|
References
1. Chamorro-Premuzic, T., Furnham, A., & Lewis, M. Personality and approaches to learning
predict preference for different teaching methods. Learning & Individual Differences, (2007). p.
241-250.
2. Felder, M. Richard and Henriques, R. E. Learning and teaching styles in foreign and second
language education. Foreign Language Annals. (1995). p. 21-31
3. Messick, S. The matter of style: manifestations of personality in cognitive, learning and
teaching. Educational Psychologist 29, (1994). p.121-136.
4. Widdowson, H., G. Aspects of language teaching. Oxford: OUP. (1990). p.182.
5. https://www.myersbriggs.org/
12
Апрель 2021 7-қисм
Тошкент
THE IMAGE OF COLOR IN THE MIND OF A NATIVE SPEAKER
Nazarova Dildora
Uzbek State World Languages University
Master course student
Phone: +998-90-959-71-05
Annotation:
Language, being a means of feeding cultural and historical information, acts as
a link between generations, serves as a “guardian” and a means of transmitting a non-linguistic
collective description. The system of color names represents a structured fragment of the lexical
composition of the language, which does not tolerate attracting linguists with the variety of its
nominative capabilities.
Key words:
cognitive aspect, aesthetic experience, linguo-cultural component, aesthetic
purpose
The students’ investment was determined by the structural and derivative features of the name
colors, psycholinguistic, comparative, semantic and cognitive aspects of the analysis. The problem
of studying the flower space is at the epicenter of all modern research. Today, linguists show
an increased interest in the creative aspects of using the language. The essential importance in
the verbal “painting” is assigned to the flower, while the aesthetic experiences that are evoked
in the reader by the experience of the flower are very subjective and uneven in strength. The
object of the investigation is the linguo-cultural component of the polysemy of color names, which
includes a specific semantic organization of nominations with the meaning of a flower in the
English language, which allows us to present the typological community of the flower system of
the language in everything and to convey specific, national-cultural systems semantic features
in the structure of each language depending on. The color scale appears as an integral part of
the national picture of the world, through the prism of which the peoples of the world perceive
the effectiveness surrounding them in all its diversity and immensity. It is characteristic of the
consolidation of national preferences of certain colors at the highest level, their location on state
flags and in heraldry. Titled aristocrats used their coat of arms colors in various events, and, in
particular, in various sports competitions. For example, according to the old tradition, at all races in
England, the riders performed under the flags of the owners of the horses, and the winner brought
glory to his master, since in the final they announced the flowers that won the race. Hence the
English expression: “with flying colors”, which means: “ developing numbers, winning”, where
the letter “color” changes its main meaning “flower” to the derived meaning “know”. The common
people also widely use various combinations of colors, not only for aesthetic purposes, but also for
purely utilitarian purposes, in order to recognize “their own-someone else’s”. It is also necessary
to point out the color combinations of the Scottish ancestral clans, which do not currently pursue
their meaning. To determine the yield to a particular clan, the color scheme of tartan cells is used.
Often in Scotland, at various holidays and festive events, you can see local residents, what outfits
are in national clothes and hear the question “ What Age do you callours?(“What kind of blooms
do you wear?”). By this it should be understood that the colors of the tartan perform a function
not only confirmed by the profitability of the community, but also indicate the participation of
the clan in the life of the party. It is suggested that under the influence of the natural change of
day and night in a person at the level of the unconscious world is associated with “white”, and
night with “black”, so the concept of “dark” and “black”, as well as” light “and” white “ look
tightly connected, too not alone and dark he is going. In English, it is easy to form phrases like
light blue and dark blue, from which it is impossible to form a combination of light white and
dark black, related to tautology. The semantics of the slow berets under consideration began in
the following prototypes: for the words “light” and “dark” – time, environment, when the topic is
visible or, conversely, not noticeable, and for the words “white” and “black” - direct objects from
this environment. In this connection, it is interesting to recall that in the language of the Australian
aborigines one of the two main color values (“light “and” dark”) coincides with the letter for night.
To this it is necessary to add, as L. Wittgenstein said that “white” for a large language happens to
be opaque (this becomes clear if the snow cover is white). As the closest equivalent of the flower
“blue” are letters that have a morphological or etymological connection with the letter denoting the
13
Do'stlaringiz bilan baham: |
