Cognitive Principles of Information Coverage in Literary Texts in English and Uzbek

Feruza Fayzullaevna Tairova

doi:10.47191/ijsshr/v4-i10-44

Abstract

This article discusses the cognitive principles of information coverage in literary texts in English and Uzbek. A literary text, resulting from a combination of such texts and artistic activities that form an artistic discourse can be fully described in the form of a certain structured space of a number of artistic images. These images are formed in the consciousness of the author and the reader, as participants in artistic communication, peculiar linguistic forms of existence of aesthetic-artistic concepts, they can be characterized as a unit used to teach linguo-cognitive analysis of the proposed artistic discourse. Within the framework of psycholinguistics, the mechanisms of perception and generation of speech were investigated, as well as the mechanisms of studying language as a system of signs that is preserved in human consciousness.

Highlights

Cognitive linguistics has taken a special place in the paradigm of the concepts of modern linguistics
This time stage corresponds to when the emergence of the association of cognitive linguistics was announced at a scientific conference in Duisburg and cognitive linguistics as a linguistic direction became independent
The cognitive approach to a literary text relies on the use of important cognitive units - concepts, since without mastering the components in the cognitive base, capable of storing and transmitting cultural information, it is very difficult to carry out an adequate and equivalent version of the translation of the text

Summary

Introduction

Cognitive linguistics has taken a special place in the paradigm of the concepts of modern linguistics. These images are formed in the consciousness of the author and the reader, as participants in artistic communication, peculiar linguistic forms of existence of aesthetic-artistic concepts, they can be characterized as a unit used to teach linguo-cognitive analysis of the proposed artistic discourse.

Results

Conclusion