Volume 04 Issue 10-2024
33
International Journal Of Literature And Languages
(ISSN
–
2771-2834)
VOLUME
04
ISSUE
10
P
AGES
:
33-39
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
ABSTRACT
The article examines the methodological possibilities of the phonographic tools used in the comics, stories and
feuilletons of the great writer Abdulla Qadiri. The expression of denotative and connotative meanings by means of
phonological units, their semantic-stylistic features, the importance of expressiveness in the language of small works
is highlighted.
KEYWORDS
Geminata, alliteration, gemination, expressiveness, denotation, connotation, emotional meaning, emotional-
expressive meaning, informative expression, pragmatic expression, stylistic color.
INTRODUCTION
As all the level units of the language form a whole as a
system, in the language, these units are verbally
realized in interaction, and on this basis, it also forms
an integral connection between phonetics-phonology
and stylistics. That is, under the influence of objective
and subjective reasons in oral and written speech,
various methodological possibilities arise through
phonological units. Convenience and aesthetic appeal
are achieved as a result of methodical use of phonetic-
phonological units, that is, phonemes and speech
sounds, among other language units in a work of art.
In poetry, phonetic methods such as alliteration
(repetition of consonants), assonance (repetition of
vowels), gemination (layering of consonants) are used
for this appeal. In prose, expressiveness is provided by
phonetic methods such as lengthening vowels, folding
consonants, repeating sounds, mispronouncing words,
Research Article
METHODOLOGICAL CHARACTERIZATION OF PHONOLOGICAL CHANGES
IN WORDS IN SMALL WORKS
Submission Date:
October 04, 2024,
Accepted Date:
October 09, 2024,
Published Date:
October 14, 2024
Crossref doi:
https://doi.org/10.37547/ijll/Volume04Issue10-08
Matkurbonova Muhabbat Shokirovna
Independent researcher of Tashkent State University of Uzbek Language and Literature, Urganch city, Republic
of Uzbekistan, 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.
Volume 04 Issue 10-2024
34
International Journal Of Literature And Languages
(ISSN
–
2771-2834)
VOLUME
04
ISSUE
10
P
AGES
:
33-39
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
increasing or decreasing the sound. There is a limited
opportunity to express the laws related to the
methodical use of sounds in writing. However,
consistency of pronunciation and narration can be
achieved using phonographic means [1;53].
As an important component of stylistics in Uzbek
linguistics, a number of studies dedicated to the study
of the unique methodological possibilities of written
speech, that is, the semantic structure, denotative and
connotative meanings, and semantic-stylistic features
of phonographic tools, which are the object of study of
phonostylistics, have been created [2;152]. It is
noteworthy that studies [3;136] were conducted on
the comparative study of phonostylistic tools in related
and non-related languages, and certain scientific
conclusions were obtained about the features and
variants of these tools specific to national languages.
Various phonopragmatic manifestations of the
author's attitude are expressed as a result of the use of
the tone of the lexemes with a certain hidden purpose
in the work of art. Such pragmatic relations emerge on
the basis of sound lengthening, sound increase, sound
drop, sound exchange, consonant doubling, sound
repetition, sound changes in imitative words, and as a
result, different connotative meanings of lexemes are
formed.
In linguistics, the concept of connotative meaning is
also expressed by various terms such as additional
meaning coloring in sounds, emotional meaning,
emotional-expressive
meaning,
informative
expression, pragmatic expression, stylistic coloring,
additional ottenka. In this, the speaker's and the
listener's feelings of joy, sadness, agreement,
hesitation, surprise, supplication, surprise, joy,
affectation, pleasantness, gentleness, politeness,
caress,
love,
elation,
solemnity,
admiration,
attractiveness, melody, musicality, emphasis, anger,
embarrassment, various positive and negative
attitudes such as disgust and arrogance are reflected.
In the small works created by Abdulla Qadiri, various
mental states such as internal excitement, joy, sadness,
agreement, surprise, begging, surprise, sarcasm, pity,
curtsy,
applause,
questioning,
emphasis,
dissatisfaction, dissatisfaction, desire, support in the
psyche of the heroes are depicted. Phonographic tools
based on phonological changes in words are
effectively used in expression. Based on our
observations, we can divide such phonostylistic tools
used in small works into the following groups:
1. Quoting more than one vowel sound in writing.
Usually, speech sounds are also pronounced
differently depending on the speech organs. In the
acoustic, i.e., hearing of speech sounds, there is a
difference in their quantity and quality. In this case, an
appellative, that is, a state of being influenced by
hearing, also occurs. Since vowels do not encounter
any obstruction in the oral cavity, they can be stretched
as much as desired in pronunciation. This process is
characteristic of speech conditions. It should be said
that the duration beyond the time required by the
speech conditions reduces the function of the
phoneme to distinguish the meaning, and the meaning
of the word remains unclear. So, the lengthening of
vowels is caused by certain speech conditions and
requirements, and thus various additional meanings
are created in the word.
In the text of small works, by stretching the vowels, the
attitude of the heroes of the work to reality, the
described events are expressed as follows:
Volume 04 Issue 10-2024
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International Journal Of Literature And Languages
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VOLUME
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OCLC
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a) sign redundancy
–
“Xayr nima bo
ʼ
lsa ham aytay:
“Sharq” sahnasi bilan “To
ʼ
ron
”
ning to
ʼ
rtta karnayi g
ʼ
a-
a-a-a-at, g
ʼ
a-a-a-a tu-u-u-g
ʼ
a-a-aat! G
ʼ
art-g
ʼ
art! Ha
tovushing o
ʼ
chkur, ha egasiz qolgur! [4;155]. In this
excerpt from the author's comic book "Shaxsiy
maktublardan", he skillfully expressed the vowels "a"
and "u" by stretching the vowels "a" and "u" while
describing the strong, continuous sound of the
trumpet on the stage of the theater and emdiving it
before the eyes of the reader, and this situation is
shown graphically with dashes;
b) sign weakness
–
“Ko
ʼ
rungan yer oq salla, oq bo
ʼ
lsa
ham bo
ʼ
sh kalla, oq-u qora ham malla
–
Turkiston
ulamolariga salo-o-om!
”
[4;156];
c) to express the meaning of surprise
–
“O
ʼ
ho
ʼ
-o
ʼ
-
o
ʼ
...bolshevik! Yer yutsin, yer yutsin! Dinni bilmasa, boy
va ulamoni yer bilan yakson qilmoq talisa. Mol-mulkni
mushtarak deb bilsa!..” [4;34];
g) to attract the listener's attention
–
“Barakalla,
bolshevoyingga, balli, xo
ʼ
b qilibti-da! Oq podshohligini
burnidan chiqaripti... xoh, xoh, xoh, xo-o-
o...” [4;45];
d) to express surprise
–
“–
H-a-a-a, hoji pochcha
judayam pes ekan.
–
Mulla burtul nima deydi?” [4;139];
e) to call, to express the meaning of exclamation
–
““Mushtum”ga ko
ʼ
maklashish tilagida bo
ʼ
lg
ʼ
an ho-o-o-
ov eldagi og
ʼ
al
ar! Menga tomon bir qaranglar!” [4;210].
In addition, the connotative meaning of the words in
the author's comic and felutons is directly understood
from the phonographic status of these words, and in
some cases it is given with the help of lexical-semantic
comments: “Undan keyin ba
ʼ
zi
“
mujik yutkan
”
o
ʼ
rislarimiz
“
ham
”
so
ʼ
zi o
ʼ
rniga
“
i
”
ishlatib majlislarda
“
i-i
”
lashib yursinlar!
”
–
deydi
”
[4;311]. In this sentence,
the double writing of the vowel "i" and the
introduction of the sentence using "i" instead of the
word "also" created a variety of speech based on the
simultaneous use of phonographic and lexical-
semantic tools in the emergence of connotative
meaning, and added artistry to the image.
As we can see, the prosodic features of vowel sounds
in oral speech and their expression in written speech
are reflected in different forms in small works. That is,
in which place of the word, in open or closed syllables,
vowel sounds are stretched, how many times they are
stretched, and the emotionality and stylistic color
expressed in it are also different. In general, in the text
of small works, the connotative meanings related to
the prolonged pronunciation of vowel sounds and the
exact reflection of this pronunciation in the writing are
related to the denotative meaning of this word. The
author purposefully used such a methodological tool
to express the dialectal affiliation of the heroes of the
work, the cultural level of the speaker, the level of
literacy, and the lack of speech in artistic speech.
2. Stylistic possibilities and features specific to
consonants. Doubling, repeating, omitting consonants
in oral speech and accurately reflecting this
pronunciation phenomenon in written speech also
perform an important methodological task. The
amount of repetition of a consonant in the writing also
means the amount of expressive color it represents.
That is, the more one consonant is repeated in the
lexeme and the more it is graphically expressed in the
text, the more emotional and affective color is known.
It can be understood that the connotative meaning in
the word can be graded through the repetition of
consonants. In small works, it is observed that the
author effectively uses more than one consonant
writing tool to convey to the reader the inner psyche
Volume 04 Issue 10-2024
36
International Journal Of Literature And Languages
(ISSN
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2771-2834)
VOLUME
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P
AGES
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OCLC
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1121105677
Publisher:
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and state of the heroes of the work with the
requirement of expression and aesthetic purpose. The
following meanings are expressed in it:
duration of action
–
“Yarim soatlik qonli “g
ʼ
ov-v-v-v,
g
ʼ
u-v-v-v, ov-v-v-v-v, ov-v-v-v
”
dan so
ʼ
ng Mallaxonning
davangisi mag
ʼ
lub bo
ʼ
lib, faje
ʼ
bir suratda yaralandi.
[4;157]; expressing low volume
–
“А
mmo shunchalik
davru davronlar o
ʼ
tquzilg
ʼ
an va o
ʼ
tquzilmoqda bo
ʼ
lg
ʼ
an
bo
ʼ
lsa ham bunchalik ochub
–
... tis-s-s! Yopig
ʼ
liq qozon-
yopig
ʼ
liq... tuya ko
ʼ
rdingmi - yo
ʼ
q... [4;128];
expression of the meaning of increase
–
“Mag
ʼ
zava
qori ko
ʼ
ngilning eng chuqur joyidan chiqarib, uf-f-f dedi
va hasratidan chang chiqara boshladi [4;173];
emphasis, to express the meaning of anger
–
“Ey
-y-y,
mushtuming toshqa tegsun, ro
ʼ
zaga til tegizdi!
–
deb
“Mushtum”ning
ro
ʼ
za
no
ʼ
mirlaridan
tarvaqaylashganlar,
ov-vozlaringni
o
ʼ
chiringlar!
”
[4;176];
expression of the meaning of hesitation, hesitation,
hesitation
–
“–
Xo
ʼ
sh-sh-sh o
ʼ
rtoq, nima qilib yuribsiz?
–
Mudir: imm-m-m... [4;25].
Artistic speech and style have their own
characteristics in terms of the use of sounds, the
phonetic image of a word in the text serves to reveal
its stylistic feature. Phonetic economy occurs by
dropping some syllables or sounds from the word, i.e.
shortening the word, saving phonetic energy also
eases the movement of speech organs. The sounds
that are the unit of speech cannot be separated from
the thought, the thought occurs in connection with the
sound, the way the sound is combined with the sound,
the expression of the volume of sound is closely
related to methodological factors. In linguistics,
excessive use of sounds in words is called phonetic
redundancy. It is known that double consonants, i.e.
geminates, have the same consonantal state, this
phenomenon was initially formed as a result of the
tendency to preserve the phonetic structure of the first
syllable [5;92], the duality of consonants (like two-
two), which began in the period of the Old Turkic
language, later became a literary standard has become
In small works, there are cases where non-literary
forms of geminates (consonant lengthening) are
overused with the requirement to strengthen the
meaning: “O
ʼ
zingizda boqilgan bo
ʼ
rdoqilardan bordur?
А
na shulardan bittasini ko
ʼ
ttarib uring, qo
ʼ
ying!
”
(T
А
,
III, 126-bet)
; “Otang nechchilik –
bo
ʼ
zchilik, sanga kim
qo
ʼ
yubdur bu noma
ʼ
qulchilik?!
”
[4;143].
In the journalistic articles of the author on the topic of
felaton, comic, different connotative meanings are
assigned to the lexemes by means of doubling of
consonants as above. The doubling of consonants in
different places of the word also performed a specific
stylistic function. For example, if the doubling of the
consonant phoneme at the beginning of the word
expresses the character's speech deficiency or
excitement, the multiple repetition of the consonant at
the end of the word through the prolonged
pronunciation of the same lexeme conveys different
connotative meanings: the sign's excess of the norm,
the duration or immediacy, repetition, high or low
volume of the text, etc. embedded in the content.
When double consonants are used, the meaning is not
strengthened by the acquisition of one consonant, but
by creating a double consonant, the ground is
prepared for moving the stress to the previous syllable
and for the strong pronunciation of the vowel in that
syllable [7;11]. Double consonants in the author's comic
and critical articles are often used in words related to
nouns, creating different tones in artistic speech as
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37
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OCLC
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phonopoetic units: “G
ʼ
ozi Yunus ajoyib bir
“
til
olimidir”.
O
ʼ
zining da
ʼ
vosiga to
ʼ
g
ʼ
urlab, yanglish qoidalar
tuzuvchilarning teppasida turadur
”
[4;298];
“
G
ʼ
ozi
Yunus dabdurustdan kishini elab tashlaydir, bunga
qanchalik haqqi bor yoki yo
ʼ
q
”
[4;299].
In such a phonographic way, the repetition of one
consonant in a word increases the amount of
expressive color that it represents, and the listener is
affected by hearing it, and it gains phonostylistic
importance in strengthening the meaning of emphasis.
A unique artistic image was created by the doubling of
consonants in the comic "Dardi yoq - kesak, ishqi yoq -
eshak" published in the 1923 issue of "Mushtum"
magazine. In this case, the consonant sound is
pronounced with an emphatic accent, the emotional
side of the word is strengthened and the excitement of
the speaker is expressed. Emphatic emphasis in writing
is expressed by hyphenation of letters: “Xarsak –
marsak, dardi yo
ʼ
q
–
ke-s-s-sak, ishqi yo
ʼ
q
–
e-sh-sh-
shak
”
[4;165]. Expression of the speaker's excitement
in this way clearly embodied his negative or positive
attitude towards the interlocutor. Of course, tone and
intonation also played an important role in this. At the
same time, in oral pronunciation, the tone is much
higher than the norm. Summarizing our analysis, we
see that the stylistic possibility of consonants in small
works has gained an important importance in the
artistic image. In the text of the work, lexemes with
double consonants express the understanding of
different things and events, and also express different
emotional and expressive states of the speaker, and
different reactions to events. Also, the author's
purposeful use of emphatic emphasis served to
increase artistic effectiveness.
3. Mispronouncing words. In the small works, in the
speech of the author, in the speech of the characters,
for various reasons, some words, mainly borrowed
words, are pronounced incorrectly. It can be explained
that this situation occurred as a result of the speaker
not correctly imagining the spelling of the acquired
word, belonging to a different nationality, and not
distinguishing paronyms. It is felt that the author used
this method in order to individualize the speech of the
hero in comics and felatons and to bring the artistic
expression closer to oral - live speech. In satires and
feletons, in some places, words are deliberately
distorted and written in order to express the meaning
of laughter, sarcasm, and sarcasm, and various
connotative meanings are embedded in the text. From
such connotative meanings, the pragmatic attitude of
the author of the speech is inculcated not only to the
addressee, but also to events. As evidence of our point,
we turn to examples: “Xabaring yo
ʼ
q hali, Mahkam
polvon,
kecha
ispolqo
ʼ
midagi
hizimkashlarning
“
kanasirtiga
”
borub qolubman... sanga yolg
ʼ
on Xudoga
chin
”
[4;36
4]; “Kecha mahallaga borg
ʼ
an edim,
Mahkam polvon. Bittasi kelib, sizni komasiya chaqiradi,
deydi. Bordim komassiyasi qo
ʼ
limg
ʼ
a bir nosvoy
qog
ʼ
ozni berdi
”
[4;367]. Both examples are taken from
the author's comic "Tashpolat Tajang nima deydi". The
words kanasirt, komassiya, used in the text with
phonological change, are colloquial variants of the
lexemes concert, comissiya borrowed from the
Russian language.
Such variants of lexemes can be considered as words
that are not assimilated into the lexical layer of the
language, are not characteristic of its standards, and
are used as a phenomenon of a foreign language, that
is, barbarisms. The author skillfully used these units to
individualize the characters' speech. The lexemes used
on the basis of phonological change in the text of
comic characters are often presented in the speech of
Volume 04 Issue 10-2024
38
International Journal Of Literature And Languages
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2771-2834)
VOLUME
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ISSUE
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P
AGES
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OCLC
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1121105677
Publisher:
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the characters, so that the author was able to create a
unique style by assigning connotative meanings such
as the cultural level of the hero of the work, the
weakness of the ability to pronounce such words, and
his inner feelings to such words: “Shul miyonalarda
ba
ʼ
zi kishilardin
“
Lilim podsho o
ʼ
ldi
”
, degan xabarlarni
eshitadirman, bul xabarga basharti ishonsa bo
ʼ
ladirmu,
haytovur, tunov kundan beri shi mish-mish chiqib qoldi,
ammo
“Lilim” degan kishini ko
ʼ
b shijoatlik odam deb
eshitar erdim
”
[4;309];
“
Shayxantovur yarmankasiga
ro
ʼ
za bo
ʼ
yi mol yoyg
ʼ
on juvonlar, kampirlar, qizlar,
tumsalar faje bir qiyofa bilan
“
alvido, yo mohi
ramazon
”
, deb ro
ʼ
mol silkitadirlar
”
[4;127];
“
Qishloqqa
yuzingni o
ʼ
gir!
”
. Ya
ʼ
ni: Ey bolshavoylar daftarig
ʼ
a
yozilg
ʼ
an xurd-u kalon (katta-kichik) amaldorlar va
g
ʼ
ayrikamsomonlar!
”
[4;349].
In the content aspect of the lexeme, in addition to
naming the reality, the attitude towards the reality
being named is also expressed. A sign of responding to
reality is called a value system. For example, lexemes
"qush" and "qushcha" are the same in terms of lexical
meaning, but different in terms of value expression.
Qush-lexeme is neutral in terms of the evaluation
scheme: it does not express a positive or negative
attitude to what is meant; This attitude is expressed in
the lexeme qushcha. So, the semantic content of the
qushcha lexeme is richer than that of the bird lexeme.
The main phenomenon in terms of the content of a
lexeme is the lexical meaning; the evaluation scheme
surrounds the lexical meaning. The evaluation scheme
is mainly expressed in three ways: 1) with the help of a
morpheme, 2) with the lexeme itself, 3) with the help
of the context. If the evaluation scheme is represented
by the lexeme itself, it is called a lexical representation.
In this case, the evaluation scheme is visible in the
semantic relationship of lexemes [7;61]. In the comic
works of A. Qadiri, the borrowed lexemes that entered
the lexical level under the influence of social and
political changes in society were skillfully included in
the text in addition to their denotative meaning. vividly
described his spiritual worldview under the humor.
Ё
қ
оридаги
мисолларда
ажратиб
кўрсатилган
Лилим
(
Ленин); ярманка (ярмарка); болшавой (болшевик);
ғ
айрикамсамон
(
ғ
айрикомсомол
)
лексемаларнинг
адабий
меъёрдан
чекинган
ҳ
олда
нотў
ғ
ри
талаффузда
қ
ўлланиши
ҳ
ам
услубий
жи
ҳ
атдан
ана
шу
ма
қ
сад
сари
бўйсундирилган
.
Lilim (Lenin), highlighted in the examples above;
yarmanka
(yarmarka);
Bolshavoy
(Bolshevik);
g
ʼ
ayrikamsomon (g
ʼ
ayrikamsomol) The use of
imperfect
(non-perfect)
lexemes
in
incorrect
pronunciation, deviating from the literary norm, is also
methodologically subordinated to this goal.
In artistic speech and style, lexemes are given outside
the pronunciation norms and reflected in writing in this
way is sometimes related to the regional affiliation,
social origin, nationality and a number of other non-
linguistic factors of the heroes of the work. In this case,
the author makes use of the dialectal variants of
lexemes in the literary language to provide a unique
color in the work, and tries to vividly describe the
events. In small works, especially comics, the author
made good use of phonetic and grammatical types of
dialectisms. He purposefully used them as the main
means of expression of a comic work to covertly
express the speaker's real attitude to reality: “Аnaki
shu inqilob bo
ʼ
lli, maktablar ochilli, o
ʼ
zbak tiliga kitoblar
yozilli, anaki shu bizning tojik bolalarga yangi kitob yo
ʼ
q
bo
ʼ
lli
”
[4;236];
“
Ibi, jinni bo
ʼ
llingchi, dedi tojik
”
[4;236];
“
–
А
ssalomu alaykum!
–
deysiz.
А
gar Sotimdovg
ʼ
a
uchrashib qolsangiz.
–
Vaalaykim assilam!
–
deydi sizga
[4;51].
Volume 04 Issue 10-2024
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Келтирилган мисоллардаги анаки, бўлли, очилли,
ёзилли, ўзбак, бўллингчи, ваалайким ассилам
лексемаларида
грамматик
шакллар
адабий
тилдагидан фар
қ
ли
равишда
диаллекталлшган
вариантда
берилган
.
Уларнинг
бу
шаклда
берилиши
асар
қ
а
ҳ
рамонларининг
миллатини
,
улар
табиатидаги
субектив
ҳ
олатни ифодалашга хизмат
қ
илган
ва
ҳ
ажвияда
му
ҳ
им
услубий
восита
сифатида
хизмат
қ
илган
.
In the given examples, the grammatical forms in the
lexemes anaki, bo’lli, ochilli, yazilli, uzbak, bo’llingchi,
vaalaykim assilam are given in a dialectalized version,
different from the one in the literary language. Their
rendering in this form served to express the nationality
of the heroes of the work, the subjective state of their
nature, and served as an important methodological
tool in comedy.
In general, in the connotative meanings expressed by
the lexeme, priority is given to the individualization of
the speech of the characters, the complete and correct
reflection of reality. As we have seen, the connotative
meaning expressed in the process of mispronunciation
of words is clearly manifested in their paradigmatic and
syntagmatic relationship. Connotative meanings such
as strong intonation, archaic and dialectal affiliation
are also expressed in different pronunciations of
grammatical forms. Especially in the author's comics,
the connotative meanings are strongly expressed due
to the variety of grammatical forms with phonetic
changes.
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