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PHILOLOGICAL SCIENCES
WAYS OF APPEARING FOLKLORE AS A DISCOURSE Abduvahabova M.A. (Republic of Uzbekistan) Email: Abduvahabova581@scientifictext.ru
Abduvahabova Mohina Azatovna - PhD, Associate Professor,
THEORETICAL ASPECTS DEPARTMENT № 2, UZBEKISTAN STATE WORLD LANGUAGES UNIVERSITY, DEPARTMENT OF WESTERN LANGUAGES DEPARTMENT, TASHKENT STATE UNIVERSITY OF ORIENTAL STUDIES, TASHKENT, REPUBLIC OF UZBEKISTAN
Abstract: the concept of folklore emerged in Europe midway in the nineteenth century. Originally it connoted tradition, ancient customs and surviving festivals, old ditties and dateless ballads, archaic myths, legends and fables, and timeless tales, and proverbs. As these narratives rarely stood the tests of common sense and experience, folklore also implied irrationality: beliefs in ghosts and demons, fairies and goblins, sprites and spirits; it referred to credence in omens, amulets, and talismans.
Keywords: folklore, culture contamination, folk narratives, rhymes, riddles, genres.
СПОСОБЫ ПРЕДСТАВЛЕНИЯ ФОЛЬКЛОРА КАК ДИСКУРС Абдувахабова М.А. (Республика Узбекистан)
Абдувахабова Мохина Азатовна - PhD, доцент, кафедра теоретических дисциплин английского языка № 2, Узбекский государственный университет мировых языков, кафедра западных языков, Ташкентский государственный университет востоковедения, г. Ташкент, Республика Узбекистан
Аннотация: концепция фольклора возникла в Европе в середине XIX века. Первоначально он ассоциировался с традициями, древними обычаями и сохранившимися фестивалями, старыми частушками и балладами, архаическими мифами, легендами и баснями, вневременными сказками и пословицами. Поскольку эти повествования редко выдерживали испытания здравым смыслом и опытом, фольклор также подразумевал иррациональность: верования в призраков и демонов, фей и гоблинов и духов; здесь говорилось о доверии к знамениям, амулетам и талисманам.
Ключевые слова: фольклор, культурная ориентированность, народные повествования, рифмы, загадки, жанры.
From the perspective of the urbane literati, who conceived the idea of folklore, these two attributes of traditionality and irrationality could pertain only to peasant or primitive societies. Hence they attributed to folklore a third quality: rurality. The countryside and the open space of wilderness was folklore's proper breeding ground. Man's close contact with nature in villages and hunting bands was considered the ultimate source of his myth and poetry. As an outgrowth of the human experience with nature, folklore itself was thought to be a natural expression of man before city, commerce, civilization, and culture contaminated the purity of his life. The triumvirate of attributes — traditionality, irrationality and rurality — was to dominate the concept of folklore for many years to come; often it still does. It provided standards for inclusion or exclusion of stories, songs, and sayings within the domain of folklore proper. Those which possessed at least one-of these qualities were christened "folkstories, folksongs, riddles and folk-sayings"; those which did not were reprovingly
rejected. In their turn, these terms of meaning generated additional attributes, which together comprised the- sense of the concept of folklore in common use, in print, and in speech. The cloak of tradition concealed the identity of those who authored folktales, ballads, and proverbs, and transmission from generation to generation obscured their origins. Thus, by default rather than merit, anonymity became an earmark of folklore.
Indigenous prose or poetry became part of folklore only after the memory of its creator had been erased. Then, the seal of anonymity sanctioned tradition as genuine. It legitimized songs and tales as integral parts of the cultural heritage of society [2]. Yet, the anonymity of folk narratives, rhymes, and riddles hardly solved the enigma of origin. The responsibility for authorship had to be placed in the hands of some creator, divine or human. So, in the absence of any individual who could justifiably and willingly claim paternity of myths and legends, the entire community was held accountable for them. After all, the existing evidence appeared to support such an allegation. Narrators and singers often attribute their tales and songs not to a single individual, but to the collective tradition of the community. Even in the exceptional cases in which they indeed claimed authorship, they succeeded in unveiling analogues in their own and other traditions. Such parallels cast doubt upon any contentions for originality and sustained the assertion of the communality of folklore.
In fact, communality has become a central attribute in the formulation of the concept of folklore, and is rivaled only by "tradition." There is no room in folklore for private tales and poems. Any expression has to pass through the sieve of communal approval before it can be considered folklore. But the identification of the processes that would justify the attribution of communality to any story or song has proved to be rather complex, even logically thorny. Are folktales and folksongs only in the communal domain, free to all to speak and sing, or should these "property rights" be limited to the moment of origin, thus regarding folk expressions to be of communal creation and solving along the way the question of authorship [1]. Furthermore, how does the community foster its bond between people and their folklore, and exactly which of its aspects relate to the society at large: the themes, the language, the forms, or the particular tales, songs and proverbs? These and other issues are the whetstones that have sharpened debates that were crucial to the idea of folklore. From various viewpoints the attribute of communality implies communal creation, re-creation or, simply, expression.
Communal creation involves some anachronistic reasoning: the tales, songs, and sayings that the community shares together, it also creates together. Such an explanation may solve the problem of authorship, but our inferring origins from results might not be logically valid. In the cultural and social spheres, the mode of existence cannot necessarily attest to the genesis of forms. Historical processes such as diffusion of themes, dissemination of ideas, and imitation of manners do affect the state and nature of folklore. Consequently, collective knowledge of tales and songs cannot be an unequivocal indicator of creation. The notion of communal re-creation counters this dilemma. It prolongs the moment of origin over historical periods and conceives of the formation of songs, for example, not in a single exhilarative burst of poetic creativity, but through repetitive recitations of singers on communal occasions. Each improvises and embellishes the text yet conforms to the communal aesthetic and ethical standards. Such an interpretation of the communality of folklore also allows the e viewing of folk prose and poetry as expressions of social fears and wishes, ideals, and values. Folklore reflects the collective experience of society and is the mirror which the community constantly faces. As a distinct mode of communication, folklore exists in any society; it is the sole property of neither peasants nor primitives. No doubt folklore could be traditional, but it is not so by definition; it could be anonymous, but it is not essentially so: Any of the qualities that were, and still are, attributed to folklore might be inherent in some forms, in some cultures -and any, time they are it is up to the folklorists to demonstrate it anew.
References / Список литературы
1. Adonyeva S.B. The pragmatics of folklore. SPb: Publishing house of St. Petersburg. un-that; JSC TID "Amforma", 2004.
2. Emer Yu.A. Folklore discourse: cognitive-discursive research. Tomsk: Questions of cognitive linguistics, 2011.
CHARACTERISTICS OF ADVERTISING DISCOURSE Toshboyev Sh.R. (Republic of Uzbekistan) Email: Toshboyev581@scientifictext.ru
Toshboyev Shukhrat Rakhmatulla o 'g 'li - master's Student, DIRECTION: FOREIGN LANGUAGES AND LITERATURE, UZBEK STATE WORLD LANGUAGES UNIVERSITY, TASHKENT, REPUBLIC OF UZBEKISTAN
Abstract: this article presents a theoretical interpretation of advertising discourse in modern linguistics. In linguistics, discussion and the concept of a text are considered as one of the topical issues. The article discusses the features of advertising the text language in the context of parameters. Recently, along with the continuing interest in advertising practice, more and more attention is paid to the theoretical aspects of advertising, including from such sciences as linguistics, psychology, sociology, psycho and sociolinguistics, semiotics, linguoculturology. The theoretical basis of the research was the fundamental works on the theory of discourse and communicative interaction, works on studies that justify the anthropocentric approach to a language in general and its categories in particular.
Keywords: text, discourse, advertising text, structure, slogan, brand building, language activity.
ХАРАКТЕРИСТИКИ РЕКЛАМНОГО ДИСКУРСА Тошбоев Ш.Р. (Республика Узбекистан)
Тошбоев Шухрат Рахматулла угли - студент магистратуры, направление: иностранные языки и литература, Узбекский государственный университет мировых языков, г. Ташкент, Республика Узбекистан
Аннотация: в статье представлена теоретическая интерпретация рекламного дискурса в современном языкознании. В лингвистике дискуссия и концепция текста считаются одной из актуальных проблем. В статье рассматриваются особенности рекламы на языке текста, учитывая разные параметры. В последнее время, наряду с сохраняющимся интересом к рекламной практике, все больше внимания уделяется теоретическим аспектам рекламы в рамках лингвистики, психологии, социологии, психо- и социолингвистики, семиотики, лингвокультурологии.
Теоретической основой исследования стали фундаментальные работы по теории дискурса и коммуникативного взаимодействия, работы по исследованиям, обосновывающие антропоцентрический подход к языку в целом и его категориям в частности. Ключевые слова: текст, дискурс, рекламный текст, структура, слоган, построение бренда, языковая активность.
Currently, advertising discourse is one of the most developing types of discourses. A large number of articles, dissertations, and books have been devoted to the study of advertising discourse and text, but the main issues remain debatable. There is no consensus among researchers about the status of the advertising language, its functions and functional features. Advertising discourse is a discourse used to influence individuals based on the use of available media, which helps to convey this discourse to a
