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CONCLUSION
By way to conclude, the antithesis is characterized by great stylistic capabilities and a variety of stylistic functions. Despite some variety of definitions of antithesis presented, they are united by the use of the concept of artistic contrast. It follows from this that contrast is one of the leading characteristic signs of antithesis.
In the antithesis statements, the character or a narrator who, as a rule, describes personal experience or gives a comment about any events. These statements have a pragmatic attitude - to have a corresponding effect on the addressee (another character or reader).
The desire to achieve understanding and empathy, to establish intellectual and spiritual contact with the addressee is embodied in the specific conditions of the transmission of the semantic content of the antithesis, as well as with the help of the evaluative, incentive and other intentions of the addressee that accompany it, which is the pragmatic content of the antithesis statements. Clarification, perception and reaction of the addressee to such statements is called the pragmatic effect.
In the literary discourse, the antithesis gets a new sound due to additional pragmatic factors of the work of art: the position of the speaker and observer in the literary discourse, their point of view and focus of attention.
The speaker is either the narrator, who can be personified (to be one of the characters in the work) or not personified (not to enter the inner world of the text, but act only as the subject of assessments), or a character who, in turn, can be static or dynamic, internal (to participate in a situation) or external (to be outside it). By the point of view of the events described in the antithesis statement, we mean the "author's position" with which the narrative is conducted: either internal as a participant in the events, or external as an outside observer.
Based on the abovementioned statements, he following conclusions can be made:
- the basis of the antithesis as a stylistic device is the phenomenon of contrast, which is manifested in the opposition of concepts, phenomena, objects, signs;
- the leading role in creating artistic contrast is played by the antithesis, as a complex, multidimensional stylistic phenomenon;
- the main stylistic figure in the embodiment of contrasting artistic meanings of the work, when creating contrasting artistic images is the antithesis.
-as the stylistic device, antithesis is one of the way of conveying pragmatic intention, precisely, pragmatic intention of exerting an emotional impact.
REZYUME
Ushbu ishdan ma’lumki, antitezaning stilistik qurilmasi uning murakkab tabiati bilan qiziq, antiteza falsafa, mantiq, psixologiya, ritorika, adabiy tanqid, stilistika kabi turli ilmiy sohalar nuqtai nazaridan ko‘rib chiqilishi bejiz emas. talqinlar. Antiteza haqida gapirganda, biz I.R.Galperin tomonidan bir vaqtning o'zida ishlab chiqqan ta'rifni asos qilib olamiz, antitezani tabiatan qarama-qarshi bo'lgan og'zaki tasvirlarni qarama-qarshi qo'yish, turli ob'ektlar va ob'ektlarning bir-biriga mos kelmasligining qarama-qarshi mohiyatini ochib beradigan stilistik vosita sifatida ko'rib chiqamiz. hodisalar.
Lingvistik vositalar gapning ta’sirchanligini oshiribgina qolmay, balki asar g‘oyasini yanada chuqurroq va xayoliy tarzda yetkazishga xizmat qiladi. Ta'riflanganlarning vizual kuchini oshirish uchun yozuvchilar an'anaviy ravishda antitezaga murojaat qilishadi. Badiiy asarlar mualliflari antitezadan turli maqsadlarda foydalanadilar: hikoya nomi, personajning portret xarakteristikasini yaratish, landshaft eskizlari, qahramonlarning ichki holati tasvirlari va boshqalar. Antiteza personajlarni, personajlarning munosabatlarini yanada aniqroq soya qilish, muallifning qahramonlarga munosabatini etkazish imkonini beradi. Ingliz tilining eng nufuzli darsliklarida berilgan antitezaning ba'zi ta'riflarini ko'rib chiqing. Galperin I.R. ta'kidlaganidek, tasvirlangan hodisaning qarama-qarshi xususiyatini yaratish uchun bu hodisa ko'pincha mantiqan unga qarama-qarshi bo'lgan boshqasi bilan taqqoslanadi. Bunday qiyoslash predmet va hodisalarning umumiy belgilarini emas, balki qarama-qarshi, antagonistik xususiyatlarni ochib beradi. Ob'ektiv voqelik faktlari umumiy asoslarda birlashmaydi, balki bir-birini qaytaradi. An'anaga ko'ra, antitezani boshqarish sintaktik qo'shma korxona sifatida ishlaydi. Biroq, hatto qadimgi yunon va rim, shuningdek, Yevropa va rus nuqtai nazarlarida, atamalar ba'zan boshqacha qo'llanilsa-da, antitezaning mazmuni va tarkibiy tuzilishiga alohida e'tibor berilgan.
Zamonaviy asarlarda antitezaning semantik xususiyatlarini, shuningdek, strukturaviy dizaynini hisobga olgan holda bir nechta tasniflari mavjud. Bu omillar antiteza qo‘shma korxonasi leksik va sintaktik vositalar o‘rtasida oraliq o‘rinni egallaydi va leksik-sintaktik qurilma hisoblanadi, degan xulosaga kelish imkonini beradi. Potentsial jihatdan turli leksik birliklar antitezaning tarkibiy qismlari sifatida harakat qilishi mumkin: nutqning turli qismlari, iboralar va hatto jumlalar bilan ifodalangan so'zlar. Tahlil shuni ko'rsatadiki, antiteza nafaqat mustaqil qo'shma korxona sifatida ishlay oladi. "Antiteza" qo'shma korxonasining lingvistik omillaridan biri sifatida biz uning ishlash shartlarini ajratib ko'rsatishimiz mumkin: mustaqil qo'shma korxona sifatida yoki boshqa stilistik hodisalarni amalga oshirish uchun asos sifatida. Bu ikki turdagi antitezani ajratish uchun asos bo'lib xizmat qildi: oddiy va murakkab. Oddiy deganda konstruksiyaning qarama-qarshi tomoni lingvistik yoki nutqiy antonimlarga asoslangan, komponentlar ko'pincha nutqning bir xil bo'lagi bilan ifodalangan va gapning bir hil a'zolari bo'lgan bunday antiteza tushuniladi. Murakkab shaklda antiteza boshqa stilistik vositalar (metafora, metonimiya, taqqoslash, ishora va boshqalar) bilan birgalikda harakat qiladi, ular antiteza bayonoti doirasida o'z ahamiyatini anglab, uning tarkibiy qismlarini gapiradi.
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