Linguistic Explication of the Cognitive-Stylistic Features of Phonetic

Means in the Category of Intensity

O. Sh. Gulyamova

Tashkent State University of Uzbek Language and Literature named after Alisher Navoi, Tashkent, Uzbekistan

Keywords: Category of Intensity, Onomatopoeia, Assonance, Stretching the Word, Division into Morphemes,

Highlighting, Scan (Chopped Phrase), Combined Method, Individual Author's Intensifiers.

Abstract: This article presents an analysis of the linguistic explication of phonetic means of the Category of Intensity,

the hierarchy of the structure of the language, examines the concept of "level", belonging to various level-

forming disciplines - phonology, morphology, lexicology, syntax, methods and means of intensifying

systematizing and classifying them in an orderly manner. Graphic representation of the intensification of the

external form in literary texts is also studied, as well as phonetic means of expression and phonetic stylistic

devices. Onomatopoeia, assonance, stretching the word, division into morphemes, writing not the first word

of a sentence in capital letters, writing the whole word (phrases, sentences) in capital letters, highlighting part

or the whole word in italic, scan (chopped phrase), combined method and individual author's intensifiers are

observed as well.

1 INTRODUCTION

The emphasis on the special significance of the

linguistic explication of phonetic means of the

Category of Intensity can be traced in many studies

in the light of this problem (E.D. Polivanov, R.

Yakobson, I.R. Galperin, Yu.L. Lotman, I.V. Arnold,

G.V. Vekshin , Yu.V. Kazarin, T.M. Nikolaeva, etc.)

One of the important facts that at the IX International

Congress of Linguists E. Benveniste put forward a

fundamentally new concept of four levels of language

structure (such as phonemic, morphemic, word level

and sentence level) (Arutyunova 1974, Karasik 2002,

). The scheme of analysis developed by the famous

French scientist not only had a significant influence

on the course of subsequent linguistic research, but

without any doubt became fundamental.

If the term “level” is considered as an aspect of

the interpretation of a real object, then such concepts

as the level of grammatical structure, the prosodic

level, the level of actual reading, word-formation and

a certain number of other levels should rightfully be

included in the list of language levels. However, in

our study, the term level is interpreted as a

characteristic of the order of the layer of a linguistic

unit. Thus, we made an attempt to clearly demonstrate

the hierarchy of the structure of the language, to

illustrate the situation when "elementary units of

lower levels serve as building material for more

complex linguistic units of higher levels (tiers,

layers)" [ 6 p. 74]. All mentioned above gives us a

basis in the analysis of factual material to distinguish

levels of phonemes, morphemes, lexemes, phrases,

sentences and the text itself. Applying this

interpretation of the concept of "level", belonging to

various level-forming disciplines - phonology,

morphology, lexicology, syntax, methods and means

of intensifying the statement can be systematized and

classified in an orderly manner.

2 METHODS

The strength, height and loudness of the voice allows

us to judge about the intensity of the oral speech.

Changing voice modulations, using an extraordinary

intonation contour, stretching individual or all sounds

in words, speeding up or vice versa, slowing down the

tempo, pausing - all these techniques are ways of

intensifying the external form, directly related to the

phonetic aspect of speech, represent a super-segment

level of intensity. Intensification in this case is

achieved through various manipulations of voice and

speech, signaling a position above the ordinary level

1682

Gulyamova, O.

Linguistic Explication of the Cognitive-Stylistic Features of Phonetic Means in the Category of Intensity.

DOI: 10.5220/0012992100003882

Paper published under CC license (CC BY-NC-ND 4.0)

In Proceedings of the 2nd Pamir Transboundary Conference for Sustainable Societies (PAMIR-2 2023), pages 1682-1685

ISBN: 978-989-758-723-8

of intensity - superordinary, as well as marking a

position below the ordinary level - subordinate. Both

of the above positions are extraordinary, and are

considered in the first case - as intensified, in the

second - as de-intensified.

The question arises about the graphic

representation of the intensification of the external

form in literary texts. Here we can distinguish a fairly

wide range of techniques, such as: reflection of the

stretching of sounds in a word (both vowels and

consonants) by means of animation of the

corresponding letters; transmission of an intensified,

emphasized manner of pronunciation: rhymed,

quickened, jerky can be achieved by extraordinary

spelling of a word, phrase, a whole sentence,

hyphens, dashes can be used, highlighting a single

letter, thus breaking the word into syllables, sentences

into parts; the accentuation of a particular word, or

even a morpheme, can be done using italics, varying

capital and lowercase letters (for example, especially

highlighted words can be written only in capital

letters) [5].

Following Kukharenko V.A. we also tend to be

of the opinion that a vivid representation of phonetic

means is manifested at the graphic level. But, in its

turn, it is advisable to note the fact that the phonetic

means of Category of Intensity, which display both

onomatopoeic and sound-symbolic vocabulary, do

not have a unified character, that is, one-sided

orientation. These phonetically stylistically marked

devices can be displayed schematically (Table 1):

Table 1: Phonetic means of expression. Phonetic stylistic

devices.

assonance

stretching the word

division into morphemes

writing not the first word of a sentence in

capital letters, writing the whole word

(phrases, sentences) in capital letters

highlighting part or the whole word in

italic

SCAN (chopped phrase)

combined method

individual author's intensifiers

This scheme also emphasizes the graphic

representation of the intensification of the external

form at the level of a word, phrase or sentence. This

relative division of phonetic means was introduced by

us based on the essence of the phonetic level, since

the written explication of this level, as our practical

material has shown, manifests itself precisely in the

graphic design of sound-symbolic and onomatopoeic

vocabulary.

3 RESULTS AND DISCUSSION

Let's examine some phonetic means and phonetic

methods of expressiveness presented in our scheme.

Onomatopoeia is a conditional purposeful recreation

of sounds that accompany the actions of a person,

animal or object. Onomatopes do not have the ability

to convey feelings, emotions, thoughts, but

nevertheless they are a vivid phonetic technique of

intensification. Often the most widely and frequently

used onomatopoeic words, subjected to additional

grammatical influences, and being formed according

to the laws of the language, are included in the word-

formation system of the language, constituting the

onomatopoeic vocabulary of the given language

(Khabibullina 2008, Kukharenko 2016).

The next passage is a vivid example of the use of

a onomatope in a literary text.

Tom said, “I put in time (umph). Yes, sir, I sure

did (umph). Put in my years (umph!). Kinda like the

feel (umph!).” The soil loosened ahead of him. The

sun cleared the fruit trees now and the grape leaves

were golden green on the vines. Six feet along and

Tom stepped aside and wiped his forehead. Wilkie

came behind him. The shovel rose and fell and the dirt

flew out to the pile beside the lengthening ditch

(Skrebnev 1975, Turansky 1990, Shakhovsky 2008).

Tom laughed. “Me too, I guess.” His pick arced

up and drove down, and the earth cracked under it.

The sweat rolled down his forehead and down the

sides of his nose, and it glistened on his neck. “Damn

it,” he said, “a pick is a nice tool (umph), if you don’

fight it (umph). You an’ the pick (umph) workin’

together (umph).”

The repeated use of "umph" serves to convey the

sound of a pickaxe piercing hardened ground. This

sound methodically interrupts the characters'

dialogue, creating a rhythm that helps us feel the

intensity with which the characters in Steinbeck's

novel are trying to dig a ditch in the frozen earth. In

some cases, the author resorts to the use of an

exclamation mark, thereby showing that one or

another blow of the pick was stronger and more

furious than the others (umph!), emphasizing the

incredible physical effort being applied. In this case,

all used umphs are written in lowercase letters, and

are enclosed in brackets. Thus, the author emphasizes

the secondary importance of these strikes, which

serve as a natural background, but no more, focusing

Linguistic Explication of the Cognitive-Stylistic Features of Phonetic Means in the Category of Intensity

1683

on the informative content of the characters' dialogue.

The most significant both in terms of emotional

impact and in terms of conceptual meanings is the use

of this onomatope, determined by the nature of

interpersonal impact - a dialogue of emotional impact

based on the convergence of the style of techniques

(convergence in one place, a bunch of stylistic

techniques performing a single stylistic function). In

this part of the fragment, the effect of intensification

is achieved by the convergence of stylistic devices:

homonyms, metaphors, metonyms, syntactically

stylistic means, inversions, exclamatory sentences,

nominative sentences, and many types of repetition.

The saturation of this example with stylistic devices

(phonetic, lexical, syntactic), expressive means of the

language and stylistically differentiating the

vocabulary (slang, dialect, vulgarism) contribute to

its accentuation in the text, creating a certain contrast

with the general content of the entire fragment,

thereby increasing the influencing effect and

conceptual the importance of means of

intensification. In our case, homotope. This

onomatope is of great interest because it has a

symbolic meaning that helps the author convey an

individual picture of the world or represents the

structure of knowledge embedded in the conceptual

meaning of this onomatope, that is, it is not only the

sound emitted by a pick, it also symbolizes pain,

anger, rage, resentment, hatred, hopelessness, all

representatives of the working class on the verge of

the collapse of life circumstances. Thus, the repetition

of this onomatope serves to accentuate the

circumstances, emphasizing the semantic content.

The dialogues of the characters, as we see in this

example, carry a great emotional sense with an

exclamation mark, indicating the emotionality of the

statement, expressing strong feelings such as

indignation, surprise, annoyance, and so on.

Such a phonetically stylistic device of

intensification as italicization of words, and even

entire sentences, is widely represented in Faulkner's

novel Light in August.

He did not believe that he could bear to see her

again, even look at the street, the dingy doorway,

even from a distance, again, not thinking yet. It's

terrible to be young. It's terrible. Terrible.

In numerous internal monologues of the

character, often in order to achieve the realism of the

emotional state of the hero and to convey the internal

struggle and contradictions as accurately as possible,

the author uses italics. Words and sentences

highlighted in this way acquire a special emotional

coloring, which is intensified in this example by the

repetition of the word terrible. It helps the author to

convey to the reader the point of view of the

character, his vision of the world, his assessment of

certain events.

Consider the following example of using word

stretching:

Yesssss! Yessssss! Daniel Cleaver wants my

phone no. Am marvelous. Am irresistible Love

Goddess. Hurrah!

This passage is characterized by expressiveness

and evaluativeness. The author used short sentences

that reveal the emotional state of the main character.

To achieve the effectiveness of the impact, a number

of stylistically marked units are used. Along with

word stretching (Yesssss! Yessssss!) exclamatory

sentences are used (Yesssss! Yessssss! Hurrah!);

inversion (Am marvelous); use of capital letters

(Love Goddess).

This poem has an ironically humorous style. The

author uses diverse phonetic means, such as: non-

standard spelling of words, with the deliberate

replacement of certain letters with obviously

incorrect ones (Nentis Nan, Wid mabel syrub, tick an'

sweed, Pip-pip-ooray!); omission of some letters (do

im each chanz I gan, in the lan)

The above techniques facilitate the perception of

the verse by the children's audience and enhance the

comic effect of the situation. The extraordinary

design of the lines serves to achieve the author's

intention to recreate the most realistic picture. The

pragmatic attitude of the author correlates with the

graphic and phonetic accentuation of the semantic

content of the poem.

4 CONCLUSION

Thus, the phonetic means of the Category of Intensity

occupy a special place in the linguistic representation

of the individual author's picture of the world. The

Category of Intensity can act as one of the means of

accentuating the most significant conceptual

information characterizing the author and character in

terms of their inner emotional state and spiritual

world. The linguistic explication of the phonetic

means of the Category of Intensity is stylistically

marked. Language means used to emphasize

information: onomatopoeia, alliteration, graphic

means (scanning, highlighting part and all of the word

in italics, stretching the word).

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140

Karasik V.I. Language Circle: Personality, Concepts,

Discourse Monograph. - Volgograd: Change, 2002.

p.477

Khabibullina O. Onomatopoeic Words in the System of

Unrelated Languages: a Comparative Aspect.

Sterlitamak: Sterlitamak. state. ped. acad., 2008, p.137

Kukharenko, V.A. Workshop on the Stylistics of the

English Language - 7th ed., Sr. - Moscow: Flinta:

Nauka, 2016, p. 181

Skrebnev Y.M. Essay on the Theory of Stylistics. Gorky

1975, p-74

Turansky I.I. Semantic Category of Intensity in English

Monograph. - M.: Higher School, 1990, p.173

Shakhovsky V.I. Linguistic Theory of Emotion, M.:

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