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70The legends of the Uzbek shamans are also common in mass that tell stories about the adventures of the sham and the grandfathers. Unlike other myths, the phenomenon described in these myths is characteristic of what happened at the same time in the life of our contemporaries. It is unanimously noted by our well-known scientists that the world of folklore is a legend that tells about the events of ancient times [6].
The poetic reality of the actor, at the same time, the movement of mythological images through the mediation of a real world, the process of healing of the hero, the disappearance of the missing object, the artistic representation of the abstract phenomenon or phenomenon of the event are only poetic features characteristic of the shaman legends .
So, the grandfathers are a very popular mythological image of the Uzbek shamanic folklore. Grandfathers' repertoire is also used in the form of fathers. The grandfathers are the symbols of Shaman folklore, which are directly interpreted as representatives of the Gibeon world and are directly assisting in the practice of Shaman. In the shaman legends, the grandfather's functional duties are extensively expanded, such as treatment of the patient, driving the ghosts, solving the problem, and helping the child to be born without the help of the shaman lounges and chambers.
It does not characterize the appearance of grandfathers in the Uzbek lanterns and chambers. But the shaman legends describe the appearance and appearance of children. According to the legends, the grandfathers appear in white lingerie and a luminous old man with a light shining head on his face.
References
1. Basilov V.N. Cult of Saints in Islam. М.: Science, 1970.
2. Imomov K. The genre of legends // UHA, 1976. 4-edition. 68-72 p.
3. Jumanazarov U. The Uzbek folklore and historical reality. Science, 1991.
4. Juraev M. Uzbek folk legends. Science, 1995.
5. Kayumov О. Miracles that turned into reality. A. Navoiy press center, 2016. Р. 15-48.
6. Tokarev S.A. Early forms of religion. // М.: Politolpress, 1990. Р. 22.
STYLISTICS FIGURES OF QUANTITY AND QUALITY
Turgunova R.P.
Turgunova Ra 'no Pardabaevna - Senior Teacher, DEPARTMENT OF THE THEORETICAL ASPECTS OF THE ENGLISH LANGUAGES, ENGLISH
LANGUAGES FACULTY 3, UZBEKISTAN STATE WORLD LANGUAGES UNIVERSITY, TASHKENT, REPUBLIC OF
UZBEKISTAN
Abstract: trope is a rhetorical figure of speech that consists of a play on words using a word in a way other than what is considered its literal or normal form. Tropes come from the Greek word "tropos" which means a "turn ". We can imagine a trope as a way of turning a word away from its normal meaning, or turning it into something else. Tropes include epithet, metaphor, metonymy, oxymoron, periphrasis, personification, and simile. Keywords: trope, figures of quality and quantity, stylistic device.
Despite works on stylistic devices are of its abundance, such image bearing devices have been studied by scholars insufficiently. This study to some extent seeks to fill this gap through dividing devices into two types; this is the exact scientific novelty of this article. Hyperbole is a stylistic device in which emphasis is achieved through deliberate exaggeration [2]. Hyperbole is a deliberate overstatement or exaggeration of a feature
essential (unlike periphrasis) to the object or phenomenon [1]. It does not signify the actual state of affairs in reality, but presents the latter through the emotionally coloured perception and rendering of the speaker: I was scared to death when he entered the room [3].
Meiosis deliberately expresses the idea, there less important than the action is. Meiosis is dealt with when the size, shape, dimensions, characteristic features of the object are intentionally underrated. It does not signify the actual state of affairs in reality, but presents the latter through the emotionally coloured perception and rendering of the speaker: She wore a pink hat, the size of a button.
Epithet is an adj. or an adjective phrase appropriately qualifying a subject (noun) by naming a key or important characteristic of the subject. Semantics-oriented epithet classification by professor M.Short: 1. metaphorical epithet (lazy road, ragged noise, унылая пора), 2. Metonymical (brainy fellow), 3. Ironic.
Structural characteristics of epithets: 1. Preposition, one-word epithet (a nice way); 2. Postposition, one-word or hyperbation (the eyes watchful); 3. Two-step (immensely great); 4. Phrase (a go-to-hell look); 5. Inverted (a brute of a dog, a monster of a man).
Oxymoron is a combination of two semantically contradictory notions that help to emphasise contradictory qualities simultaneously existing in the described phenomenon as a dialectical unity (V.A.Kucharenko): "low skyscraper", "sweet sorrow", "nice rascal", "pleasantly ugly face".
Periphrasis is a device which, according to Webster's dictionary, denotes the use of a longer phrasing in place of a possible shorter and plainer form of expression: The lamplighter made his nightly failure in attempting to brighten up the street with gas.
Personification is a metaphor that involves likeness between inanimate and animate objects [2]:" the face of London", "the pain of ocean". Simile is an imaginative comparison of two unlike objects belonging to two different classes on the grounds of similarity of some quality: She is like a rose.
Figures of quality consist of metonymy, metaphor, irony. Metaphor is a transference of names based on the associated likeness between two objects, on the similarity of one feature common to two different entities, on possessing one common characteristic, on linguistic semantic nearness, on a common component in their semantic structures: "pancake" for the "sun" (round, hot, yellow), "silver dust" and "sequins" for "stars"
Metonymy is a transference of names based on contiguity (nearness), on extra linguistic, actually existing relations between the phenomena (objects), denoted by the words, on common grounds of existence in reality but different semantic [2] "cup" and "tea" in "Will you have another cup?".
Irony is a stylistic device in which the contextual evaluative meaning of a word is directly opposite to its dictionary meaning. The context is arranged so that the qualifying word in irony reverses the direction of the evaluation, and the word positively charged is understood as a negative qualification and (much-much rarer) vice versa. The context varies from the minimal - a word combination to the context of a whole book: It must be delightful to find oneself in a foreign country without a penny in one's pocket.
Irony can be of three kinds: verbal irony is a type of irony when it is possible to indicate the exact word whose contextual meaning diametrically opposes its dictionary meaning, in whose meaning we can trace the contradiction between the implied (She turned with the sweet smile of an alligator). Dramatic irony happens when a reader or viewer knows more information that a character in book or in a movie. Thus, stylistics - is a science, a branch of linguistics, investigating principles and the results of selection and use of lexical, grammatical, phonetic and other language means for the transfer of thoughts and emotions under different circumstances of communication.
References
1. Galperin I. Stylistics. Moscow: Higher school, 1977.
2. Kukharenko V.A. Practicum on stylistics of the English language. «New book publication», 2000. 160 p.
3. Salinger J. Stylistics: A Resource Book for Students. New York: Routledge, 2004.
4. ShortM. Exploring the Language of Poems, Plays and Prose. London: Longman, 1996.
5. Steinbeck J. Linguistics and the Study of Poetic Language. Cambridge. Mass. & N.Y., 1994.
