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XORAZM MA
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MUN AKADEMIYASI AXBOROTNOM
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SI
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12/2020
228
linguistic phenomenon generating a rethinking of the stereotype of education, and using it as linguistic units
contributes to the dynamic development of the language as a whole. In addition, the language game is
considered as a mechanism for de-automation of the stereotypes of speech activity and is thought of as an
endless process.
Key words: language game, human activity, character of imitation, procedural, philosophical thought,
speech activity
The phenomenon of game has always attracted the attention of thinkers of different directions:
philosophers, educators, psychologists, culturologists, and linguists. The game appears to us as a kind of human
activity, determined by the following features: first, the game is not utilitarian in its essence (it lacks direct
practical expediency, it is, as it were, closed on its own processuality); secondly, the game has the character of
imitation (since it includes an element of conditional imitation, reproduction, copying; and here it makes no
difference whether we are talking about theater, chess or sports, everywhere a person separates what is
happening within the framework of the game from his real life through the realization that everything that
happens before his eyes is "just a game"); thirdly, the game must necessarily give pleasure (after all, otherwise
there would be no reason for it, because it is a certain pleasure from an emotional experience that serves as the
result of the game and it is the desire to experience this feeling that makes people immerse in it).
The question of game as a form of human activity has long interested philosophers. In the history of
philosophy, one can find many approaches to determine its essential meaning in a general philosophical
context, the degree of significance of play in the life of a person and society, to determine its place in human
culture. Philosophical thought has turned its attention to the non-utilitarian, aesthetic and essential for human
life nature of the game from its very inception.
A more definite, but still quite broad understanding of the language game connects it with the creative
speech activity of the linguistic personality. The point of view of T.A. Gridina, who considers a language game
as a mechanism for de-automatization of stereotypes of speech activity, highlighting a linguistic pattern or
tendency through an anomaly that defines it as "a special form of linguocreative activity, reflecting the desire
(intention) of speakers to discover their own competence in the implementation of language capabilities." "...
being a special form of linguocreative thinking, which has an associative nature, it is always aimed at using
linguistic techniques that emphasize the paradox between the standard form and / or meaning of a sign and a
new associative" processing "of one or another type of linguistic knowledge" [3, p.10]. The author defines a
la
nguage game “as a type of anoma
ly speech behavior based on a deliberate violation of the linguistic canon
and revealing the creative potential of a pe
rson in the implementation of systemically set possibilities” [3,
p.13]. Thus, the language game as a linguistic phenomenon generates a rethinking of the stereotype of
education, use and perception of linguistic units and contributes to the dynamic development of the language
as a whole.
In the understanding of S.Zh. Nukhov's language game is the use of language for artistic and aesthetic
purposes, one of the forms of manifestation of the general aesthetic category of the comic [4, p.56]. According
to the researcher, the ability to play a language is an innate property of the human psyche; he is born with a
genetically inherent tendency to language creation. Materialization, development, improvement of this ability
occurs from birth in the same way as the process of language acquisition by a child, as evidenced by the facts
from children's word-creation given in the monograph, psycholinguistic studies of internal vocabulary, analysis
of speech errors, linguistic material of dreams, and also facts from the field of neurophysiology, cognitive
research of metaphors. All this serves as a rationale for a person's striving for novelty of the form of expression,
for replacing the nominations that have become habitual, for experiencing the joy of an act of creative
inspiration, which is reflected in the aesthetic and expressive-stylistic direction in linguistics [4, p.42]. Thus,
the author considers playing with language as a subtle intellectual game, as a manifestation of the genetically
inherent desire for creativity in a person, as a form of human speech behavior, in which a linguistic personality,
realizing his linguistic creative abilities, demonstrates his individual style. This interpretation is narrower,
although it also strives for a wide coverage of the observed phenomena, including all possible cases of using
the language in order to provide aesthetic impact.
Considering a language game as a "kind of linguistic experiment" based on "knowledge of the system
of language units, the norms of their use and methods of creative interpretation of these units". V.Z. Sannikov
believes that this phenomenon makes it possible to nudge the researcher into "serious reflections on the
meaning and functioning of linguistic units of different levels, just like a philosopher, on a deep understanding
of the abyss of human problems." The interest of such a creative linguistic experiment lies in the area of "the
correlation of the linguistic stereotype (standard, norm)" and "the possibilities of deviating from this stereotype
in speech activity, given by the systemic mechanism" [2, p.15].
We consider it necessary to note that the language game allows us to define the norm and mark many
features of the language that could go unnoticed. This is due to the fact that playing with a word presupposes
an active influence on it, the use of its kind of physical properties: dismemberment, the ability to "stick together
and intertwine, stretch and other types of plastic deformation". Which allowed for the already existing concepts
of a language game " transformation "," transformation "," rethinking "," variation "add one more -"
linguoplasty "(linguoplasty), in the terms of A. Levin and V. Strochkov [5, p.75]. This concept reflects the
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