CC BY
10
Conclusion
Words of thanksgiving and curses with their wide application and pronunciation give us the strength and power of the language, and this is one of the elements of oral culture that reflects the influence on man. In oral culture, people not only feel the magical power of words, but also feel its influence, and "persuasion, at least, forces them to perceive them as things that are necessarily introduced by force." At the same time, words of thanksgiving and curses in the sociolinguistic and socio-psychological aspects not only appear, but also reveal the "magical power" of the word and its influence on man. The words we use to express our feelings of joy, love, happiness, thanksgiving have positive power; and the words we use to express our thoughts and feelings, such as hatred, hatred, hopelessness. Thus, we see that these two phenomena have both psychologically affecting linguistic characteristics and content. But although their psychological impact is common to all people, their sociolinguistic context may differ from each other in terms of language and culture. Thus, words and combinations that have the meaning of thanksgiving and curse can arise in different cultures as different and widespread in different customs and beliefs.
References:
1. Inan Abdulkadir. Shamanism in history and today/materials and research: Ankara 1972. - p. 79-80.
2. Duymaz Ali. Applauds as a genre of magic poems: National Folklore, 2017. - p.15-21.
3. Harmanci Merig. A functional approach to applause and crows in Dede Korkut stories: Journal of Kocaeli University Institute of Social Sciences, 2012. - p.1-17.
4. Pala Iskander. Two Dirhams A Core, Istanbul: Melisa Matbaacilik, 2011
5. Guner Galip. On the etymology of the words «alki§» dua and «kargi§» beddua, October 2014. -625-631.
6. Kagitgiba§i Qigdem. Cultural Psychology-Human and family in the context of Culture, Istanbul: Evrim Yayinevi, 2000
7. Kaya Doga. «Alki§-Kargi§lar» Common Literature Of The Turkic World Literary History Of The Turkic World, 3, Ankara: Ataturk Cultural Center Presidency Publications: 2003. - 131 - 150.
8. Tulekova S. Phraseology of thanksgiving and curses in the Kazakh language, Almaty: Mektep publishing house, 1974.
9. National Encyclopedia of Kazakhstan -Volume 1: Almaty, 1998.
КОГНИТИВНО-СЕМАНТИЧЕСКИЙ ПОДХОД К АНАЛИЗУ ТЕКСТА В РУССКОЙ
ЯЗЫКОВОЙ КАРТИНЕ МИРА
Кишенова Айнур Юсуповна
Преподаватель, Карагандинский технический университет, г. Караганда, Казахстан Тажибаева Сауле Мухажановна Старший преподаватель, Карагандинский технический университет г. Караганда, Казахстан Кабанова Анар Бухарбековна Преподаватель, Карагандинский технический университет, г. Караганда, Казахстан
COGNITIVE-SEMANTIC APPROACH TO TEXT ANALYSIS IN THE RUSSIAN LANGUAGE
PICTURE OF THE WORLD
Kishenova Ainur Yusupovna
Teacher,
Karaganda Technical University, Karaganda, Kazakhstan Tazhibaeva Saule Mukhazhanovna
Teacher,
Karaganda Technical University, Karaganda, Kazakhstan
Kabanova Anar Bukharbekovna
Teacher,
Karaganda Technical University, Karaganda, Kazakhstan,
АННОТАЦИЯ
В данной статье рассматриваются явления языка и речи, связанные с духовными национальными ценностями народа, его культурой, мировоззренческими и ментальными особенностями. Говорится о многоплановости ключевых слов в тексте, семантических комплексах и их основных признаках.
ANNOTATION
This article examines the phenomena of language and speech associated with the spiritual national values of the people, its culture, worldview and mental characteristics. It is about the diversity of keywords in the text, semantic complexes and their main features.
Ключевые слова: художественный текст, культура, ключевые слова, авторское представление картины мира, лингвистический анализ.
Key words: literary text, culture, keywords, author's presentation of the picture of the world, linguistic analysis.
According to N.A. Berdyaev, "culture has never been and will never be abstractly human, it is always concretely human, that is, national" [1, 85]. With this understanding of culture, the cognitive-semantic approach to the analysis of the text presupposes the obligatory pairing of the literary text with the surrounding specific semantic space and the consideration of the text not only as a result of communication between the author and the reader, but also as a consequence of his being in a special shell of layering of cultural epochs, traditions and literary -aesthetic stereotypes.
As a rule, imagery in a literary text is achieved through actualization of that inner form, etymon (V.V.Kolesov), which are extracted by the artist of the word from the depths of the people's consciousness. The symbol in the mentality of the people is born gradually, a significant role in its formation belongs to literary works. Quite often, the image created by the author (or authors), repeating itself, grows to a symbol and in this form is fixed in the popular consciousness.
A literary text serves as a plan for expressing the figurative structure of a work, which is reflected in the naming of a concept - a text concept, a text concept, an artistic concept. An image "is always an aesthetically organized structural element. This determines both the forms of its verbal construction and the principles of its compositional development. Images can be combined in a consistently deployed chain, they can relate to one another, but can include each other" [2, 53- 55]. This compositional development must constantly be the focus of the researcher.
In the language of fiction as a special sign system of the second order, the central concept is considered to be an artistic image (it is no coincidence that it is included in the triad: idea - image - language in text analysis). The image is realized in the literary text not so much through the linguistic meaning of the word, but through the individual author's idea of the world behind the word, complicated by the aesthetic function of the language of the literary work.
"The structure of a verbal image is enclosed in a complex relationship between the word as such and the word as a carrier of artistic substance" [3, 189]. The verbal image is not limited to a path, although paths play a huge role in creating the artistic world of a work. Any word in the whole can receive a figurative "increment of meaning".
However, more often than not, a simple description of the meaning of words representing an image, even "in their entire volume and with all explicit and hidden connections" (V.V. Vinogradov), is not enough for the figurative and semantic characterization of the text, therefore, in a functional thesaurus
reflecting a conceptual system the writer, inline unions are highlighted. Their interaction, interdependence in accordance with the hierarchy of the concepts they denote in the general picture of the world as a whole should give an idea of the semantic content of the text.
The central unit organizing such associations within the text, according to the majority of linguists, is the key word (word-topic, according to Yu.N. Karaulov). Attempts to define one of the main concepts of the lexical design of the text have been made several times, but there is still no common understanding of them. For example, A.A. Bragina believes that "there are special," key "words of each era, since" the word reflects the life of society and, in turn, is conditioned by the life of society "[4, 38]. Their birth was determined by significant events characteristic of one time or another: NEP, proletcult, Octobrist, Stakhanovite, etc.
Key words in the text are multifaceted, at different stages different meanings are realized in them, or one or another associative block associated with a lexical unit is updated. The fact of using words in meanings not recorded in the dictionary is a fairly common phenomenon in speech, as well as in a literary text, which is a kind of speech activity.
Yu.N. Karaulov associates keywords with the concept of a plot as "the result of reflection, return in thoughts to what was read", that is, with such a category of text as retrospection: the accumulation of conceptual meaning in keywords and its understanding by the reader "and the researcher occurs with a constant return to the previous text information This retrospection is provided by multiple distant repetition of key words in the text [5, 96].
Using the method of associative fields for the analysis of a literary text, Yu. H. Karaulov considers the key word of the text (idiogloss) as a stimulus word for a text associative field, which is a "point of concentration of meaning", a "center of attraction" around which "associative structures are developed, specific text associative fields "[6, 428].
ON. Nikolina considers keywords as one of the ways to express the author's position in a literary text. So, at the content level, the author's attitude to what is depicted is, first of all, expressed through semantic dominants and features of the "motivational structure". Let us recall that the dominant is that "component of the work that sets in motion and determines the relations of all other components" [7, 187].
That is why, in the process of linguistic analysis of the text, it is important to identify the key words of the text and consider the most frequent lexical units in it, reflecting the special significance for the author's consciousness of the concepts they designate, in the
aspect of their semantic transformations, compatibility and positional distribution.
Key words have a number of essential features that allow them to be differentiated against the background of other lexical units.
ON. Nikolina [ibid., 185] identifies the following main features of keywords:
1. A high degree of repetition of these words in the text, the frequency of their use;
2. The ability of a sign to condense, fold information expressed by the whole text, to unite "its main content"; keywords in this regard are likened to "text - primitive" - the minimal model of the content of the text, the key to which they serve; this feature is especially pronounced for keywords in the title position;
3. Correlation of two content levels of the text: actually factual and conceptual - and "obtaining, as a result of this correlation, a non-trivial aesthetic meaning of the given text."
Key words, repeating themselves, can occur in any part of the text and do not have a fixed, rigidly fixed position in it. Researchers have noticed that they often concentrate at the beginning of the work, as well as in the final part of it. Strong positions are usually associated with the dominants of the text, first of all, the title of a work of art, which, by its position in front of the text, signals its special status. However, this is only a tendency that does not always manifest itself. Key words are distributed differently in specific texts, often do not coincide with the title. The question of their number is also resolved in different ways (depending on the nature of the text).
If in small lyrical texts key signs can be single, then, as a rule, in large texts, a group, a number of such words are usually used. "There can be no less than two key characters in the text," notes V.A. Lukin. In his
opinion, "this is due to the fact that the significance of a sign is determined in the semantic space of a given specific text, therefore, in comparison with its other signs, in addition, since the structure of the text is a set of connections between its key signs, the assumption of the uniqueness of such a sign makes us speak about the lack of structure in the text "[8, 44].
Thus, keywords form semantic complexes in the text: units synonymous with them are grouped around them, words associated with them, finally, single-root words, the repetition of which in one context or another, as a rule, is not accidental. Expressing an integral concept, realizing one theme, they, as a rule, form the nominative field of an artistic concept.
List of used literature
1. Berdyaev N.A. The fate of Russia. Self-awareness. Rostov-on-Don, 1997.
2. Vasilyeva A.N. Fiction speech. M., 1983.
3. Vinogradov V.V. On the theory of artistic speech. M., 1971.
4. Bragina N.G. Fragment of the linguocultural lexicon (basic concepts) // Phraseology in the context of culture. M., 1999.
5. Karaulov Yu.N. Russian language and linguistic personality. M., 1987.
6. Karaulov Yu.N. Constants of idiostyle in the lexicographic representation (from the experience of working on the "Dictionary of the Dostoevsky language") // Russistics today. 1999. No. 1-2, 4: Sat. articles. M., 2001.
7. Nikolina N.A. Philological analysis of the text. M., 2003.
8 Lukin V.V. The concept of truth and the word truth in the Russian language (Experience of conceptual analysis of the rational and irrational) // Questions of linguistics. 1993. No. 4.
ИСПОЛЬЗОВАНИЕ МЕТОДА СМЕШАННОГО ОБУЧЕНИЯ В ПРОЦЕССЕ ИЗУЧЕНИЯ
ИНОСТРАННОГО ЯЗЫКА В ВУЗЕ
Мурадова Насиба Тургунбаевна
ст. преподаватель кафедры «Узбекского и иностранных языков», Ташкентский Финансовый институт, Узбекистан
АННОТАЦИЯ
В статье рассматриваются вопросы использования метода смешанного обучения в процессе изучения иностранного языка в вузе, отмечаются важные факторы успешной интеграции данного метода, о целесообразности различных видов заданий продуктивного типа, л преимуществах инновационных технических достижений, дается характеристика моделей смешанного обучения и его использование для подготовки студентов к самостоятельной продуктивной деятельности.
Ключевые слова: Blended Learning, традиционное и электронное обучение, иностранный язык, интернет-коммуникации.
Фактически концепция Blended Learning существовала уже в XX веке, в 60-х годах, но терминология была впервые предложена в 1999 году в пресс-релизе американского Interactive Learning Center, который решил сменить название на EPIC Learning. В медиаматериалах говорилось: «... Мы начинаем предоставлять программное обеспечение для обучения через Интернет,
используя собственную методологию Blended Learning». Учебный процесс при смешанном обучении представляет собой последовательность фаз традиционного и электронного обучения, которые чередуются во времени.
Одни из ведущих специалистов в сфере смешанного обучения, Г. Дьюдни и Н. Хокли, предлагают следующее определение: «Смешанное
