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PUBLISHED DATE: - 21-06-2024
DOI: -
https://doi.org/10.37547/tajssei/Volume06Issue06-22
PAGE NO.: - 139-143
THE USE OF ELLIPSIS IN DRAMATIC
DIALOGUE
Gavkhar Andaniyazova
Academy of Arts of the Republic of Uzbekistan Academy of sciences Uzbek language, literature and folklore
institutes base doctoral students, Uzbekistan
INTRODUCTION
The study of different speech forms and functional,
stylistic, and linguopoetic features of language
units is one of the important tasks of modern
linguistics. One such problem is the study of the
linguopoetic features of language units in a literary
text. In an artistic text, language units participate
in different functions. The most important function
of language units is aesthetic or poetic in the
broadest sense. M. Yuldashev makes this point in
his textbook "Literary text and the basics of its
linguopo
etic analysis " [1]: “Modern linguistic
literature mentions four or five functions of
language. For example, V.A. Avrorin emphasizes
the
need
to
distinguish
between
the
communicative functions of language (expressive
means of communication), expressive (expression
of ideas), constructive (thought formation), and
accumulative (accumulation and storage of social
experience and knowledge). [2]
Linguists rightly point out that a complete
understanding of a literary text is not enough to
know the grammar of the Uzbek language in order
to understand its complex layers [3]. Because
“understanding the main idea expressed in a
literary text is not just a task, but a much more
difficult and complex creative process. It is the
result of spiritual-cultural, mental-emotional and
linguistic-aesthetic activity that it is possible to
understand the meaning of the content in a work of
art, which is completely unique, sometimes open,
sometimes hidden, expressed by various signs and
meanings [4] The study of the language and style
RESEARCH ARTICLE
Open Access
Abstract
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of a work of art often deals with issues such as
lexical, phraseological means, artistic means of
expression, the creation of occasional words and
phrases by the artist, but their phonetic and
grammatical features are ignored . But if we take a
serious approach to the analysis of Sharof
Boshbekov's works, we can see that the artist can
provide rich poetic material for all levels of
language. From the point of view of Uzbek
linguistics in general, the main syntactic means of
poetic actualization in a literary text are: syntactic
parallelism, emotional utterance, rhetorical
interrogative utterance, inversion, ellipsis,
parcellation, adverbs (segmentation), gradation,
oxymoron (unusual compounds), antithesis
(syntactic constructions), differentiation, analogy,
default, correction and other .[5]
Methodological forms such as syntactic gradation,
syntactic synonymy, antithesis, silence, inversion,
repetition, rhetorical interrogative sentences, and
ellipsis are often used in the formation of syntactic
expressiveness. In this article, the ellipsis, which is
one of the means of creating syntactic
expressiveness, is considered on the example of
the works of Sh. Boshbekov.
Literature review
In Uzbek, as in all languages, syntactic devices have
the potential for aesthetic expression. Syntactic
tools can take an active part in the formation of
integrative relations in a literary text, as well as
express a variety of artistic meanings in the context
of the same relationship. In this sense, their
aesthetic weight in the literary text is not inferior
to that of lexical means. A.Abdullayev, an Uzbek
linguist who has studied in depth the forms of
expression, said that "methodological figures such
as syntactic gradation, syntactic synonymy, special
use of connectives, antithesis, monologue, silence,
inversion, repetition, rhetorical interrogation" a
very effective expression of thought. Some
researchers say that expressive syntactic
constructions form a unique system in Russian,
and include the following thirteen types of events
in this system:
1) ellipsis, 2) antiellipsis, 3) intersection, 4) lexical
repetition, 5) passage, 6) segmentation, 7)
antisylation, 8) some types of connective tissue, 9)
inversion, 10) syntactic parallelism, 11) rhetorical
so such as, 12) exclamation constructions, 13)
replacement of a phrase component. Among the
means of generating syntactic expressiveness, the
phenomenon of ellipsis is more common in
dialogic speech, as the contextual connection in
dialogue replicas makes this possible.[6]
Ellipsis expressive construction - Greek, elleipsis-
fall, explains the meaning of descent. The
phenomenon of ellipsis refers to the process by
which parts of speech are dropped for a specific
purpose. Such a reduction is based on the principle
of linguistic economy
–
linguistic austerity. For
example: -If you take , I will be touched by his
yellow voice. (Y.Akram) Please stop , Look at that !
(Sh.Kholmirzayev).
- What would you do arguing with this bastard?
(S.Akhmad)
- We'll find, I said. Talents come to me, even if I
don't have an editorial office. (Sh.Kholmirzayev)
In the first and second examples from different
centuries, the word "thing" is elliptical, and in the
third and fourth, the word "man" is elliptical. This
is natural for live speech, and is included in the
literary text in order to provide the same
naturalness as live speech. When examining an
ellipsis in a literary text, it is explained which part
of the sentence is elliptical and what the purpose
is. The phenomenon of ellipsis is often found in
proverbs that are examples of folklore. The
omission of words results in the conciseness and
expressiveness inherent in the nature of the
proverb genre. A whip for a good horse, a thousand
for a bad horse.
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In the process of analyzing the works of Sharof
Boshbekov, we can see several examples of the
phenomenon of ellipsis. For example: Soli. Then I
hear a very funny joke. They know that! Soli. .. I
started in the fifth. Olim ... Da (satisfied) he is very
dear to me, comrades. I want you to live long, I
want you to reach the heights of paleontology!
Olim. ..But anyway Rakhmatulla
–
very kind![10]
In the first case, the word "joke" is used, in the
second case, the word "class" is used, and in the
third or fourth word, the word "person" is
elliptical. It's a natural part of live speech, and it's a
natural part of artistic speech, to bring about the
naturalness of live speech. When examining an
ellipsis in a literary text, it is explained which part
of the sentence is elliptical and what the purpose
is. The phenomenon of ellipsis, like other syntactic
and stylistic phenomena, has a long history of
study. It goes without saying that the phenomenon
of ellipsis covers a wide range of processes as an
important stylistic phenomenon. Although this
phenomenon is omitted only in the verbs in the
examples studied by linguist K.F. Beckher, this
study does not mean that the phenomenon of
ellipsis occurs only in verb fragments from parts of
speech . The example of Sharof Boshbekov's works
shows that all parts of speech fall into an ellipse.
For example, the Swedish scientist A. Noren states
that the omission of conjunctions, prepositions,
and even suffixes in a sentence is an elliptical
phenomenon. German scientist E. Vellender
divides the phenomenon of ellipsis into two groups
according to the nature of its origin:
Recommends that complete (i.e., meaning is
transformational in nature) and incomplete,
meaning is not fully copied) be studied as
incomplete elliptical units . Interestingly, what is
being discussed is specified by the context in which
it is used. This is one of the most important factors
in the classification of specific elliptical joints into
complete and incomplete groups [8].
METHODOLOGY
As you know, all parts of speech can be elliptical.
Ellipsis is especially common in dialogic speech, as
the contextual connection in dialogue replicas
makes this possible.[9] In such cases, too, the
various emotional states take on a special artistic
significance. Sh. In Boshbekov's work, too, we see
that different parts of speech collide into an ellipse.
1. Cut: Although it is the center of the sentence, it is
sometimes elliptical:
Egypt. Why are you sweating?
Soli. ..Because my boss is sweating - I am a loyal
person. The phrase "I'm sweating" is omitted,
which means "I'm sweating because my boss is
sweating because I'm a loyal person".
Munis. That doesn't mean she's comfortable sitting
around! The fact is that the seat is in the form of a
comfortable seat, and the cut is omitted.
2. Ega: Soli. ..I still have a classroom to be
renovated in the winter and summer,B classes
studied. In this example, "b" refers to "b" students.
and a group of students came to the task of having
a speech.
Often the determiner + is defined in the compound
of the definite article, i.e. the possessive:
A ram. ..E, you stiffen a man's head! It's like putting
clothes on a window sill!
Olim May there be no backwardness between us!
Olim.”AbbaThis is my father. Pirmat. Yes?
Olim.There is such an ensemble -
“Abba!”[11]
In the first sentence above, the words "puppet,
mannequin" (dressing puppet, mannequin), in the
second "man" (backward man), and in the third
"Abba" are defined - the owners. In fiction, it is
more common for the determiner to fall than for
the determiner to fall.
3.Determinant: Male. It's useless. The phrase "your
work" has both a definite and an adjective: it must
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be useless.
Zulfikor. He's in fifth grade, and he's talking to an
old man in his eighties. In this case, the word
"young" in the compound of the eighty, which
comes as a single compound determiner in relation
to the part of the old man, is dropped, that is, the
old man in his eighties.
As mentioned above, an elliptical identifier is rare
in a work of art.
4. Object: It is common in speech to drop a object,
which is one of the necessary parts of speech.
Male. Please put your soul out of sight, too, and I'm
annoyed when I see it!
E Kuchkar. You may go! If I would get married that
my mother didn't kiss,!
Nafisa. ..He gathered all the poor and brought them
to the island, and, as in the previous visit, gave
them seeds, food, and fodder equally.
In the above sentences, the objecs "your thing",
"girl", "people" are used in an elliptical form.
Sometimes in compound expressions (here only in
terms of form) the word is also elliptical in the
form of a complement: Husan (sighs). Draw, I came
first! That's the word for a cart.
5. Hol: Soli. What a betrayal! Let him know from
which ditch he is drinking water - he said that he
would not be able to speak freely.
Sometimes a single word is an ellipse in the form of
different parts of speech:
Husan. Now, Grandpa, here's my hot one, it's out of
the oven right now. Uncle, take thaat, with seeds,
see the smell! In this case, the word bread is
elliptical, in the first case (my bread is hot), in the
second case the word bread filler (from this bread),
in the second case the compound filler is parseled,
and the bread - the determiner is dropped ( the
smell of bread), i.e. elliptical.
We can see that not only parts of speech but also
some conjuctions are elliptical:
Spark. That day, I won seven Razzak’s nuts. Then I
gave it back. He cried…
Egypt.Knows - does not apply, personally.
In the first sentence above, because the following
conjunctions are dropped, in the second, the equal
conjunctions are dropped, but their place is
evident in the general content of the sentence. In
all of the above examples, the elliptical passages
ensure that the protagonists' speech is expressive,
natural, and, most importantly, close to live speech.
CONCLUSION
It is natural for a creator to use different syntactic
units to create a highly artistic work. Therefore, the
skill of the artist depends on the degree to which
he uses artistic means. The ability of a writer to
create unique expressions within the framework of
literary language using the possibilities of natural
language leads to the introduction of new concepts
and norms into the literary language, and thus to
the emergence of artistic means of expression,
enriching the expressive potential of language.
Ellipses of various parts of speech are often used in
works of art, especially in dialogic speech, to
express expressiveness, fluency, and naturalness.
In this case, the writer intends to express some
hidden, individual feature of the protagonist, who
is involved in the flow of certain events, and brings
the protagonist's speech closer to live speech,
revealing his hidden creative side. Despite the fact
that much scientific and analytical work has been
done on syntactic constructions, the analysis of
linguistic means in Sharof Boshbekov's speech
shows that the specificity and breadth of stylistic
possibilities in the writer's speech are still the
main source for a comprehensive analysis of these
structures.
REFERENCES
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