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21THE ETHNOCULTURAL FEATURES OF DiALECTiSMS FROM CLOTHiNG NAMES
iN FOLKLORE POETRY
YEGANA SALAHOVA
Teacher at Ganja State University of the Republic of Azerbaijan
Summary. The article is devoted to the ethnolinguistic specificity of dialectisms in the names of clothes, which reflected in folklore poetry. Here, the dialecticisms denoting clothing names based on folklore examples are analyzed in linguistic-cultural levels such as language-memory, language-imagination, language-thinking, language-perception, which make up the complex system of the consciousness of the ethnos. The folklore examples play the role of an unparalleled and magnificent source, and the dialectisms reflected in these poetic examples are also the most valuable product of the blood memory of ethnic groups in determining the identity, genealogy, blood memory, and cultural values ofpeoples in the world. There are enough lexical units consisting of clothing names on the language map of the world, and they also have a global character as a cultural concept indicator that acquire common, similar cultural values in the actual thought phenomenon of nations. In the context of the world language model, the dialectisms from the lexical-semantic word groups seen in poetry also have interesting conceptual signs and informative features in the textual environment, so the important problems that include ethnolinguistic culture are analyzed in the article.
Key words: arabic words, global, dialecticism, conceptualism, language, folkloric poetry, clothing names, related and different systematic languages.
Introduction
Folkloric poetry is one of the specific areas of linguistic and cultural development of dialectisms consisting of names of clothes, which are expressions of the names of household items. The oral poetry is "bayati", "gerayli", "goshma", "tajnis" and proverbs, etc. in poetic examples and there are many archaic lexical units belonging to the dialectal area, but some lexical units that have preserved their traces in dialects can be found, and these also serve as a rich source of material for linguistic and cultural analyses. Example; "Bu dara balixlidi, Onuzdalar alixlidi, Ыэп o oglana getmaram, Ayaga garixlidi"(Literal meaning: This creek is full offish and horses were girthed, I will not marry to that boy, he wears bast sandals ) (6, 386). In the last verse of this bayati example, the word "charikhli" transformed from a noun to an adjective with the help of its morphological indicator, and expressed the function of archaic lexical dialectic, indicating the name of an article of clothing. In the paradigmatic denominator, the concept of "poverty" is mentalized. This ethnographic, lexical dialectic is related to "charik" in Turkish Turkish, "charik" in Azerbaijani language, "sorik" in Bashkir Turkish, "§arik", "sorkey" in Kazakh Turkish, "charik", "9okoy" in Kyrgyz Turkish, "charik" in Uzbek Turkish. ", "charik" in Tatar Turkish, "charik" in Turkmen Turkish, "chokoy", "choruk" in Uyghur Turkish (10, 116-117) and create a universal system. Since the term is ethnographic and at the same time a characteristic lexical unit, the word "charik" overlaps in meaning and content in languages of different systems and in the word forms shows as: "chariki" in Russian, "the car" in English, "lavoiture" in French, and "das auto" in German. The word "sandal" means shoes. As can be seen, the word "charik", which is the expression of the name of the clothing item of the ethnos, has a global character as a dialectal unit and played a very important role in the creation of the conceptual process or environment, in the emergence of the linguistic-cultural models of the concept - universal, cultural, symbolic, paradigmatic subcultures. It should also be noted that the word "sandal//sandali" used in the English, Russian, German, and French languages of different system languages is also typical for the dialectal area of the Azerbaijani language, and this word with its semiotic postulate is used in the world language context as clothing that serves to model the concept.
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The linguistic and cultural potential of each poetic example of folklore poetry reveals prototype meanings, which are the development of the concept. In the linguistic overview of the world, there are a large number of lexical units consisting of the names of clothing items, and all of them are modeled and systematized around one concept. Let's interpret our opinion on the basis of an example of a "bayati": "Arxaligin badami, yoldan eylar adami. dzsldsn ozum qurban, sora kdndin adamf "(Literal meaning: "The color of the almond jacket,
seduce a man. You are most valuable for me for ever, before the man in the village" (6,384).
The morphological indicator -lix4 played an important role in the transformation of the word "arkhalik" into the name of an article of clothing, which is characteristic of the dialect area of the Azerbaijani language, which is reflected in the contextual conditions and environment, and formed a modified noun from the word "arkha", which is a noun. If we do not take into account the slight phonetic difference, we can say that the word "arkha", which is the root of the "arkhalikh" dialectism, uses the same phonetic composition in Turkish (arka), Azerbaijani (arkha), Kazakh, Kyrgyz, Bashkir, Uzbek, Turkmen, Tatar, and Uyghur languages, and define as the same meaning. [10.24-25] The suffix "-liq4", which serves to change the meaning of the word, is one of the common morphological indicators of all Turkic languages, and it has the function of forming a noun from a noun in all Turkic languages. An interesting aspect is determined by the fact that the word "arkhalikh" in the text is connected with the lexical unit "almond", symbolizing and marking the sign, color of the item of clothing, and in this position, that lexical unit acts as a dialectic. With the help of the morpheme "-i", the word "Badam" is transformed from a noun to an adjective, and in this case, realizes the sign of the type of back clothing and its color. Thus, the word "arkhalikh" conceptualizes the concept of clothing, and the dialecticism of "almond" conceptualizes the abstract of color. From the extralinguistic point of view, almond and other color shades in the clothing culture of ethnic groups in the world have been used and are being used both in historical times and in our modern times. At the ethnocultural level, the "National Encyclopedia of Azerbaijani" gives such a short essay about the "archalik" type of clothing: "It is a part of national men's and women's clothing among the Caucasian peoples and in Iran. "Arkhalikh" had been formed as the five meters ancient Turkish outerwear, later cossacks (also worn by Russian military units). Arkhalikh is considered one of the most common clothes in Azerbaijan and Arkhalikhs vary.
The arkhalikh is a long waistcoat and its waist is narrow. The arkhalikh is lined like a turban and is cut to fit the body. A skirt of various widths with pleats or rivets is sewn to the arkhalikh below the waist. Some arkhalikhs are cut wide and straight, with a scar on the side. The arms of the arkhalikhs are different. Some are straight and long and are made in the form of a so-called sleeve that ends with a glove below the elbow. The third form of arkhalikhs is the slatted arm. A straight sleeve up to the elbow is cut open in a lily form below the elbow. At the mouth of the sleeve, a two-finger width crease is added to the fabric of the arkhalikh. The collar of the arkhalikh is open. In most cases, they don't button the arkhalikh even below the bust. The arkhalikhs are made of silk, satin, "mahud", kashmir, velvet, "tirma," and various gilded fabrics, and are decorated with wrappings and various ribbons.
Men's arkhalikh can be single-sided (buttoned with a hook) or double-sided (buttoned with a button). In cold weather, men also wear "chukha" over the back.
A woman's arkhalikh is colorful and patterned, and her narrow arms widen to the touch. This type of arkhalikh is sometimes decorated with lace and ribbon, with a golden pattern, and the edges with fur.
Until the 1920s, arkhalikh was more widely used among people. The front of the arkhalikh is open like a jacket. They fasten it with a button and a buttonhole, as well as tie a "beylam shawl" (sign of strength) around their waist [1,22]. One of the clothing names that match the shape and construction of "Arkhalik" clothing is "chukha". In folklore poetry, the ethnographic and archaic term consisting of the name of this clothing is found, which has preserved itself in the dialect area of the Azerbaijani language "chukha". For example: "Buxari, ay buxari, Tustu gixir yuxari, Canmtdan bir oglan gdlir,
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Qiyni ya§il guxali "(Literal meaning: Steam, steam let a smoke rises up, A boy comes from heaven, that has a green chukha on his shoulders") [6, 384]. The word "chukha" and the name of clothing "arkhalik" act as synonymous doublets in most stylistic moments in the poetic environment, and even the ethnographic lexeme "chefkan" is used as a synonym for these words. "Chukha" was historically widespread among the Oghuz who belong to the Turk ethnos. In the "Kitabi-Dada Gorgud" sagas, the name of this clothing is found. The word "chukha" came from Turkic languages to Russian, English, and French from different systematic languages. Thus, the word "chukha" is used with the phonetic transcription of "rukha" in Russian, "chuka" in English, and "chukha" in French and means the name of a type of clothing (2). The following information is given in "Kitabi Dada Gorgud encyclopedia" about the method of preparation of "chukha" type of clothing: "There are two types of chukhas "vaznali" and "ckarkhazi" in Azerbaijan. The collars of both chukhas are cut open. Chukha is sewn with a tight and lining, and the hem is pleated or creased. There is a chukha's clasp in the waist. The arms of the "vaznali" chukha are cut straight and long, and "vaznali" pockets are sewn on both breasts. The bells decorated with silver or gold heads are worn on the kherns. The lining of the sleeve is made of silk fabric from "ckarkhazi"chukha of "vaznali". These sleeves often have reworked loops and buttons along the cross section. The length of "ckarkhazi"chukha is different. Some have a length just below the knee, and some have a length up to the knee. Chukha is made from "mahud" or "shawl". they decorate the chukha with various golden bafta, wrapping and other fabric. [3.203]
On the language map of the world, there are semiotic signs and lexical units consisting of a large number of clothing names belonging to a person, and lexical dialectisms consisting of shoe names occupy an important place in this system. Dialectisms of this type in the social-cultural context in the language of folklore poetry serve to mark something concrete, create certain connections with the text, and have the ability to give a clear idea about the object - its form and content. For example: "Qondaran dikdabandi, yera qoyma amandi. Sevasan almayasan, Gorasan na yamandi" (Literal meaning: High-heeled is beauty, I beg you not to let it down. If you love and not to act, that you see how painful it is.)(6, 304)
In contextual conditions, this word meaning "high-heeled" shoes (men's or women's shoes) in the Kazakh, Tovuz, Marneuli, Ordubad, Dmanisi, Oghuz dialects and dialects of the Azerbaijani language in the phonetic compositions of gondara // gundara (4.149) It is connected with the lexeme "dihdaban" and indicates the shape and structure of this item of clothing. In the model of the meaning of this bayati text, which is small in volume and carries a large semantic load in terms of content, "gondara" dialecticism is cognitive in its understanding through language, it categorizes the concept of "beauty" within the context of the related text. In this regard, A.Abdullayev shows that "Speech understanding first of all implies the semantic perception of the text imagined by the speaker of the language in the form of a text base, which consists of the limited and global connection of the sequence of propositions" (5,97) As one of the components of the culture of all ethnic groups, it is difficult to imagine without high-heeled shoes, and this type of clothing is used by almost all men and women of the world's nations. Therefore, the linguistic and extralinguistic aspects of the dialectic of gondara are modeled in the imagination of the referent on the level of language-consciousness of one of the constituent parts of the clothing culture, in other words, it conditions its globality and characterizes its mentality. Those who see the globality and mentality of dialecticisms of this type as "a set of thought processes involving the creation of a particular picture of the world" (12,222) are absolutely right in the literal sense of the word.
Dialectisms that indicate the names of parts of clothing are also of great importance for confirming the mechanism of mental imagination in folklore poetry, and in this sense, their identification in imagination depends on the dictates of contextual conditions. For example: "Arxaligin aldirmi§am, Yaxaliq saldirmi§am, Ela ellarimiz dagildi, Onda urayimi aldirmi§am" (Literal meaning: I had got a arkhalikh and made breast collar on it, in case our our lands ruined then I lost my heart) (7,247).
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In this poetic text, grammatically and semantically, in the Chambarak dialect of the Azerbaijani language, "chest, the front part of the dress" (8.405) is connected with the lexical unit "arkhalikh" (collar), which is used in the meanings of chest, breastplate, apron, and indicates a part of the same type of clothing. The collar and chest are a part of the human body, and dialect words such as "breast, chest, apron, collar" were made by adding the suffixes -lik, -lik, -luk, -luk to these words. It should be noted that this morphological indicator created the conditions for the integration of the word "yaxa" into dialectism, and according to the situation of the text, it ensured the work of its comprehension-mentalization model in a concrete and visual way. The "yaxaliq" dialectic has acted as an effective speech unit in the transmission of the poetic information strategy in the text and its easy understanding. The "love, be in love with" syndrome is motivated by the general meaning of the text, i.e. content and meaning strategy, and although all motivational criteria are covered by the entire context, the decoding is realized in a more concrete and visible way in the last stanza. When characterizing the "yaxaliq" dialectism manifested in poetry in terms of conceptual, symbolic, paradigmatic, syntactic, and morphological composition, the significant and globally important aspects of the nuances, principles, and methods created by it revealed in the ethnolinguistic cultural system. The importance of such linguistic discovery is not limited to a very necessary mission of integrating folklore poetry into the modern Azerbaijani consciousness but helps to determine the genesis of the Azerbaijani and Turkish ethnic system as a whole, and also to a big extent assists other cultural manifestations belong to this culture. (9.220) Although the dialecticism of "yaxaliq" is translated into the Russian language "vorotnik", "collor" into English, "collet" into French, and "xov" into Lezgi language (a minority group of people in Azerbaijan) from different systems languages, in the imagination and thinking of the human person, it marks the clothing item of the same model. Dialectisms forms a certain part of the world language map and vocabulary fund, and we study the structure of language and thinking, language and cognition, language and imagination, and language and consciousness learning according to these speech units. These structures allow us to provide rich strategic information and to describe them in any language, to reveal linguistic and cultural features.
Conclusion: Dialectisms representing clothing names perform the most appropriate ethnolinguistic function in the description and delivery of the psychological moments of the lyrical "I" in folklore poetry. Dialectisms in Bayati texts, which are small in volume and expressive of big issues, serve to sufficiently revive the poetic environment, realize conceptuality (the concept of clothing), regulate the linguistic structural semantics of the text, and create a pleasant voice in human beings on the basis of language and consciousness.
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