Yusupov Oybek Nematjonovich Ahmedova Nigora Shavkatovna

i.e. dialogue
) or inner speech (in the form of the so-called 
interior 
(inner) monologue and/or short in-sets o f interior speech)
, the latter helping the 
author (and the reader) to “peep into the inner world of the character, to observe his 
views and ideas, to penetrate his innermost thoughts” [47: 101]. Striving to convey all 
the subtlest nuances of the character’s mental processes, some contemporary writers 
resort to the so-called 
stream-of-consciousness technique.
In this case the writer tries 
to present the most accurate, almost exact portrayal and reflection of the purely 
associative manner of human thinking, which may result in completely 
incomprehensible passages. Though going back to the 19th century (to William 
James’s 
Principles of Psychology
(1890)), the term was first used pertaining to the 
analysis of J. Joyce’s Ulysses in 1922, and since then has widely been employed by 
literary critics [ibid., p. 102; p. 163]. It is the modernist novel that typically “focuses 
far greater attention onto the state and processes inside the consciousness of the main 
character(s) than onto public events in the outside world” [ 44: 60] (e.g.: the novels by 
J.Conrad, H.James, E.Forster, F.M.Ford, D.Lawrence, D.Richardson, V.Woolf). 
Dialogue
in a work of prose is considered to be an essential method of indirect 
characterization by showing (not telling), which has become predominant in modern 
fiction. It is a rare work whose author does not employ dialogue in some way to 
reveal, establish or reinforce his character. It accounts for the fact that the speech of a 
person always expresses his individual experiences, his cultural, professional and 
educational background, and his emotional and psychological traits. All this is 
revealed in and through the personage’s 
idiolect
, i.e. the language he uses. 
Linguistically, to reflect real conversational English, writers resort to a number of 
traditional means of depiction of speech peculiarities, such as typographical devices, 
ellipsis, employment of various strata of vocabulary, idiomatic language and 
emotionally charged lexis used as a means of intensification in prosaic dialogues. The 
character’s speech parties are usually introduced into the text by 
the author s remarks
“containing indication of the personage (his name or the name-substitute) and of the 

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act of speaking (thinking) expressed by such verbs as ‘to say”, “to think” and their 
numerous synonyms” [47: 102]. 
As regards the so-called