PARALINGUISTIC MEANS IN THE WORK OF ZULFIYA KUROLBOY’S

Abstract

Since the main means of communication, capable of directly expressing the thoughts of the speaker, is the linguistic-speech system, in certain situations a person uses other sign systems in addition to sound material. That is, people often exchange information without the help of words. Such a means of communication is the human body and a specific situation in which extralinguistic units are used. Thus, in linguistics a distinction is made between verbal and non-verbal means. When relationships are tense, nonverbal means of communication are activated, that is, glances, gestures, rude movements. Of particular importance is the use of paralinguistic means in works of art; it helps to fully and naturally describe the communication of characters, vividly embody the essence of reality in the eyes of the reader in the artistic interpretation of his psychophysiological states. From this point of view, characters are a powerful tool that serves to identify character traits and subjective characteristics in relationships. The movement of parts of the human body, facial expressions are the basis of non-verbal communication, understanding and perception of a person largely depends on body language. From this point of view, the nonverbal components of emotional expression in a literary text are in accordance with pragmatic rules and enhance the impact of this text on the addressee. Typically, signs of emotion are found primarily in the author's speech and serve to enliven the natural direction of the dialogue through the necessary elements and details. This article focuses on the types and forms of paralinguistic means, as well as their role in expressing various emotionally expressive and paralinguistic meanings in literary texts. The ability of Adiba's daughter Zulfiya Kurolboy to use them as a methodological tool in her works is analyzed.