Linguopragmatic aspects of fictional texts in English and Karakalpak languages

 
3.2. The pragmatic intentionto stimulatethe addressee’s creativity in English 
and Karakalpak literature 
The perception of a fictional text is a process of comprehending the author’s world 
via “the text world” and ‘‘personal world” [ 10,92]. This assumption underlines a 
creative, constructive character of perception, the idea of the addressee’s counter-
search for the text concept on the basis of verbal signals. This idea was asserted in 
linguistics due to the works by A.A. Potebnya, Z.V. Scherba, M.M. Bakhtin, V.V. 
Vinogradov. The author of a fictional text presupposing the reader’s ability for 
creative thinking, deliberately involves him in his creative activity. In other words, 
one of the main pragmatic intentions of a fictional text is the so called “co-
authorship”, Indeed, the reader really “enjoys reading” when something is disclosed 
to him as a “miracle”, when he decodes senses that were encoded by the author 
[34,90].No less significant in terms of foregrounding is the end of the text. First of 
all the end realizes the category of completeness, and consequently, the category of 
integrity. But the completeness of the text, as many scholars state, is to some extent 
a relative notion [34,43].There are texts with “closed” and "open" endings. From the 
point of view of text pragmatics “open" endings assume a pragmatic intention 

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oriented towards “со - authorship" involving the reader in the cognitive process of 
creative thinking, analysis and interpretation on the basis of his knowledge 
background and life experience. An open ending raises many questions and 
sometimes contains questions in itself, for example, in G. Green’s “The basement 
room” - ‘Who is she? Who is he?' 
The realization of the pragmatic intention in question is ensured by such features of 
the text as implicitness, ambiguity, associativeness. We have already discussed these 
categories in connection with the peculiarities of the belles-lettres text. Here it is 
necessary to stress that implicitness and affiliated to it ambiguity and associativeness 
are created in the text intentionally as a communicative aim, and in this case, a 
linguo-cognitive competence on the pari of the reader is required [38,147]. It 
explains the importance of studying implicitness in the fictional text. 
The story by J. Salinger “A Perfect Day for Bananafish”, which has often been 
claimed to be highly ambiguous, may be taken as an illustration. Interpretation of the 
story, as has been pointed out by literary critics, causes some difficulties. The factual 
information of the story which consists of two scenes and the epilogue is very 
simple. The first scene - is a talk on the phone between a young woman, who is 
taking a rest in Florida with her husband, and her mother. From this conversation we 
learn that her mother is very much worried because she considers her son-in-law to 
be out of his senses. The second scene takes place on the beach where the young 
woman’s husband talks to a little girl, and tells her a fairy-tale about bananafish 
which swam into a banana cave, ate too many bananas, got ill with banana fever and 
died of overeating. The epilogue of the story is quite unexpected: the young man 
returns to the hotel room and commits suicide. What are the psychological motives 
of his suicide? At first sight it seems that the reason lies in his insanity inasmuch as 
some details indicate it: the doctor's opinion, odd behavior. Besides, the Word 
“bananafish” correlates with the phraseological units “to go bananas”, “to get 
bananas” which mean “to go mad”. But in the verbal system of the text there are 
some signals which indicate another implicit sense. One of such signals is the word