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THE PROBLEM OF UNUSUAL COMPOUNDS IN LINGUISTICS
Akbarova M.Sh.
Lecturer of the KSU, Doctor of Philosophy in Philology (PhD)
To‘raxo‘jayeva A.X.
Associate Professor of the KSU, Candidate of Philological Sciences
Annotation:
This article describes the use of unusual compounds in linguistics, the rich
emotionality of the thought expressed through them, and the need to name such compounds by
the name of "unusual compounds" in Uzbek linguistics.
Key words:
linguopoetics, unusual compounds, expressiveness, semantic coordination,
individual-authorship compounds, oxymoron, unusual compounds, occasional compounds,
attributive compounds, intermediate expressions.
INTRODUCTION
One of the most urgent issues of universal linguistics is the study of the interaction and
connection of language and speech phenomena in the process of speech communication. The
word, which is considered the most important element of language units, performs a different
form and function in language, and another form and function that is specific to it in speech.
From this it can be seen that the language and speech processes are different from each other and
are inextricably linked. Speech units surface in the process of speech, and the speech process is
considered a communicative field necessary for the self-expression of language units, their
various uses, and the discovery of a unique meaning and image. The speech process creates the
necessary conditions for the open expression of the aspects of meaning in words, their realization.
LITERATURE ANALYSIS AND METHODOLOGY
In order to understand the content being explained in any literary text, it is necessary to know not
only the lexicon and grammar of the language, but also the laws inherent in the literary text, the
linguistic and poetic language of the text. “When any thought is expressed in speech, it is
necessary for the speaker to always consider not only the delivery of information to the listener,
but also the scope of this thought’s impact on the listener. Therefore, qualified speakers, that is,
writers, always look with a very sensitive eye at the language units and means that ensure the
expressiveness and impact of speech, its expressiveness. It is known that there are various
possibilities for expressing expressiveness in language. The extent of such possibilities is one of
the criteria showing how rich the language is”. [1. 43-p.]
Unusual combinations have long been studied in world linguistics under the terms of individual-
authorship combinations, oxymoron, unusual combinations, occasional combinations, attributive
combinations, and intervening phrases.
In Russian linguistics, such stylistic figures are also interpreted differently. Yu.S.Stepanov calls
this phenomenon “semantic coordination” [2. 250-p.]. He points out that the formation of the
compound form of two components in these combinations is due to the emergence of semantic
harmony. N.G. Babenko also puts forward the same idea: “…the usual combination of such
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lexemes is impossible, since this contradicts the law of semantic agreement due to the absence of
common semes in their lexical meanings. It is only due to the emergence of contextual-semantic
shifts in the subordinate component that common semes appear in phrases”. [3. 39-b.] It is also
clear from the above considerations that the formation of non-standard combinations is the main
factor in the formation of lexemes, their realization in connection with the context.
RESULTS
It is necessary to determine the relationship of non-standard combinations with oxymoron, to
distinguish them as separate terms in linguistics, and to achieve the “restoration of their position”
of terms in Uzbek linguistics.
A significant source in Uzbek linguistics that describes the ways in which creators use words in
artistic texts, language units that significantly increase the artistic and aesthetic value of poetic
speech, their specific characteristics, and their place in artistic speech is the manual “Esthetics of
the Word” written by the famous scientists of Uzbek linguistics Kh. Abdurakhmonov and N.
Mahmudov.
For the creator of a work of art, which is an aesthetic whole, it is not the “strict, bare essence of
things” that is important, but their high artistic expression, their holistic image. With this goal,
the creator seeks new possibilities in language. One of such possibilities is to create various
subtleties of meaning, expressiveness, emotionality, and the like by connecting words that have
limited interconnection in non-artistic speech. We conditionally call such combinations in artistic
speech unconventional combinations.”[4. p. 38]
From this it can be understood that only when unusual combinations are used purposefully and
appropriately can emotionality in speech be increased, on the contrary, inappropriately
constructed combinations, or the inappropriate use of these combinations, create an unpleasant,
incomprehensible situation for a person.
Each word has its own unique possibilities of combining with others. Words can combine some
words, but not others. There are, of course, reasons for such limitations in the ability of words to
combine other words. First of all, words may not be able to combine with each other due to the
incompatibility and contradiction of the semantics in the word. As proof of our above idea, we
can cite the following thoughts of Professor N. Mahmudov: “…the combination green meadow
is logically correct, but the combination “green navo” is logically incorrect, or the person who
shouted is a logically correct combination, but “the silence that shouted” is not logically correct.
Also, according to the grammatical nature of words, they may not be able to be connected to
each other. Finally, the lexical properties inherent in each of them may also prevent the
connection of words. For example, it is possible to use the words to achieve a success, to achieve
success, but it is impossible to say “to achieve a lack”, “to achieve a failure”, etc. ”[4. 40-p.]
DISCUSSION
As evidence for the above ideas, we would like to draw your attention to the following examples:
sweet tea - in its true form, that is, the word sweet in this combination is used in its original
meaning, explaining that the taste of tea is sweet; in the combinations such as sweet word, sweet
treatment, sweet conversation, sweet vision, sweet imagination, sweet memory, sweet smile, the
hidden meaning of the word sweet is activated. Now in these combinations, the word sweet is not
a word denoting taste, but expresses qualities such as “pleasantness, which makes a person feel
at ease, which makes one feel comfortable, which makes one feel good, which makes one feel
good” [5. 579-p.].
However, sometimes such combinations occur in oral speech, in which the original meanings of
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the words in them do not coincide at all. However, to us they seem like ordinary compounds,
there seems to be nothing that contradicts the laws of word association. However, upon closer
inspection, it becomes clear that even in these compounds there are departures from the
boundaries of word association, in a certain sense there are retreats. For example, let's pay
attention to the meanings of the words that make up the word combination "sweet". As is known,
the lexical unit "sweet" naturally means a word denoting taste, while the word "word" denotes a
concept that can be perceived with the help of the organ of hearing. From this, it initially seems
to us that both words cannot be combined with each other. However, the sign of pleasantness
present in both of these words connects them, and the word "sweet" gains the right to enter this
combination through the meaning of "pleasant". Such a resulting combination will initially be
unusual, showing the sign of “newness”. However, such combinations as sweet dream, cold
speech, cold news, sweet memory, bitter sorrow gradually lose their “newness” over time, and
later they enter our speech as usual combinations. Because such combinations become “clichéd”
over time [4. 42-p.].
CONCLUSION
Such expressiveness is distinguished by its signs of novelty and unusualness, and is even more
clearly felt and strengthened in individual-author combinations created on the basis of the same
synesthetic metaphors, fulfilling its official function as a necessary means of influence and high
visual imagery in the author’s work.
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