participates
mainly as a means of performing an emphatic task. Of
course, it is known that the specific goals and
objectives, the features of this literary text as a whole
are connected with the pragmatic goal of the writer of
aesthetic impact on the reader. In a literary text, of
course, the aesthetic intention of the writer is of
decisive importance.
The scientific observations of E.A.Referovskaya also
focus on the subjectivity of the essence of the
paragraph, in her opinion, "the paragraph is aimed at
the meaningful development of the topic in
accordance with the individual style of the author, and
the supra-syntactic unit is aimed at the structural
formation of the expression of thought". [24]
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Publisher:
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It seems that an objective solution to the problem can
be achieved if the difference between a supersyntactic
unit and a paragraph is based on objective and
subjective factors of text fragmentation. After all,
when dividing the text into paragraphs, the subjective
goal of the author plays a decisive role, what, how and
with what to emphasize the content of the thought.
True, in a scientific text it is important to naturally
express the logical flow of thought, therefore, a supra-
syntactic unit and a paragraph are most suitable. But
even in a scientific text, in certain cases, one
supersyntactic unit can be divided into several
paragraphs in order to consistently highlight the
researcher’s thought, “squeal,” and this provision does
not make it difficult to understand the author’s
thought, on the contrary, it makes it easier. For
example, consider the following scientific text on
linguistics:
If we look from the point of view of the semantic field,
then we will come across interesting information
about the functional-semantic properties of words
with the opposite meaning.
The range of conflicts between members of the
semantic field is wider and more varied than the range
of antonyms.
In this sense, antonyms can be seen as a form of
contradiction between members of the field. In the
semantic field, in addition to inter-lexical conflicts,
there are also groups, micro-fields, and even large-
scale inter-device conflicts (Sobirov A. The study of the
lexical level of the Uzbek language on the basis of the
system of systems. Tashkent: Spirituality, 2004. 152 p.).
The passage consists of three paragraphs, but there is
one supra-syntactic unit. This is evidenced by
commonly used words and connecting techniques that
provide a semantic-syntactic and logical connection of
sentences in all three paragraphs, as well as intellectual
completion.
In official texts, for example, in legal documents, not
only one supersyntactic unit, but even some sentences
can be divided into several paragraphs. This will, of
course, be linked with the aim of highlighting relevant
emphases and points of view. For example:
Article 186. Manufacture or sale of low-quality
products
The release to the market of low-quality products or
their sale will entail the infliction of moderate or
serious bodily harm, -
punishable by a fine in the amount of 100 to 200
minimum monthly wages, or correctional labor for up
to 3 years.
If these actions lead to the death of a person,
they are punished with imprisonment from three to
seven years.
These actions:
a) death of people;
b) if it entails other grave consequences, - shall be
punished by imprisonment from seven to ten years
(Criminal Code of the Republic of Uzbekistan. -
Tashkent: Ministry of Justice of the Republic of
Uzbekistan, 2001. P. 99)
As you can see, there is one supersyntactic unit in the
text, consisting of three sentences, but broken into
eight paragraphs.
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In a literary text, such a structure of paragraphs, the
expression of one supersyntactic unit in several
paragraphs is often observed in connection with the
artistic and aesthetic intention of the writer. This can
be seen in these examples:
Otakuzi came around the corner with the dignity and
pomposity of a millionaire chairman. When Domla
Shomurodov heard the noise of the car and got out,
two Volga cars were standing in front of the gate - a
white one and a blue one. One by one, the Gazik arrived
and stopped.
Otakuzi first came out of the white "Volga", followed
by a slender man dressed modestly, and Otakuzi's
daughter Tahira stepped out of the blue "Volga". (O.
Yakubov, novel " Religion").
... Now Mahkam understood Gawhar's aspirations as
his own and felt strength and confidence, as if not one,
but two hearts were beating in his chest, and his heart
was quickly cleared of doubts.
In Gavkhar, respect for Mahkam's beloved work
appeared last year. Looking into the future of Mahkam,
she imagined a noble teacher raising children. (P.
Kadyrov, Novel "Three Roots").
Both quoted passages contain one suprasyntactic unit
each, but these units are expressed as two paragraphs.
Undoubtedly, this served to emphasize and strengthen
the relevant thoughts, consonant with the artistic and
aesthetic intention of the writer. These one or two
examples show once again that it is inappropriate to
compare a paragraph with a supra-syntactic unit.
In most works devoted to the study of text in Uzbek
linguistics, if we talk about text units, then such units
are mainly a sentence, a complex syntactic unit and a
paragraph.
Some researchers, for example, the great researcher
of the German language W. G. Admoni, emphasize that
the paragraph is primarily a graphic whole, since in the
written text on both sides of the paragraph they leave
some free space for distinguishing it, which is its
graphic border. Scholar says that later German editions
used a (vertical) series of spaces between paragraphs
instead of this open space that separates a paragraph.
In Russian linguistics, there is also a tradition to
consider a paragraph in a system of punctuation marks.
For example, A. N. Gvozdev, commenting on
punctuation marks, writes: «According to its function,
a paragraph is one of the punctuation marks... The
paragraph serves as an indicator of a new direction of
thought; ideas expressed by independent sentences
within a paragraph are nevertheless united in content
and develop a certain subtopic... The selection of
several sentences or even one sentence as a separate
paragraph gives these sentences a certain weight, such
a division is carried out by the author in a way that
depends on his purpose». [25]
I. R. Galperin, one of the major researchers in text
linguistics, in a book published fifty years ago, argued
that a paragraph, like punctuation marks, is a tool, a
compositional and graphic technique that serves to
highlight the logical and emotional aspects of the text.
[26] It is worth noting that I. R. Galperin, like I. V. Arnold
(we cited his opinion above), emphasizes that a
paragraph is not a unit in a text (of course, a written
text), but a way to emphasize a certain thought,
increase emotionality highlight an important aspect.
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In our opinion, the interpretation of a paragraph as a
text unit does not have an appropriate justification.
Such an interpretation is probably associated with one-
sidedness in determining the essence of the text. As
we saw above, a number of specialists consider only
speech in written form to be a text. Accordingly, it is
natural that the concept of a paragraph, unique for
written speech, was transferred to the field of text
units. However, the text can also be verbal. Therefore,
attempts are being made to search for linguistic
features of the paragraph, but, as discussed earlier,
scientific results have not yet been obtained.
Even in written speech, the paragraph is not a
completely objective phenomenon, but rather the
product of a subjective attitude, as can be seen from
the above fairly detailed review of the literature in this
area.
Based on this, it becomes clear that it is inappropriate
to interpret a paragraph as a text unit. But in a written
text there is a phenomenon called a paragraph that
should be studied. The study of not only a paragraph as
a text unit in written speech, but also as a unique
compositional and stylistic device (namely, a device,
not a unit) in a written text allows us to draw objective
scientific conclusions.
Based on these considerations, we can say that it is
advisable to consider the supra-syntactic unit and the
sentence as the main units of the text.
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Fitrat A. Selected Works. Volume IV. - Tashkent:
Spirituality, 2006. р. 12
-13.
2.
Sharafiddinov O. Literature begins with language //
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1986
1.
Literary theory. 2 volumes. Volume 1. Literary work.
-
Tashkent: Nauka, 1978. р. 312.
2.
Jirmunsky V.M. Theory of Literature. Poetics.
Stylistics.
–
L.: Nauka, 1977, p.18.
3.
Jirmunsky V.M. ibid., p. 22.
4.
Shmelev D.N. Word and image.
–
M.: Nauka, 1964,
p.3.
5.
Stepanov G.V. Language. Literature. Poetics.
–
M.:
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6.
Vinogradov V.V. Problems of Russian stylistics.
–
M.:
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7.
For example, see: Shmelev D.N. Handbook, pp. 4-
22; Gukhman M.M. History of language and text //
Literature. Language. Culture.
–
M.: Nauka, 1986,
p.252.
8.
Doniyerov Kh., Mirzaev S. Art of the word. -
Tashkent: Literary publishing house of Uzbekistan,
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9.
For example: Mutalibov S. The verbal category in
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Publishing House of the Academy of Sciences of
Uzbekistan, 1955; Makhmudov K. Phonetic and
morphological features of the language “Khibatul
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philological sciences.
–
Tashkent, 1964; Rustamov
A. Phonetic and morphological characteristics of
the language of the works of Alisher Navoi: Doctor
of Philology Dissertation - Tashkent, 1966
10.
See about this: Dressler V. Text syntax / New in
foreign linguistics. Issue 8. -M.: Progress, 1978,
p.119.
11.
Galperin I.R. Quoted work, pp. 67-68.
12.
See about this: Galperin I.R. Work cited, p. 69;
Turaeva Z.Ya. Work cited, p. 114.
13.
Mamajonov A. Large syntactic units // Uzbek
language and literature, 1980, No. 5, p. 62.
Volume 03 Issue 07-2023
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VOLUME
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(2023:
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14.
Mamajonov A. Text Linguistics. -
Tashkent, 1989. р.
27.
15.
Rasulov I. Complex syntactic integrity // Uzbek
language and literature, 1983, N1, p. 22;
Shomaksudov A., Rasulov I. and others. The style
of the Uzbek language. -
Tashkent: Uchitel, 1983. р.
223-227.
16.
Abdupattoev M.T. Supersyntactic units in the
Uzbek text: abstract of the dissertation of a
candidate of philological sciences. - Tashkent, 1998.
17.
Loseva L.M. Quoted work, pp. 69-70.
18.
Mamazhonov A., Abdupattoev M. Indicated work,
pp. 82-84.
19.
Baranov M.T., Kostyaeva T.A., Prudnikova A.V.
Russian language.
–
M.: Enlightenment, 1989, p.
263. Also see: Abramova S.V. Expression of a
coherent text in scientific literature in Spanish /
Linguistic and stylistic features of a scientific text.
–
M.: Nauka, 1981, p.67-68.
20.
Kolshansky G.V. From sentence to text / Essence,
development and functions of language.
–
M.
Science, 1987, p.40.
21.
Odintsov V.V. Text style. -M.: 1980, p. 122.
22.
Moskalskaya O.I. Quoted work, pp. 14, 30, 83.
23.
Referovskaya E.A. Supra-phrasal unity and
paragraph / Theory of language. Methods of its
research and teaching.-L.: Nauka, 1981, p. 225-228.
24.
Gvozdev A.N. Modern Russian literary language.
Part II. Syntax. -M.: Enlightenment, 1968, p. 331.
Also see: Modern Russian literary language. Part 2.
Syntax. Edited by D.E. Rosenthal. -M.: Higher
school, 1976, p. 218. Babaitseva V.V. Russian
language.
Syntax
and
punctuation.
-M.:
Enlightenment, 1979, p.260.
25.
Galperin I.R. Essays on the style of the English
language. -M., 1958, p. 226-230.
