Republic of uzbekistan samarkand state institute of foreign languages

Interpretive emotive meanings
These are the basic, most basic emotive meanings, without them there can be no image of a character. They represent the hidden state of the character's soul. So, in the story "The Suffering of Young Vaganov" by V. Shukshin , emotive verbs and impersonal predicative words dominate in the disclosure of Vaganov's inner world, symbolizing the mobility of his emotional life, the changeability of feelings and their inconsistency. It is necessary to single out metaphorically characterizing emotive meanings: He read it, burning himself with a sweet presentiment ... he waited for tenderness to move under his heart and pour hot, but for some reason it did not pour hot. In the analyzed story, such meanings are used precisely in the figurative characterization of Vaganov's emotional sphere.
Figurative-gestural emotive meanings
Their main purpose is to symbolize by behavior, gestures the inner, hidden emotional life of the character. Motivation of gestures by emotions is conveyed either by dependent concretizing words with emotive semantics, or by the included differential seme of emotiveness, or by the content of the entire text fragment. As a result, we find three variants of expression.
Firstly, these are analytical combinations of semantically generalized secondary predicates of the external manifestation of emotions and emotively characterizing words, for example: not trying very hard to hide disappointment; with irritation; with annoyance; with anger; again with anger; with sincere anger.
Secondly, these are semantically specific predicates with the seme of emotiveness included. For example, in the story “The Suffering of Young Vaganov” by V. Shukshin, the meaningful verb of speech is actively used to exclaim (Popov exclaimed trustingly; Popov exclaimed again; the woman at the door exclaimed) and the verb to be indignant (the priest was indignant).
Thirdly, these are gestural nominations that are emotionally charged by the surrounding context and are comprehended only in the context as a means of emotional-pictorial motor skills, for example: The Colonel hit himself on the head with his fist and was perplexed (V. Shukshin). In the text, they denote gestures - the consequences of certain emotional experiences.
The conditions of their existence are the evaluative statements of the characters, which can be attributed to expressive statements. The text distinguishes two typological varieties of evaluative statements of characters.
Emotive-evaluative reflexives. Their distinctive feature is isolation in the subject, focus on the speaker himself. The main means of manifestation is general emotive vocabulary, interjections, particles, connotative-emotive vocabulary. Depending on the nature of the vocabulary used, the degree of evaluation of statements also changes. So, interjections are more emotive, they express the general reaction of the speaker to the state of affairs in the world. For example: Fu you, damn it!; Well, you must!; Well, the trees are green!
Emotive-evaluative regulators. This type of verbal evaluative utterances is characterized by a focus on the interlocutor, and includes all kinds of praise and insults. The main means of their manifestation is connotative-emotive vocabulary, which most clearly exposes interpersonal relationships. The conditions of its existence are the direct speech of the characters. For example: Well, it's not an infection after that!; Nakhalyuga!; The uncouth fool! (V. Sholokhov).
Such statements have a strong pragmatic focus. The characters who pronounce them seek to have an emotional impact on the interlocutor, to infect him with certain emotions. The motives for using emotive-evaluative regulators are very different, most often - a reaction to the actions of other characters.