Republic of uzbekistan samarkand state institute of foreign languages

Emotive interjections
With the apparent simplicity of interjection at first glance, it is a class of surprisingly original and unique words, the nature of which has not yet been fully studied. This is due to their paradoxical nature.
First, the paradoxically formal arrangement of interjections. On the one hand, all interjections are "out-of-grammar". They are amorphous and do not correlate with other words. On the other hand, they are the equivalents of words and sentences.
Secondly, their semantics is paradoxical. On the one hand, these words do not have a nominative function, they do not mean anything, but express emotions in a certain constitution with the support of intonation, facial expressions and gestures. This brings them closer to expressives and distinguishes them from nominatives. On the other hand, "not possessing a nominative function, interjections have a semantic content realized by the collective ... they are meaningful as collective signs of the emotional expression of a state of mind." Consequently, they also have an extra-situational, general content that is understandable to every person.
These features determine the specifics of emotive meanings in interjections. In the system of emotive vocabulary, they occupy the zone of transition: they are located between denotative-emotive and connotative-emotive vocabulary. Orientation to the expression of emotions, and not to their designation (functional orientation) is the basis for including interjections in the class of expressives. At the same time, the emotive meanings of interjections completely exhaust their semantics, they are self-sufficient, since they do not specify anything, they are not superimposed as additional meanings on any other denotative meanings. This, of course, fundamentally distinguishes interjections from words with connotative-emotive semantics.
Thus, interjections are a special syncretic grammatical class of words, gravitating towards both nominative emotives and connotative emotives.
Another semantic feature of interjections is their semantic vagueness, diffuseness, mutual permeability and the coexistence of various emotive meanings in them. The complexity of emotive meanings is reflected in dictionary definitions. For example, the interjection y is used to express threat, displeasure, fear, approval, delight and other emotions, and the interjection fu-you expresses annoyance, contempt, relief, irritation. Such diffuseness of semantics is explained and motivated by the attitude towards oral speech, in which, first of all, interjections actively function and which easily removes their ambiguity and semantic blurring. The set of emotions expressed by interjections is small, limited by the original meanings: grief (tu-tu, oh, ah), anger (ha, ugh), indifference (ugh), contempt (fi, fu, fu-you, uh ...), annoyance (fu-tu), irritation (fu-tu nu-tu), indignation (curse), doubt (mm…), laughter (ha-ha, he, he-he-he), joy (eureka, god!, god my !, goplya), delight (hooray!), calmness (phew, fu-you), admiration (wow, oh, handicap). Interjection ways of expressing surprise are especially diverse: chu, uh, phew, ho, ho-ho, my God! My God! and, eva, ek, eka, eco, think, oh, well. Some interjections are characterized by the pragmatics of a direct impact on the emotional sphere of the interlocutor and are a means of his emotional infection: sha (calm), chur (prohibition), aegey (warning), already, hey, go, aegey (threat).
Any emotive word, regardless of grammatical design, implies the existence of a feeling in indissoluble unity with the person experiencing it. A single semantic core of emotive vocabulary is a reflection of the emotional sphere of human life. This reveals the similarity of all grammatical classes of emotive vocabulary. Emotive meanings are fixed in the word by grammatical shells of varying degrees of rigidity. Accordingly, the grammatical shell suppresses the situational semantics of emotive words to varying degrees. Hence the difference between grammatical classes in depicting emotions.