Linguopragmatic aspects of fictional texts in English and Karakalpak languages

hopeless, etc. 
d) 
the last group appeared to be the most numerous. Here the words expressing the 
feeling of horror, fear and anxiety prevail (awful, terrible, fearful, horrible, and 
frightful). 
No less significant here are the word-building links based on the mechanisms of 
analogy and correlation. Root repetition forms the correlative chains which mark 
conceptually important notions, and put forward the key words of the text: terror 
— terrible — terribly; horror horrible, hope - hopeless, death - dead, mad - 
madness - madly; unnatural - supernatural, eternity - eternal, curious - 
overcurious. These words stress and emotionally emphasize the atmosphere of 
horror, ominous and mystic situation depicted in the text. The same function is 
fulfilled by the repetition of negative affixes characterized by a high stylistic 
potential: inevitable, irresistible, unfathomable, unabated' ungovernable, 
unwilling, unfit, unnatural, thoughtless, ineffable, indefinite, inadequate, 
incomprehensible, ineffective, irrepressible. 
Due to such an abundance of derivatives charged with emotive meanings, the 
emotional tension of the text reaches its highest point. Besides, the words linked by 

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the homogeneity of their word-building meanings are perceived here not as separate 
units, but as the components of larger groupings such as lexico-semantic groups and 
lexico- semantic fields. And this is a very important factor because the conceptual 
world picture is created not on the basis of single words, but as a result of their 
cognitive categorization verbally expressed in the text. 
The story The Lovely Lady by D.H. Lawrence [51]can serve as a good example in 
this respect. The plot of the story goes around the main trio: a mother – Pauline 
Attenborough, her adult son – Robert, and her equally adult orphan niece – Cecilia. 
The main point of the story is about Pauline’s two-sided identity, who looks lovely 
and cheerful outside, but is extremely self-absorbed, old inside and lives like a 
“vampire”, who looks everlasting young thanks to feeding on other people’s 
energies, and manipulates over his son’s life, as well, without leaving a chance to 
act or think independently on his part. Thus, the author uses a great number of 
lexicon contrasting one another based on the nature, psychological and emotional 
state . Let us turn to the analysis of these words with the purpose of identifying the 
role of nominal lexicon in perception of conceptual information and representation 
of the world picture. In this story semantic groups of words related to the 
description of inner, psychological state of the personage are used (wonderful, 
heart-searching, confused, mute, hazel, odd, ironic, bitterness (of her heart), inert, 
vacantly, strange, wonderfully-preserved,). From the point of view of the content, 
the words indicating and expressing feeling prevail here are confusion, fear, 
anxiety, loneliness, distress, abnormality (helpless, dread, grief, hysteria, horror, 
ghastly, dreadful, awful, creepy). Apparently, adjectives and adverbs related to 
emotional and evaluative lexicon the role of which is hard to overestimate in 
representing conceptual world picture, are used here. Also, it is very important to 
emphasize that the above-named lexemes of emotional - evaluative character are 
perceived not separately, but as a part of larger formations (of lexico-semantic 
groups and lexico-semantic fields) that promotes the categorization of the emotions 
they convey. 
Next example is taken from “The picture of Dorian Grey” by Oscar Wilde. 

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(44) The studio was filled with the rich odor of roses, and when the light summer 
wind stirred amidst the trees of the garden there came through the open door the 
heavy scent of the lilac, or the more delicate perfume of the pink-flowering thorn. 
From the corner of the divan of Persian saddle-bags on which he was lying, 
smoking, as usual, innumerable cigarettes, Lord Henry Wotton could just catch the 
gleam of the honey-sweet and honey-colored blossoms of the laburnum, whose 
tremulous branches seemed hardly able to bear the burden of a beauty so flame-
like as theirs; and now and then the fantastic shadows of birds in flight flitted 
across the long tussore-silk curtains that were stretched in front of the huge 
window, producing a kind of momentary Japanese effect, and making him think of 
those pallid jade-faced painters who, in an art that is necessarily immobile, seek to 
convey the sense of swiftness and motion. The sullen murmur of the bees 
shouldering their way through the long unmown grass, or circling with 
monotonous insistence round the black-crocketed spires of the early June 
hollyhocks, seemed to make the stillness more oppressive, and the dim roar of 
London was like the bourdon note of a distant organ”. 
It is devoted to represent conceptual world picture among linguopragmatic 
intention. The author tried to describe the room with various stylistic devices. 
There are used epithets “light summer wind , pink-flowering thorn, Persian saddle 
–bags, honey-sweet and honey-colored blossoms, tussore-silk curtains, momentary 
Japanese effect, pallid jade-faced painters, long unmown grass, black crocketed 
spires”.
Original simile is used for description London.
“London was like the bourdon note of a distant organ”, there London is subject, 
like source and organ is object.
There are also used such kinds of words to represent conceptual world picture to 
express feelings and emotions. They are follows: Innumerable, momentary 
immobile, oppressive, swiftness, stillness. 

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The author used such kinds of words to convey emotions of characters in 
imaginary way. While analyzing the text, you will catch the reaction between the 
addressee and addresser. The author’s image is portrayed very emotively. 
Next example: