Education of the republic of uzbekistan samarkand state institute

Actuality of the course work is the study of style in texts, particularly literary works, is the focus of the stylistics field of applied linguistics. Stylistics, also known as literary linguistics, focuses on the figures, tropes, and other rhetorical devices used to give someone's writing variety and uniqueness. The study of linguistic form is the subject of theoretical linguistics, whereas stylistics is the study of linguistic style. Linguistic form is made up of phonetic, phonological, morphological, syntactic, semantic, and other representations of the components of language (sounds, parts of words, and words.
Aim of the coursework is to expand reader's knowledge about a comparative study between linguistic stylistics and literary stylistics.
The following objectives have been settled related to linguistic and literary stylistics: a comparative study
- to analyze theoretical material on the problem of investigation;
- to give general information about the literary stylistics and linguistic stylistics;
- to differentiate the literary stylistics’ and linguistic stylistics;
- to study the role of the types of stylistics.
The object of the course work is types of stylistics, and comparison between them
The subject of the course work is the role of two main types of stylistics
The scientific novelty of the course work includes the essence of implementing
Two main forms of stylistics
Main material of the course work is the relevant research done by scientists
Internet recources, novels, poems
Structure of the course paper consists of four major parts - Introduction, Main part which consists of two chapters, Conclusion, and List of used literature.


CHAPTER I DEFINING COGNITIVE STYLISTICS

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   Key Principles of Cognitive Stylistics
   

Cognitive Stylistics is an interdisciplinary field that focuses on the cognitive and psychological processes that underpin literary language and how readers interpret and respond to it. It combines insights from cognitive linguistics, psychology, and literary theory to explore the cognitive systems that shape our understanding of literary texts. The aim of this paper is to provide an overview of the key principles of Cognitive Stylistics.
The Mind-Brain Interface:
One of the core principles of Cognitive Stylistics is the understanding of the mind-brain interface. It is an interdisciplinary approach that bridges the gap between cognitive psychology and neurosciences. This principle asserts that cognitive processes occur at the neuronal level, and the activation of neural pathways is the basis of all cognitive activity. Hence, it emphasizes the role of the physical brain in the creation and interpretation of language.
Embodied Cognition:
Cognitive Stylistics also emphasizes embodied cognition, which posits that our mental processes are grounded in our bodily experiences. We make sense of the world based on what we perceive, and our bodily experiences shape our cognitive systems. Words and language, therefore, evoke sensory and emotional experiences in readers, which in turn affect their interpretation and emotional response to literary texts.
Cognitive stylistics combines systematic and theoretically informed consideration of the cognitive structures and processes that underlie the production and reception of language with the explicit, rigorous, and detailed linguistic analysis of literary texts that is typical of the stylistic tradition (Semino and Culpeper, 2003:1x). Elaborate examination will in general utilize phonetic speculations or systems to make sense of or foresee translation. The way that linguistic analysis is systematically based on theories that relate linguistic choices to cognitive structures and processes is what sets cognitive AL-USTATH Number extension 218– volume one stylistic apart from previous works. Ibid., this provides more systematic and explicit accounts of the connection between responses and interpretation and texts. The relationship between cognitive stylistics and cognitive science sets it apart slightly. It is intended that cognitive stylistics is directly related to cognitive psychology of reading and cognitive theory of linguistics. For stylists, reading processes and cognition have become useful research topics. Cognitive stylistics opens up a new area for literary research by incorporating the human mind. That is, when conducting a stylistic analysis, pay attention to the mind. Although cognitive stylistics does not intend to replace existing methods of analysis, it does aim to shift the focus away from models of text and composition and toward models that make explicit the connections between the human mind and the reading process.
Researchers demonstrate the significance of cognitive theories in assisting readers in interpreting literary texts through the analysis. An important goal of cognitive stylistics is for readers to be able to analyze literary texts and construct meaning from their schemas in order to comprehend the poet's worldview.
Because of its focus on the language of the text, cognitive stylistics is rooted in linguistics (this is the stylistics component). In addition, its emphasis on the reader's cognitive processes (this is the cognitive element) is rooted in cognitive science and cognitive psychology. Stockwell acknowledges that cognitive stylistics shares some characteristics with reception theory and reader-response theory, which both emerged in Germany and the United States in the late 1960s and 1970s, respectively. In any case, these hypotheses, in spite of the fact that they put the peruser's importance producing capability at the focal point of their record of the text-peruser relationship, would in general focus essentially on the message and its conventional highlights as opposed to on the peruser. In addition, when they did talk about the reader, their accounts were derived from either psychoanalysis or philosophy, such as Roman Ingarden's 1930 phenomenological work. These were not sound psychological premises.
There are three vital mental styles: field dependence versus field independence, leveling versus sharpening, and reflectivity versus impulsivity. Mental styles are unmistakable from individual insight, yet they might influence character advancement and how people learn and apply data.
One of the most significant recent developments in the study of style is cognitive stylistics. It is based on viewing and evaluating style as a mental cognitive process that delves beneath the surface meaning to discover the truth behind it. Mental stylistics is one of the major new advancements in the investigation of style. It is based on viewing and evaluating style as a mental cognitive process that delves beneath the surface meaning to discover the truth behind it.
As such, mental stylistics centers around the connection among perusers and texts while they are perusing and the way in which certain data is handled, thusly comprehended and processed in the brain of the peruser.
Last but not least, it is essential to point out that in cognitive stylistic analysis, the focus needs to be placed on the mind and language, as well as how readers responded and why, leading to a variety of novel and inventive interpretations of the text. 3.Developments in Mental Stylistics A portion of the fundamental keys and gadgets are utilized to move, change and mix mental builds are construction hypothesis, text world hypothesis, calculated similitude and mental space hypothesis which assume a crucial part in mental stylistics.
Cognitive Grammar:
Another key principle of Cognitive Stylistics is Cognitive Grammar, which is an approach to grammar that emphasizes the relationship between language and thought. Cognitive Grammar is based on the idea that language reflects the cognitive processes that underpin it. Hence, it examines how the rules of grammar reflect the cognitive structure of our minds, and how these rules shape the meaning of language.
Conceptual Blending:
Another important principle of Cognitive Stylistics is Conceptual Blending. This principle posits that literary language often involves the blending of disparate or incongruous ideas. The blending process is a cognitive mechanism that allows us to create new concepts by blending elements from different domains. In literature, this process can create powerful metaphors, images, and other figures of speech that evoke strong associations and emotions in readers.
Narratology:
Narratology is a key principle of Cognitive Stylistics that focuses on the study of narrative structures and how they shape the interpretation of literary texts. Narratology analyzes the use of narrative devices such as plot, characterization, point of view, and voice, to understand how they affect readers' engagement with and understanding of the text.
Mental Spaces:
The concept of Mental Spaces is also central to Cognitive Stylistics. This principle posits that our minds create cognitive spaces or mental models that we use to organize our experience of the world. In literature, these mental spaces can be used to create complex characters, settings, and plots that resonate with readers on a deep level.
Emotional Engagement:
Finally, Cognitive Stylistics emphasizes the role of emotional engagement in literary interpretation. Emotions play a vital role in shaping our cognitive processes, and in turn, our interpretation of literary texts. Cognitive Stylistics suggests that our emotional response to literature is just as important as our cognitive response. Strong emotional engagement with a text can lead to a deeper understanding and appreciation of the literary work.
Cognitive Stylistics is an interdisciplinary field that combines insights from cognitive psychology, linguistics, and literary theory to explore the cognitive systems that underpin literary language. The key principles of Cognitive Stylistics include the mind-brain interface, embodied cognition, cognitive grammar, conceptual blending, narratology, mental spaces, and emotional engagement. By understanding these principles, researchers can better understand how readers interpret and respond to literary texts.

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