Republic of uzbekistan samarkand state institute of foreign languages

Emotive meanings in the content of the text
The content of the text, including emotive content, is not something separate in relation to the text, it is carried out in the text by various language means and, above all, by vocabulary. The main load in creating the ideological and emotional concept of the text falls on the vocabulary.
Emotive vocabulary is not equivalent in terms of ways of expressing emotive meanings; accordingly, it can be assumed that the degree of its impact on the content of the text will be different.
The ways of manifestation of emotive meanings and, consequently, the embodiment of emotive situations are diverse: from folded (seme concretizer, word) and minimally expanded (phrase, sentence) to maximally expanded (text fragment, text). Emotive textual meanings interact with each other in various ways: they intersect and diverge, attract and repel. As a result of such interaction, the emotive content of the text is formed. With a relatively unlimited variety of textual emotive meanings, let's try to identify some of their typological varieties.
Phrasal emotive meanings
They are characterized by minimal development (only within the phrase). Usually these meanings have an accompanying, additional character and clarify, enrich with emotions various actions and states of the character. The semantic radius of emotive vocabulary, signaling these emotive meanings, is limited by the phrase. Most often, a light stroke is made in this way, complementing the portrait characteristics of the character and not always immediately detectable.
Fragmented emotive meanings
These meanings usually coincide with the micro-theme of a separate text fragment, a complex syntactic whole. Chains of phrases showing the dynamics of these emotive meanings, functioning within the framework of one text fragment, cement and hold it together: Popova became alert ... She looked at the young investigator inquiringly, smiled ingratiatingly / ... The woman said “yeah”, got up, went to the door, turned around, preoccupied ... / The woman was completely at a loss / From confusion, she went back to the table and sat down on the chair where she had just been sitting ... / She left not as confidently as she entered ... / The woman was confused. She even gave up in her voice (V. Shukshin). Here, as we see, the semantic radius of the word extends to the entire space of the fragment. Words are linked, semantically contact with each other. The entire fragment as a whole depicts in close-up, as in slow motion, the formation and development of one emotion - from a slight hint of it (alert) to its full disclosure. And the last chord is the power of a matured emotion, manifested in a gesture (even betrayed in a voice). This is just one of the options for realizing fragmentary emotive meanings that are rich in literary text. All of them are focused on one theme - the theme of the character's emotions.