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INSON PSIXOLOGIK-EMOTSIONAL HOLATINING BADIIY DISKURSDA AKS
ETTIRILISHI
Ollomurodov Arjunbek Orifjonovich
Osiyo xalqaro universiteti
Tarix va filologiya kafedrasi ingliz tili fani o`qituvchisi
E-mail:
ollomurodovarjunbekorifjonovich@oxu.uz
https://doi.org/10.5281/zenodo.10536003
Annotatsiya. Jahon tilshunosligida XX asrning ikkinchi yarmidan boshlab kognitiv
lingvistika alohida soha sifatida shakllanib, mazkur yoʻnalishidagi ilmiy izlanishlar yangi
bosqichga koʻtarildi. Ushbu maqolada kognitiv lingvistikaning asosi bo`lib xizmat qiluvchi til va
tafakkur masalalarining badiiy diskursda namoyon bo`lish hodisasi turli misollar asosida
yoritilgan.
Kalit so`zlar: paradigm, qiyosiy-tarixiy metod, tizimli-strukturaviy, antropotsentrik,
lingvokulturologik, emotivlik, lisoniy birlik, personaj nutqi, intensivlik, tafakkur.
REFLECTION OF HUMAN PSYCHOLOGICAL AND EMOTIONAL STATE IN
LITERARY DISCOURSE
Abstract. In world linguistics, since the second half of the 20th century, cognitive
linguistics has appeared as a separate direction, and scientific research in this direction has
reached a new level. This article, created on the basis of various examples, highlights the
manifestation of language and thinking problems based on cognitive linguistics in artistic speech.
Key words: paradigm, comparative historical method, systematic-structural,
anthropocentric, linguistic, emotionality, linguistic unity, character of speech, intensity, thinking.
ОТРАЖЕНИЕ ПСИХОЛОГИЧЕСКОГО И ЭМОЦИОНАЛЬНОГО
СОСТОЯНИЯ ЧЕЛОВЕКА В ХУДОЖЕСТВЕННОМ ДИСКУРСЕ
Аннотация. В мировом языкознании со второй половины XX века когнитивная
лингвистика сформировалась как отдельное направление, и научные исследования в этом
направлении вышли на новый уровень. В данной статье на основе различных примеров
освещается проявление проблем языка и мышления, лежащих в основе когнитивной
лингвистики, в художественном дискурсе.
Ключевые слова: парадигма, сравнительно-исторический метод, системно-
структурный, антропоцентрический, лингвокультурный, эмоциональность, языковое
единство, характер речи, интенсивность, мышление.
Tilshunoslik tarixiga nazar tashlaydigan boʻlsak, uning tarixiy taraqqiyotida uchta ilmiy
paradigma mavjudligiga guvoh boʻlamiz: XIX asr tilshunosligi uchun xarakterli boʻlgan hamda
qiyosiy-tarixiy metodga asoslangan qiyosiy tarixiy paradigma, markazida soʻz turgan tizimli-
strukturaviy paradigma va soʻnggisi, insonga “uning butun koinotning markazi” maqomini
qaytargan antropotsentrik paradigmadir. Ushbu paradigmalarning har biri turli til taraqqiyoti
bosqichlarida tilshunoslik nazariyalarining yaratilishiga asos bo`lib xizmat qilgan.
Boduen de Kurtene taʼkidlaganidek, bir tomondan tilni insondan tashqarida va unga bogʻliq
emas deydigan, boshqa tarafdan esa tilning murakkab hodisa ekanini inobatga olmaydigan biror
nazariya asosli emas. Til va adabiyotdagi antropotsentrik yo‘nalish zamonaviy lingvistik
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tadqiqotlarda yetakchilik qilayotganligi kuzatilmoqda. “Inson omili” deb nomlanuvchi
voqelikning ahamiyati ortib borayotganligi ilmiy tafakkurning barcha sohalarida sezilmoqda.
Haqiqatan, til bevosita inson bilan, uning mavjudligi bilan bog‘liq va unga xizmat qiladi hamda u
bilan sodir bo‘layotgan barcha o‘zgarishlarni qayd etadi.
Insonning turmush tarzi va faoliyatisiz tilni hamda unda yuzaga keladigan o`zgarishlarni
tahlil qilish hamda kuzatish imkonsizdir. N.Maxmudov ham lisoniy hodisalar tadqiqiga
antropotsentrik yondashuvni ma’qullaydi, inson va til o‘rtasidagi aloqani ta’kidlaydi, zero, aynan
til inson shaxsiyatining asosiy unsuri hamda in’ikosi hisoblanadi.
zamonaviy tilshunoslikning yangi paydo bo`layotgan sohalari bilan izchil tahlil qilinadi.
Matnni insonning nutqiy faoliyati hosilasi sifatida o‘rganilishini taqozo qiladigan, atrof-
muhit va uning ob’ektlarini individual tarzda idrok etilishining “ko‘zgusi” hisoblangan badiiy
matnning antropotsentrik yo‘nalganligiga alohida e’tibor qaratiladi. Bu to‘g‘risida K.F.Sedov
shunday yozadi: “Badiiy matn estetika qonuniyatlariga ko‘ra shakllantirilgan idrok dasturi bo‘lib,
unda insoniy jonlantirilgan borliq modeli muallifning aksiologik nazari bilan fikrlovchiga – idrok
etuvchiga uzatiladi”. Antropotsentrik paradigmaning shakllanishi til sohibi – soʻzlovchi shaxs
omilini tadqiq etish bilan bogʻliqdir. Tilshunoslikda antropotsentrik burilishning yuzaga kelishi
strukturalizmning tilni tadqiq etishning “oʻzida va oʻzi uchun” tamoyilini chetga surib, asosiy
eʼtiborini shaxs omiliga qaratdi. M.M.Baxtinga tegishli mashhur, insonning har qanday matnda
markazda turishi, unda o‘zini namoyon qilishi, aynan inson matnni yaratishi to‘g‘risidagi, fikr
mavjud. Chindan, matn murakkab insoniy muloqotlarning natijasi bo‘lib, badiiy shaklda bayon
qilinadi, unda kommunikantlar sifatida bir tomondan muallif va kitobxon, boshqa tomondan,
personajlar, bir-birlari bilan muntazam xarakatda va muloqotda bo‘ladigan asar qahramonlari,
ishtirok etishadi. Badiiy matn g‘oyaviyestetik va lingvokulturologik, o‘lkashunoslik va
lingvokognitiv materialga boy manba hisoblanadi. Badiiy matn insonning kontseptual olamini,
uning ruhiy dunyosini, borliq haqidagi tasavvurlarini namoyon qiladi.
Matnning “obyektiv borliqning subyektiv obrazi” sifatidagi o‘ziga xos takrorlanmas
ekanligi, unda umuminsoniy, milliyo‘ziga xos va individual-shaxsiy xarakterdagi narsalarning aks
etishida namoyon bo‘ladi.
Har qanday til birligi kabi matnda ham inson badiiy tafakkurining
yorqin aksi namoyon etadi bu esa o`sha til foydalanuvchilarining lisoniy olam manzarasida o`ziga
xos tarzda tasvir qilinadi. Insonning emotsiyasi va hissiyotlarini lisoniy ifodalanishini tahlili
uchun, “ekspressivlik” va “emotsionallik” tushunchalarini ajratmoq zarur. Ekspressivlik – bu
obrazlilik, jadallik yoki emotivlik bilan shartlanilgan so‘z yoki iboraning badiiy tasvir sifatidir.
Obrazlilik, jadallikintensivlik va emotivlik ekspressivlikni alohida holda ham, birgalikda – turli
tuzilmalarda ham yuzaga keltirishi mumkin. Emotivlik ekspressivliksiz paydo bo‘lmaydi, ularni
bir-biridan ajratish esa, amalda mumkin emas. Emotivlik – bu lisoniy evrilishga uchragan
emotsionallikdir, ya’ni ob’ektning ehtirosli baholanishi, inson kechinmalari, kayfiyati va
tashvishlarining lisoniy va nutqiy ifodalanishidir.
Emotsional bo`yoqdor gaplar quyidagi so‘zlar bilan shakllantirilishi mumkin:
1
Сафаров Ш.С. Лингвистика дискурса. – Челябинск: Челябинский государственный институт культуры, 2018. – С.3.
2
Махмудов Н. Тилнинг мукаммал тадқиқи йўлларини излаб... // Ўзбек тили ва адабиёти. – Тошкент, 2012. - № 5. – Б. 6-7.
3
Ашурова Д.У. Художественный текст как экспонент культуры // Актуальные проблемы современной лингвистики. –
Ташкент: VNESHINVESTPROM, 2021. – С. 39.
4
Кунин А.В. Курс фразеологии современного английского языка. – Дубна: Феникс+, 2005. – С.210.
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1. undov so‘zlar yordamida;
2. yuklamalar ko‘magi bilan;
3. so‘roq olmoshlari ishtirokida;
4. talaffuz-intonatsiya orqali.
Ushbu lisoniy birliklar bilan shakllangan emotsionallikni o`zida aks ettirgan bo`laklar
badiiy matnning hayajonini anglatib turuvchi unsurlardan biri sanaladi.
So‘roq va undov belgilari badiiy asarga xos gaplarda odatda personajlar hayratini ifodalash
uchun ishlatiladi:
My dear, you’re too, too wonderful! - said Harry Oakland. (Maugham W.S. «The Creative
Impulse», 2016, Р.364).
Oh, well, you’ve been prepared for that nearly twenty years now, haven’t you? (Maugham
W.S. «The Creative Impulse», 2016, Р. 95).
Demak, badiiy matnda his-tuyg’ularni ifodalash mexanizmi quyidagi bosqichlardan iborat:
1) Atrofdagi olamdan ma’lumotni qabul qilish. Ma’lumot bir so‘z, birikma, gap yoki butun
matndan iborat bo‘lishi mumkin. Mazkur ma’lumot retsipientda aniq bir his-tuy’guni uyg’otadi.
Ma’lumot ko‘rish orqali ham qabul qilinadi. Bunda atrofdagi olamning biror ob’ekti (inson yoki
predmet) bo‘lishi mumkin.
2) Ko‘rilgan, eshitilgan, o‘qilgan ma’lumotni anglash va tahlil qilish.
3) Tashqi reaksiya va emotsional baho – mexanizmning oxirgi bosqichi. His-tuyg’ular
muallif nutqi va tasviri yordamida ham, personajlarning luqmalari va monologlari orqali ham
yetkazilishi mumkin. Personaj nutqi nafaqat uning ma’naviy olamini, balki shaxsiy madaniyatini
ham aks ettiradi.
Tahlillarning ko‘rsatishicha, badiiy matn – bu turli his-tuyg‘ular, kechinmalar va
hissiyotehtiroslar to‘lqini uchun sahna bo‘lib, ular o‘zaro aralashib, kishilarning oddiy kundalik
turmushlariga yangicha buyoq olib kiradi va uni o‘zgartiradi.
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