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9COGNITIVE AND SEMANTIC FOUNDATIONS OF PRESUPPOSITION IN THE STORIES OF ERNEST HEMINGWAY AND ABDULLA KAHHAR
Sotvoldieva Muyassar Mahammatobbosovna
Farg'ona davlat universiteti lingvistika (ingliz tili) yo'nalishi magistranti muassarsotvoldieva@gmail.com Yusupova Sabohat A'zamjonovna Farg'ona davlat universiteti o'qituvchisi Sotvoldiyeva Umida Mahammatobbosovna Toshkent shahar Yashnabod tumani 23-umumta'lim maktabi
ingliz tili o'qituvchisi https://doi.org/10.5281/zenodo.7500669
Abstract: The article addresses the subject of presupposition as a common component of a literary text's cognitive-emotional space. Presupposition in the form of a general fund of knowledge of a linguistic and extralinguistic nature contributes to the process of psycho-intellectual communication between the author and the reader, which consists in comprehending the true author's goals and intentions, according to a thorough study of theoretical sources on the subject and pragmalinguistic analysis of the text.
Key words: presupposition, literary text, cognitive-emotional space, presuppositional analysis, psychological and intellectual communication, true meaning, Abdulla Kahhar, Uzbek literature, Ernest Hemingway, short stories.
Entailment, presupposition, and implicature are three patterns that linguistics has found as ways to transmit unspoken information. Analysts can use these theoretical frameworks to establish how concepts that are never affirmed can nonetheless be communicated in a methodical way. "Show me; don't tell me," as the ancient authors' proverb goes, refers to the implicit delivery of unspoken data, whereas "telling" refers to the overt proclamation of the thesis of interest.
The use of linguistic methods of implicitness to suspend meaning between and behind the fixed positions of the words on the page is evident in writings by Hemingway and Abdulla Kahhar. This ambiguity stems from the writers' ambivalence about their artistic projects: Hemingway in terms of conveying emotion, and Kahhar in terms of exposing the truth about the USSR and the Uzbek nation's daily existence at the time.
Talking about the presupposition itself, another type of interaction between propositions happens when one of them is false and the other has no truth value. Presupposition is the term for this type of interaction. Presupposition is at the root of
the major trend in language development, which is the economics of language tools. According to D. Lutfullaeva, the phenomenon of presupposition plays a significant role in the content of negative statements; the form must include a presupposition that confirms the content of negative statements, and if the sentence does not include this presupposition, the confirmation of negative statements is not understood.
Both entailment and presupposition are tactics for giving one proposition to a receiver (that is, a listener or reader) and then deducing another. An active receiver can logically derive an indefinite number of entailments and presuppositions from a statement.
Entailment and presupposition serve as techniques for receivers to infer information that isn't expressly declared in this way. Because readers and writers share these strategies, they can be used in systematic ways on both sides of the communication act: by authors in constructing texts and attempting to shape readers' experiences, and by readers in constructing meaning and attempting to interpret the communication of authors.
Related to the theory of presuppositions, there are a lot of examples from the works of E. Hemingway and A. Kahhar that may be included in this study. For instance, the following sentence from one of the Hemingway's works communicates our proposition: David could not get started. It not only states it, but it also assigns a truth value to it: "likely," rather than "true." One of the presuppositions of this thesis is that David should begin with something we can call. The inaccuracy of our assertion renders the initial original statement meaningless: if it isn't true that there is anything for David to start, some work at hand, it makes no sense to claim whether it is true, untrue, or probable that he won't be able to start it.
The reader fills in the holes with the information that isn't provided; David should be doing something. The reader already knows David is a writer at this point in the novel. In the context of the novel, we may claim that the premise that David is a writer already exists. It is easy to get a sense of the identity of the task that David should be doing by studying one of the entailments of this statement. As a result of Hemingway's distinctive manner of employing "Iceberg Theory," presupposition is an effective tool for highlighting the implicit elements of the characters based on the surface structure of Hemingway's writing and his word choices.
Thus, E. Hemingway's work "Cat in the Rain" is a work of art full of drama and deep significance concealed in a simple, from the point of view of the plot. The reader's view and comprehension of the presuppositions buried in the literary text and forming part of its cognitive-emotional space aids in this understanding. This includes, first and foremost, understanding the semantic components of words and the writer's idiostyle as the author's linguistic expression of communicative goals and
such as the
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intentions, as well as paying attention to the text's extra linguistic details, title of the work, the scene, and the statement's focus.
