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11occurrence of the Internet industry; staycation (from to stay and vacation) meaning 'a holiday spent in one's home country rather than abroad' may indicate current economic crisis which affects people's lives. The fact that neologisms are often chosen as the 'words of the year' (WotY) also adds to the advantages of teaching these lexical units to students. WotY is a set of assessments as to the word or expression which reflects the most important concept in the public sphere during a specific year. In the USA among the chosen words of the year were bushlips (1990), 'insincere promise of a politician, reference to «Read my lips: no new taxes" by then U.S. President George H.W. Bush', prefix e- [1, 146] 'as in e-mail or e-commerce', hashtag (2012) etc. (available at www.americandialect.org). Thus, by teaching neologisms one can demonstrate the vitality of the language.
Sociologists around the world claim there is a change in the perception of time in the 21st century. People seem to feel rushed, busy, there is a time-scarcity problem [2. 113]. Naturally, this change has been registered by language. In the English language there appeared such neologisms as hurry sickness 'an urgent and persistent need to feel busy or productive', timesuck 'activity which makes one waste his/her time', sightjogging 'visiting a foreign city by jogging around it'. The principle of language economy or the principle of least effort also helps speakers to save time to achieve maximum communication result.
In conclusion we want to add that in every sphere of our life neologisms are getting spread day bay day. Each person who studies foreign language must take into consideration that neologisms are also one part of the learning language, and it should be taught in a proper way, in order to understand each other and be appropriate during one's speech.
References
1. Simpson J. Neologism: The long view. Dictionaries: Journal of the Dictionary Society of North
America, 2007. 28 (1). P. 146-148.
2. Urry J. Sociology beyond societies: Mobilities for the twenty-first century. Routledge, 2012.
P. 110-115.
TRADITIONS AND INNOVATION IN LITERATURE: SOME ASPECTS
OF THE PROBLEM Sharipova F.N.
Sharipova Feruza Negmatulloevna - Teacher of the English Language, DEPARTMENT OF ENGLISH LANGUAGE, FACULTY OF LIGHT INDUSTRY, BUKHARA ENGINEERING TECHNOLOGICAL INSTITUTE, BUKHARA, REPUBLIC OF UZBEKISTAN
Abstract: this article examines literary continuity in a more common formulation - the problem of the tradition of innovation, which is one of the main categories of modern literary criticism in methodological and methodological aspects.
Keywords: innovation, phenomenon, inflation, appearance, methodological approach, typical, expansion, gradually, implement, brittle plot, composition, archaic techniques.
Each artifact that later became a classic was once a new, fundamentally new phenomenon. But far from always its "innovation" was initially realized as its qualitative characteristic, as the meaning of creativity and its ultimate and only goal. Thus, "novelty" only at the beginning of the 20th century was established as a characteristic of "arch-modern" art. In Russia, such novelty was introduced by futurists (artistic innovators, as they were called) into the principle of behavior, was comprehended and developed in the articles of V. Shkalovsky "Resurrection of the word" (1914) and "Art as a reception" (1917). Now at a time distance is clearly visible; as "in this period the word" innovation ", imperceptibly began to fuse with the notion of "modernity".[2.155]
In fact, typical for the avant-garde art of attempting a "rabid rhythm" of style, a brittle plot and composition to catch up with a rapidly accelerating reality, gave rise to a kaleidoscope of new techniques, and gradually created the illusion that the change of techniques already in itself provides innovation. But, perhaps, inflation values, which experienced the twentieth century touched to a certain extent and art, in particular, ideas about the novelty of works of art. Mentally correlating the artistically valuable, first of all with a new "device" has generated in the minds of not only some writers, poets, but readers of the vain pursuit of the ghost of the "new", even more "new".
It should be noted that a big role in the development and adoption of this principle was played by cinema with its editing, the influx of memories, the visible embodiment of dreams, fantasies, the alternation of large and general plans. On the other hand, a sharp, intensive breakdown of the artistic language of works occurred at the turn of the 19th and 20th centuries, and in general, it was due to serious historical events. Vicheslav Ivanov said: "If you think about evaluating the measure of a work as a whole, it should be defined as novelty (the number of inventions or newly introduced archaic techniques) at formal levels, and the novelty of applying these images in a given subject area" [3.176].
But gradually in the art of the twentieth century, the aspiration of artists to reveal the internal stimulation of the individual, to embody in the matter of an artistic word the revealed essence of human relations came to the fore. At the same time - unlike the XIX century - the art of the twentieth century strove to embody these relations not so much in their "appearance" as in their "essence".
Let us recall the main principles of the classic verse and prose of the XIX century: the hidden logic of design and naked associatively in the connection of words and images. As a result, the integrity of the associations of the structure created on new principles was determined by the place occupied by the author's "I" in this structure. Soon it became clear that the author's "I" is not only the focus of associative links of a work, but also an extremely important link in the structure of the narrative.
"Innovation" - a term that also refers to the Latin root - novatio - means new in the creative activity of people, and "innovator" - naturally, it is a person (in Latin literally - the innovator) that introduces and implements new, progressive principles, ideas, techniques, in any area of activity.
Historical continuity is an objective law of the cultural. and, in particular, the literary and artistic development of society. Correct scientific coverage of this pattern is a necessary condition for understanding the internal laws in the literary process, for understanding the general laws of literary creativity and the development of literary trends, and finally for understanding the style of the works of individual poets and writers through which we perceive the elements of their experience (already detached from primary source), which have come down to us already as a public domain.
Literary continuity, or "- in a more common formulation - the problem of tradition and innovation to this day is one of the main categories of modern literary criticism in methodological and methodological aspects. [1.224] Back in the XIX century M.E. Saltikov-Shchedrin gave a precise definition of literature as a reduced universe. Indeed, one of the main features of the specificity of art is the individual form of the "discovery" of the surrounding world in all sensual concreteness.
The poems of Homer's "Divine Comedy" Dante, Shakespeare's drama, "Hamsa" Navoi. "Faust" Goethe. "War and Peace" by Tolstoy, this is an art gallery of human-era epochs - and this is their eternal, "eternal" meaning, "uniqueness" of each of them. From them comes to us the element of their experience, which, being perceived by contemporaries, received its otherness already in the Creativity of others, tore itself away from the original source, in name and came down to us as a common public property.
References
1. SolntsevA. Joseph Brodsky and the Poetic International; Star., 2002. No. 5. P. 224.
2. White G. Without philosophizing s... (about modern discussions) Literary studies, 1987. HH 6.
P. 154-160.
3. Ivanov Vyach. Sun. On the evolutionary approach to culture U. Tynyanovskii sbornik. Second
Tynyanov Readings. Riga., 1986. S. 176.
4. GinzburgL. On the lyrics., 1974. C. 400.
