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50PSYCHOLINGUISTIC APPROACH TO THE LITERARY TEXT
Khanbutayeva L.
assosiate professor Azerbaijan University of Languages
Abstract
The psycholinguistic approach to the text is one of the most actual issues in modern times. The article examines the psycholinguistic features of the literary text in compared languages. Acceptance, understanding and perception of the literary text is the basis of psycholinguistic analysis.
Here can be included - general knowledge, episodic expectations, associated relations, cultural awareness, and world-view. For the successful understanding of the literary text it is necessary to take into account the grammatical structure of the statements, phonetic features, as the tempo of speech, emphasis, intonation, tone, gestures, mimicry, body movement, observation and perception of the communicative situation and the knowledge about the speaker and his properties stored in the memory. There are a number of stages in understanding of the text -reasoning, motivating, thought-forming, and then mixed, verbal-averbial, special verbal stages.
Keywords: psycholinguistic research, literary text, discourse, patition, understanding.
A literary text is a sample of language which can be read and understood.
Psycholinguists consider it necessary to talk about the unity of the processes of perception and understanding in a text wherein the verbal reasoning memory represents an etalon (sounds, word-group, word) system hierarchy. On the sensing level, the word is the etalon, while the sensing is executed based on the object-system code, formed in the process of understanding. The object-system code, on the one hand, gives meaning to work's material elements (separate words, facts, phenomena used by the author), while on the other hand, it itself constantly changes, clarified and specified, influenced by this material [4, p.4].
In understanding the text additional factors also influence on the reader as, general knowledge, episodic expectations, associated relations, cultural awareness, and world-view.
During the 1970s, the relationship between the experimental psycholinguistics and transformative grammar diminished, and at that time a great interest appeared from syntax to semantics and interpretation. Many linguists have studied the literal meanings of sentences, the role of new information in understanding sentences, the relationships and sequences between sentences in short texts. The meaning of the texts was analyzed in many models. Discourse models played an important role in text interpretation from 1980s.
In the 1970s, lexical access models played a special role in text research. "The predominant models of word recognition were: John Morton's Logogen Model, Kenneth Forster's Bin Model, and William Marslen-Wilson's Cohort Model. The third, it was a new topic, a real-time course for language comprehension" [2, p.87].
Frame theory, as well as formal dialogues and human-machine-human systems, also played a crutial role in understanding and interpreting the text. "There are many tools that are necessary for the organization of each literary text. The content plan of the text is based on a special informative capacity that also determines its formal boundaries" [7, p.73].
Y.V. Aliyev speaking about the structure of the literary text, notes that it combines two main
components. These are the information and the expression of the component of information. "Informative structure forms the basis of the text of a poem or prose. A language unit with any text or syntactic boundaries is impossible without information. The scarcity or abundance of information leads to the emergence of the most diverse language units (a word combination, a simple sentence, a compound sentence, a mixed compound sentence, a complex syntactic whole) from incomplete syntax to complete syntax. That is, the volume of information determines the structural complexity of the syntactic unit " [2, p. 178].
The study of deep layers of the text, which are not observed at first glance, but only as a result of a thorough analysis, makes it necessary to consider a number of points, as well as the category of partition. "Partition a structural-semantic category that ensures the completeness and the connection of the units belonging to different language levels in the literary text " [5, p.226].
Partition is a term derived to linguistics from music. Here belong a number of psycholinguistic factors, such as the speaker's morals, responsibilities, attitudes, behavior, attitudes toward others, etc., which play an important role in the formation of the literary text as a whole.
Dialogues play an important role both in fiction and in the process of communication. It is in the dialogues that we get acquainted with different worldviews of the characters, their psychological state, their inner world.
Let's pay attention to the passage in M. Jalal's story "Center man". The conversation is between two friends who were once considered to be offended by each other. One friend says to the other:
(1) - Our grief is in its place, friend, I heard you are looking for a room, let me put you in a good place.
(2) - You will put a lot of gratitude on my neck [8, p.227].
In the speech of the first friend, we see that he felt remorse for the sin he had committed at the time, and on the other hand, he felt remorse by confessing his sin inwardly. The other friend's speech means that he (his friend - L.X.) forgave him inwardly, and everything
started all over again. This psychological state manifests itself in the form of implicit dialogue.
In the course of the dialogue, we see that friends have already forgiven each other. The friend who first tried the conversation says:
- Go to the block number nine on Nardaransky Street. There are two rooms on the second floor, like a decorated bride! Everything is in it, in private hands, the owner sells it. And for the price of water: you will get five or six thousand. Don't stop! [8, p.228].
Let's pay attention to the continuation of the dialogue.
I was shaking my friend's hand and running. I found that house. The owner of the room had not yet slept. He sat sadly, as if waiting for me.
- Hello!
- Hello!
- The seller of the room is here ....
I finish my question; happily replied:
- Of course. My nephew, tell me if you want to look at it or buy? [8, p.229].
As can be seen from the dialogue, a third person enters the conversation - the seller of the house. The ethnic group of the host, his emotions, his inner world are expressed in one or two sentences.
The omission or addition of any component during communication, the repetition of the same words indicates the psychological state of the speaker. The modality and intonation of the sentences also indicate the emotional state of the speaker.
Continuation of the dialogue:
He took my hand in the palm of his hand, which was as big and thick as a sledge, and leaned towards me, saying firmly:
- Will you get it?
- I'll take it!
- Shall I say a word?
- Say a word!
- In a word, I see that you are a good boy. You have a good job, one word: I will give you these rooms for a few, five thousand manats.
- Five thousand manats?
- Yes!
- I got it!
- I sold it! God bless you!
- Bye!
- Always have a wedding party inside! [8, p.230].
The author emphasizes the peculiarities of
Azerbaijanis, such as emotionality, kindness, ethnocultural features, conciseness, obedience to the word of man.
All these points show once again that along with lexical, grammatical, semantic, logical connections, psycholinguistic factors also play an important role in ensuring the integrity of the text. The more laconic, emotional, expressive the language of the literary text, the more readable it is.
Artistic discourse is characterized by the presence of signs of one or another culture at a certain stage of development. When updating the text of a work of art, it is impossible to follow without understanding the interaction of cultural concepts, stereotypes that make up the artistic landscape of the world and their
interpretations. Another distinguishing feature of artistic discourse is the transmission of hidden meaning (i.e., explicit meaning -L.X.) through concepts and linguistic means. Almost any work of art conveys messages through the text, but sometimes these messages are not explicitly expressed within the text.
Linguists distinguish several approaches in the typology of discourse. The first of these is the thematic approach which plays an important role in the organization of the text. The second approach is functionality that is of traditional importance for linguistics. This approach mainly analyses scientific works, information, everyday and artistic discourses.
Artistic discourse is the main type of special discourse. Artistic discourse is the realization of the oral message as a means of transmitting subjective-logical, aesthetic, descriptive, emotional, conceptual, evaluative information, combined in the idea and artistic content of the text.
Artistic discourse is understood as an absolute and primarily unrealistic communicative act that characterizes any set of goals (such as questions, threats, promises) that are characteristic of interpersonal communication or other types of discourse. Artistic discourse, perhaps, has some features and according to their purpose they differ completely from other discourse types.
The issue of speech acts in the structure of text or discourse has attracted the attention of the linguists, psychologists and educators in the recent decades.
Motivation plays an important role in the formation of a literary text. This stage is of a complex communicative-pragmatic nature and includes elements of previous human experience. On the other hand, the text contains elements of the assessment of the situation and its addressee, the specific purpose of the speaker, his purpose, impact on the interlocutor, etc.
Motivation is the stage that questions about the pragmatic and communicative task are solved and, therefore, the sentence and its content are revealed.
At the beginning of the text there is a desire to talk to others to say something. The need activates the speaker's consciousness and stimulates the process of creating the text. The performance layer plays an important role in the semantic representation of sentences in the text, which shows its illocutive power [3, p.99] . The position of the speaker in each text is realized with the help of performative verbs.
A.Mammadov emphasizing the role of formal means of communication in the formation of the text, including phonetic (alliteration, assonance); morphological (repetition of gender, time, case category features); lexical (complete, incomplete, i.e. zero repetition of words in different grammatical forms); syntactic repetition (complete and incomplete repetition of word order, chiasm, etc.); lexico-grammatical means (lexical relevance, connectors, prepositions, determinants, etc.); includes deictic elements (different types of pronouns, adverbs, tense forms of the verbs, articles, etc.) [7, p.54].
In a normal person, texting habits are so automated that there may be no transitions between thought and
text, and the main form of live communication is spontaneous text.
There are 4 types of text modules: 1. Nominative component in the creation of the text, 2. synthetic and transcendental component, 3. grammar, morphology, 4. sounding of the text.
Among these components, the semantic-pragmatic component plays an important role, and the achieved set of goal is aimed in the interaction between them.
The text is an informative, complete sequence of words and sentences with semantic meaning. In some studies, the text is called a language fragment only because of its communicative parameters. Therefore, the communicative factors are always emphasized in the definition of this syntactic unit.
The role of pragmatic and lexical tools in the preparation of the text is assessed differently by many researchers. Some scholars rely on factors to ensure its relevance. This includes the communicative orientation, the compositional structure and the text content. Others try to downplay the role of grammatical devices in the text, but formal grammatical devices, as the connectors and the conjunctions are important in creating this syntactic whole.
We think that the semantic connection is important in the formation of the text, and this connection must be regulated in such a way that the chain connection of sentences cannot be violated. At the same time, the sentence at the end of the text should be semantically connected with the sentences before it.
Cohesion is a semantic concept that creates a semantic relationship between sentences, so cohesion is one of the main tools involved in the creation of a text. It was the main part of the language system and was based on linguistic events. Here belongs references, ellipsis, etc. Thematic and rhetorical relations are also important in the formation of the text. Communication depends on the dynamic development of these relationships, that is, the relationship between the subject and the rema.
In both languages in English and azerbaijani , texts are formed as a result of the repetition of sentence members. Lexical units repeated in the same text, depending on the situation, can sometimes be the subject, the object and other parts of the sentence. Repetition of nouns in the text provides lexical relations and these lexical relations are formed in their semantic field. These relations reveal the content of the phraseological unit, ensure the beginning and the end of the event. Repetition of pronouns is also of special importance in the process of revealing the meaning of
the text. Example: I_think you are mistaken,
Mrs.Forsyde; I'll - I'll bet Miss Forsyde agrees with me. In what, came Fleur's clear voice across the table. I_was sayin', young girls are much the same as they always were - there's very small difference. Well, I don't know, Ithink they want their own small way, and I think they always did [9, s. 19].
Demonstrative pronouns have a wide range of text-forming functions, they act as a communicative unit, creating an anaphoric and cataphoric connection in its organization. Thus, they ensure the development
of the phraseological unit as a key indicator of certainty and uncertainty.
Example, It 's Jon Forsyte's mother, isn't it? And she was your wife first. It was said in a flash of intuition. Surely his opposition came from his anxiety that she should not know of that old wound to his pride. But she was startled [9,27].
In this example, in the expression it's, isn't it, it was, that old wound, the words that act as a pronoun and they play a special role in understanding of the given text.
Additional appraising meanings are self-evident for interrrogative sentences in English. Example: A phone? Do you believe someone had the nerve to send Miranda Priestly a phone? Assessment or appraising questions do not have a non-traditional structure for English interrrogative sentences.
Example: So you really think it's a good opportunity? I know we talked about it, but they didn't even give me a chance to decide. She just assumed that I'd want the jo.
It made her mad. Also, I suspect, a little jealous. Wasn't she his best friend? Hadn't they always told each other everything? Didn't she do everything for him, cook, sew, and keep house as their mother used to? Wasn't she the one who had been taking care of the silkworms single-handedly so that he, her smart little brother, could take lessons from the priest, learning ancient Greek? Hadn't she been the one to say, You take care of the books. And when he had started lingering down in the city, had she complained? Had she mentioned the scraps of paper, or his red eyes, or the musky-sweet smell on his clothes? [9, p.128]
With the help of interrrogative sentences of evaluative semantics, the author specifices the events and the processes of reality, creates a description of the protagonist for the reader, as in the example: Was this reality? Was this actually happening? Was I now working for a woman who received 256 presents at Christmas from some of the world's most famous people? Or not so famous? I wasn't sure.
- Papa, she said, unable to formulate a definite sentence.
- Yes, he said.
- Won't you forgive me, Papa?
- I do, he returned grimly.
- Now, Tom, ain't you always been friendly to me? You wouldn't shet me out, would you, Tom?
Huck, I wouldn't to, and I don't want to, but what would people say? Why they'd say, Mph! Tom Sawyer's Gang! Pretty low characters in it! They'd mean you, Huck. You wouldn't like that, and I wouldn't [9, p.263].
This piece of passage happens between a father and his daughter. "Is this true? Is this really happening? So am I really working for a child who received 256 gifts from celebrities around the world at Christmas? I don't believe it."
From the given passage it is evident how much the father regrets. He does not. The daughter asks her father if she can't find the right words to rebuke him.
As can be seen from the dialogue, a father forgives his child. But it is evident from the passage the father
cannot bring up his child properly and is not able to control his nerves.
In the dialogue the words, such as actually, or so, sure, the most are used to increase the modality and the emotion. The development of these units in both written and oral speech increases the emotionalexpressive tone and modality.
Question remarks have a positive or negative communicative meanings. Such pragmatic appeal-type constructions are often found in dialogues when it is necessary to express the speaker's attitude to a particular situation. Interrrogative sentences are reflected in descriptive, constructive, argumentative and narrative contexts [1, p.93].
V.V. Krasnykh uses a number of parameters in the psycholinguistic analysis of the text: 1) the situation -this is the extralinguistic reality realized in the communicative act, 2) time factor, 3) the sequence of the communicator's replicas, 4) the specific subject -this includes the communicator or the author himself, 5) the role of stimuli and intention in the formation of speech, 6) the reaction to specific speech activity -verbal or non-verbal, 7) text structure: micro and macrotext [6, p. 259].
In the conclusion we can say that the concepts of literary text and artistic discourse are inextricably linked; certain features of the communicative and pragmatic structure of the literary text and the features of its constructive organization influence on the reader. This influence also includes non-textual sources, i.e. the basic knowledge and social concepts that are characteristic of the society of which the reader is a member. Artistic discourse plays an important role in the discursive practice of man and the society and it reflects all different forms and the types of interaction. Therefore, the identification of the dialogue's models of artistic discourse and the establishment of a general theory of descriptive communication can help solve the problem.
The process of influencing the reader can be carried out with the help of conceptual and linguistic means: conceptual means are based on the meaning behind verbal cues, reader's mind, language, semantic versatility of the text, actualization of hidden meanings, new worldview and evaluation of reproduction means creating a semantic increase.
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