Republic of uzbekistan samarkand state institute of foreign languages

CHAPTER 2.
THE FUNCTIONING OF EMOTIVE VOCABULARY IN THE TEXT

2.1. Specification of emotions in speech

So, we see that a vast class of emotive vocabulary has not been sufficiently studied even from the system-linguistic positions - from the standpoint of language paradigmatics and syntagmatics. To a lesser extent, this vocabulary has been studied in a functional aspect. It is especially important to study the functioning of emotive vocabulary in speech conditions. The main means of depicting emotions in the text is precisely emotive vocabulary of various kinds.
Emotive vocabulary is extremely situational: it reflects the multicomponent nature of the situation of emotional activity to varying degrees. Emotions are unthinkable without the person experiencing them (the position of the subject). They are necessarily conditioned by something (the position of the object - the source of feelings, their causes), they are directed to something (the position of the object). Emotions are organized parametrically: a person experiences them necessarily at a certain time (the position of the circumstance of time), in a certain place (the position of the circumstance of the place) and to a certain extent (the position of the attribute). As we can see, the inner content of the emotive vocabulary implies obligatory, extralinguistically determined lines of concretization of emotions: subject-object and adverbial. Concretization is observed in speech, different in terms of the completeness of the implementation of these potential landmarks.
If we talk about artistic speech, then it is extremely rare to find short, minimally specified phrases with emotive vocabulary such as: I suffered or he was worried. Most often, emotive words simultaneously designate emotions and characterize them in a certain syntagmatic environment, therefore phrases with emotive vocabulary are usually common, deployed, for example: He fell in love with one person until he lost consciousness ; She smiled at the delight of his gratitude (A. Pushkin). The contextual environment of these words makes it possible to more concretely and figuratively designate the feelings of the characters. To reflect the fullness of the flow of emotion, verbs are most adapted.
2.2 Position of the subject
Verbs of feelings are anthropocentric and suggest in this position vocabulary that indicates an animated person, for example: I love the city of Minsk. In real phrases, this position of the subject with the meaning of a feeling person is filled with words of different lexico-semantic groups. Of course, most of them denote a person, but there are phrases with a personified subject: Maple leaves kiss a star; Only once a day the flower rejoiced (N. Zabolotsky). Such phrases are typical for poetic speech, for works about nature and children.
Of particular stylistic significance are phrases containing in this position words denoting traditional “organs of spiritual senses”: eyes, chest, face, soul, heart. For example: The soul, having faded, has cooled (A. Pushkin). A special place among phrases with metonymic transfer is occupied by sentences with the noun heart in the subjective position, for example: the heart rejoices.
Interesting are the phrases, the subject position of which is occupied by the names of emotions: And the sadness of the evening excites me irresistibly; Someone else's joy, just like his own, torments her and breaks out of her heart (N. Zabolotsky). Usually the predicates here are verbs of emotional impact, compatibility with them allows you to show the complex emotional state of a person (sadness worries me = I'm sad + I worry. In speech with predicates of emotional impact, the vocabulary of nature is also combined: The more common a simple plant, the more vividly the first leaves excite me his appearance at the dawn of a spring day (N. Zabolotsky).
In terms of expressing a real subject, both primary and secondary syntactic forms are used, and the proportion of secondary forms is quite large. This is due to the fact that in the language system there is a type of impersonal sentence, specially adapted for a concentrated representation of a mental state with the designation of the subject in an additional, anna main, formal syntactic position.

2.3 Object position

The meaning of an object of emotional activity is fundamentally different in content from a specific object that undergoes a physical change as a result of some action. Thus, verbs of feelings can be combined with words of different semantic groups, both subject and personal, in this respect, the language provides a journalist or writer with ample opportunities: I love this dusk of delight, this short night of inspiration; I love the silent lips and eyes of the sentence (N. Zabolotsky).
The circumstantial concretization of the semantics of the verbs of feelings is observed much less often than the object, but its stylistic significance in the text is great. The circumstances of the mode of action emphasize, first of all, the qualitative originality of emotions. This function of emphasizing the uniqueness of emotions is performed by words of very different part-of-speech affiliation, words of different types of semantics - generalized, specific. For example: I love you terribly; I love to joy and pain / Your lake anguish; How a bully knows how to love, how he knows how to be submissive (S. Yesenin). Here are depicted emotions that are essentially close (the reference predicate is to love), the difference of which is emphasized by adverbial words (scary, to pain, to joy, how). As a result, the palette of emotional tones is enriched, saturated with shades. In the same function of qualitatively characterizing words, with verbs of feelings, various prepositional-case forms of nouns of the type without joy and resentment, with love, without irritation, in tears are actively used. Usually these prepositional-case forms have a complex complex meaning in the context.
There is a concretization of the flow of feelings in the spatio-temporal aspects of reality. Temporary actualization of the flow of feelings is conveyed by nominations of two types. The first type of nomination indicates duration, temporal duration: I love you forever. The second type of time notation includes prepositional case combinations, adverbial phrases, subordinate clauses, i.e. those means that are designed to designate a specific real time, for example: He suddenly became embittered. Circumstances of this type convey the emotional state of the character as flowing at different moments of his fate, they are a necessary means of emphasizing the dynamics and fluidity of feelings.
Specific features of the lexical filling of the position of the circumstance of place with verbs of feelings are noted. Pronouns, prepositional-case forms are richly represented here: We will both become sad in elastic silence; I felt sad in the blue haze (S. Yesenin).
In the position of the circumstance of the cause, phrases filled with prepositional-case combinations with the names of feelings such as cry from a feeling of love, suffer from grief, laugh from joy, and grin with irony turn out to be stylistically interesting. In these phrases, the cause of the emotion denoted by the verb is another feeling denoted by the adverbial word.
Verbs of feelings at the linguistic vocabulary level (outside the text) extremely abstractly designate human emotions in their basic, essential features (love - hate - suffer - despise). In speech (text) there is a desire to show the uniqueness of emotions, even related in essence. Textual actualization of the uniqueness of the indicated emotions is achieved by various linguistic means, and above all - by specific lexical filling of verbal positions, emphasizing the duration and temporal length of the feeling, its multidimensionality and complexity, the originality of each specific emotional state.
The second most represented grammatical class of emotive vocabulary is nouns. Their use as signs of emotions is fundamentally different from verb words. Only nouns are able to convey an abstract idea of emotion, used in the position of the title (for example, "Love" (A. Akhmatova); "Woe" (V. Shukshin); "Longing" (A. Chekhov)). In this case, all subsequent text is a semantic development of the theme-key. But most often, the names of emotions are used in the context of a phrase and not independently, but with the support of a verb, usually metaphorical, they participate in the figurative concretization of the character's feelings. At the same time, the names of emotions can be located both to the left and to the right of the verb: Dislike for people, anger at them filled everything in him, spread like a disease worse than a river (V. Astafiev). In phrases with these verbs, subjective concretization is obscured.
Comparison is another means of figurative specification of emotions, which enhances their image in the text. Comparative constructions of various kinds are used: instrumental comparisons, comparative turnover, comparative clauses. Creative comparison is extremely capacious, concisely gives a figurative representation of emotions. For example: I fell in love with a longing crane / On a high mountain a monastery (S. Yesenin).
As an object of comparison, journalists and writers use a wide variety of objects and phenomena of the surrounding reality, but the words denoting them necessarily contain semantic features that are consistent with the meaning of the metaphorical verb and enhance its figurative meaning: rumbling (V. Astafiev). There are certain features in the compatibility of the verb-metaphor and words in the position of the object of comparison. Verbs of a physiological state, a specific action are usually combined with words denoting the animal world: Happiness sat in her like a fluffy kitten (A. Green). The writer compares negative feelings not only with predatory and poisonous animals, but also with a disease: Overwhelmed by a sudden attack of hot anguish, he lay face down under the wattle fence (A. Green). In comparative phrases, the same lines of associations of feelings with the outside world are found, as in verbs-metaphors, in creative comparison. Feelings are compared to a boiling liquid: ... I was worried like boiling water in a closed saucepan (A. Green). Sometimes the object of comparison is the person himself in his various guises. So, a symbol of purity, sincerity of feelings is a child, a child, for example: We all sometimes, like children, / often laugh and cry. A symbol of great devotion and fidelity is a feeling similar to the attitude towards the Motherland, mother, home: I fell in love with the world and eternity, like a parental hearth (S. Yesenin). Sometimes a person who is in a certain state and under certain circumstances becomes an object of comparison: She began to torment herself like a dumb person who needed to say something funny and decisive (A. Green).
In comparative terms, feelings are compared and associatively approached with various phenomena and realities of the surrounding nature: atmospheric phenomena, the plant world, spatial constants: Mad delight, like a flood, straightened its boundless circle in his soul (A. Green) .
Comparative turns also allow a more detailed presentation of the figuratively compared phenomena: ... I stopped, swallowing the excitement in small sips, like ice at noon (A. Green). In such contexts, the associative-figurative picture of feelings is actualized and at the same time certain aspects of their flow are emphasized.
So, in comparisons, emotions are not only associated with abstract concepts, but, first of all, they are concretized, being visually, expressively and substantively represented in their smallest manifestations.
The repeated nomination is also used to enhance the presentation of emotions and their concretization in the text: She smiled and, smiling, disappeared into the side door (A. Green). Verbs of different degrees of semantic similarity can be components of nomination chains, participants in repeated nomination: maximum (repeated different grammatical forms of one verb, synonymous verbs) and minimal (repetition of verbs of different semantic subgroups of feeling verbs, repetition of antonym verbs).
The most basic, dominant and characteristic of all types of nominative chains, the function of repetition is the function of expressive highlighting, emphasizing the described situation in the text. If identical lexemes are repeated, which at the same time are located in contact, then the described feeling is not just highlighted - in addition to this, its intensity and duration are emphasized: In order to stand on her feet, she tenaciously grabbed her son’s shoulder and kept crying, crying, stunned by grief (Ch. Aitmatov).
In the author's speech, the amplifying function of repetition is complicated by additional semantic nuances due to the contextual environment. So, often due to the expanded object specification of verbal semantics, the specification of the described feeling as a whole is also achieved: He felt sorry for himself and his wounded neighbors, a butterfly pasted on glass by the wind, a felled tree, thin cows in the fields, exhausted children at stations; he regretted his memories, felt sorry for the woman who remained in the deserted square of the Ukrainian shtetl (V. Astafiev).
Concretization of another kind is also found in the speech: from a generalized nomination to a specific one: Lisa shone - her face shone, usually pale, dull, her eyes shone, choking with joy, her bowed chest shone under a blue blouse - everything shone, shone all, shone with might and main (V. Astafiev).
Combinations of synonymous verbs are also actively used to underline and highlight situations of emotional activity in the text: He was indignant and angry.
Verbs of feelings are more often combined with verbs of a specific physical action, verbs of speech, movement and thought. Each individual case has its own features of compatibility and the stylistic effect is also different, but one can also note the general stylistic tendencies of conjugation of different situations. First of all, such conjugation achieves a temporary concretization of the emotive situation, which has two manifestations.
Firstly, in phrases with homogeneous verbs, the real temporal sequence of situations is most often reflected: Trifon Letyaga got angry and shouted ... (V. Astafiev).
Secondly, homogeneous verbs (especially combinations with the verbs of existence, thought, movement) convey the simultaneity of situations: ... I understand and feel sorry for you (Yu. Trifonov). In phrases of this type, convergence occurs, an idea arises of a certain holistic situation.