Flora Namazova
(Doctorant of the National Academy of Sciences of Azerbaijan, Nasimi Institute of linguistics)




SEMANTICS OF THE WORD IN THE ILYAS AFANDIYEV'S DRAMATIC COMPOSITION LANGUAGE AND FUNCTIONS

Word will be able to learn in dramatic works from two aspects:
1) As element of the negotiation structure of the personage;
2) As unbroken semantic system. First aspect does help to learning of the private speech features of the characters. But problem of keeping semantic objective laws of the language in second analysis how of the writer is lifted .
Functions of the word wide spectrum in the art language and style. These functions, first of all, poetical aesthetic fatlike is distinguished with sides of contact and emotive. Word has according to these peculiarities to function of poetical fatlike and emotive.
Fatlike takes part with function speech in more dialogues. This function belonging is used only the purpose of to create connection between interlocutors in the negotiation process. Press and are close develop of the vocative words with this function in the speech in the picture.
Word inform call, appeal and of the expressions, are natural vocatives develop in the language of the dramatic works . Because involving for dissatisfaction, objection, attention of marking with sentences, warning etc such member. Semantic shades are expressed as .
We meet with vocative with word and a few number of kind of the sentences in Afandiyev’s dramatics. For instance, surroundings is addressed with repetition of the same voice to persons: shshsh! Sss!...
Hey well where has become popular in the speech of the a few number of persons as appeal in the simple negotiation, to name,”ə, əşi, adə, ədə, əyə aaz, ağız” etc. Vocatives is used in the dialogic condition: Alıkişi, carry and give here, less grumble ( 2 c . s, 202) Help hey ş I as a matter of fact as hey widow wife, they are procreate such scandal. Help hey ş I He is headache, Xanmurad to take out from hey hand that's all (2 c.s, 229) A d! I you do not see (2 c.s, 231)Qulu hey ş, there iare commission works (2 c.s, 221)Qulu my work in the village in this height,! We have called meeting! (2 c.s, 195).
Shade of pampering Vocatives is strong. For instance: 1)Agaselim are im, home joule a n ı, come, sit (2 c.s, 237). M, why received Xanmurad ba litre a water and have got up my soul my " Three stars ", eye " Three stars” (2., 231)Nacaf to your mouth? (2 c.s, 196).
The most “My soul"s vocatives are developed in the speech of the personages. Master Do not blacken our blood, my soul (AA, 12) month my soul , after all, you speak why by sign? (12).
Ade in dialogues, to name, he should bend, well, less “aaz”, a boy etc. It is very necessary Vocatives develop for stylistic expediency. Allusion spreads in such dialogues.:
1) What laugh setter of kebab house to knitting needle I am not ( BQT, 194) Aaz I am this professor Music, taking a false step you.
2) Cumu, to name, head of this department is not girl of the value? (BQT, 213).
3) Ferish, to name, month commissioner of blockhead, area thing what. “Qosprokuror” himself has mixed , wish! (BQT, 208).
4) Militiaman, look at here and if you speak you month girl , such word and took out you month girl, such word and will drop you month girl , such word to basement (BQT, 194).
"Alo alo" "aha" kind vocatives is to involve for attention of the person which listens to yourself in the speech.
Expressing senses and volitional features of speech time of the person which speaks is connected with emotive function. Emotive is used word-building means inform diminution pampering in becoming true of the function widely.
Aesthetic function of the word is one of problematic problems in the art literature. There is general objective lasses of the aesthetic function of the word. Craftsman profits from these objective lawless how?
To word specific thread in the dramatic genre from aesthetic side , changing direction, there are let me show trajectory in the consciousness, mind . Such direction influence to your " Semantic load of the word ".
But semantics of the word is dependent being independent on condition of mutual intercourse of heroic being independent on condition of mutual intercourse in the dramatic from side on the other hand from Psychological nature. He does being divided into in the dialogue system and single-line context of the speech of the personage of the questions connected with semantics of the word in this work necessary, too.
Aesthetic essence of the word his connection with big context in the row of objective lawless of the semantics, arxitektonik function of the composition lexical unique, important dialogic word is determined in the work in the parts, stages, complete play beforehand.
Develop of semantics of the word holds one basic places in the dialogue system from stylistic side. Question are one existing methodological bases about investigating in the aspect of the meaning of the word of the unique style of the dramatic language in the style of art literature. Principles of building of the ability of expressing in the prose language of the author and method, speech of the personages, author of the images methods, rule eats of adapting of speech with. He has been included. Situation is in a different way in the language of dramatic composition. Manner of expression of the speech of the personage, copy is much more active and changeable concerning here to other category of the style.
Purpose of analyzing of the language of the dramatic consists of determining of the general objective lawless of the work on writer of motley meanings of the word and such words organize style category of the dramatic composition.
There are specific other aesthetic categories being for genre system of the another dramatic in the style of the dramatic works from speech descriptions. But their separate, investigating in the inside of the word measure semantic, aesthetic still up to this day and stays definite other definite. Dramatist must use in what manner from opportunities of the grammatical system of the language that let him give new meanings to word. Expressive stocks of the grammar come here to help. This side with private style of the dramatist. Complete condition arises to learning this basic from point of view of the negotiation speech.
Character features of the lively speech, then hang from degree of the semantic processes happening. He is one objective features use in the dramatic from point of view creative work of the semantics of time of typifying of speech changing of the free semantics of the word.
Dramatic with semantics of the word and system features of the dialogue in the work and lexical semantic connections of the remark are connected with before everything.
Dramatic is typified lexical grammatical signs of the dialogue in works. At the same time, brought and does not take out to distorting in the art contrary of the dialogue real meaning of the speech laws. Only that author is expressed of the features corresponding o problems elect and be striking of by writers.
Dialogue is built on the basis of semantic and stylistic contrasts of the remark . Stylistic takes basic place in such dialogues. Style created are in his variety. But this stylistic circumstance is more salient in the dramatic genre. Dialogue and are motley basic form of the speech according to nature from stylistic side .
Kind variety of this method is counted syntactic system of the answer remark as members of sentence which have joined. Two neighbors remark , in that case syntactic unique include in yourself, but dialogue created of material essence of the members which join of second remark carries to semantic plan. It are implemented with joining of the comparisons being from second group quickly.
It are caused with complex of the art functions of aesthetic change of the dialog speech in the dramatic.
" Any telling secretly by author moving without being with strength " does not find out heroes of dramatic work not only characters of I.Afandiyev according to words with motion manner of the dialogue and he gives impetus to with considerations motions, author idea of the play and to valuing of the people, events. This role fulfilled in the dramatic with dialogue forces to subordinate time continuing with dialogue of the speech to special principles.
Features getting functional accordance of the dialogue " Must be strengthened " in the dramatic and he are consists of lexical semantic connections of the other remark difficulties of the word being in the basic centre of the dialogue.
So, are one of signs undergone to aesthetic to perceive in the dramatic as in the genre of the dialogue system and negotiation speech free semantic growths in the negotiation speech.
He is objective side increased in the -drams context aesthetic role of the meaning of the word laws from point of view genre of the dialogic speech and word.
We mean participation and special art function in context of the dialogue being based on be with special style striking of the connections of with/by other elements of the express sensible connections of semantic opportunities of the word, his and lexical system not only of the word with pull forward develop of the semantics of the word as Style creative category of the dramatic in passing of the essence of known thinking in speech of the personage.
" Sudden meaning put forward with comparing effects of the meaning of the word " is existing means of the style of the literary work having open clear ideological direction as noted . Their aesthetic influences especially are more big in genres of the dramatic.
Semantic development in the dramatic language of the words are lawfull circumstance. "New by social, economical cultural advance happening in the society, direct is not only science conceptions new words with technical progress with way of to create and meaning development of the universal word and (1 is expressed with meaning expanding, so on. 179)".
"To shelter” word in the " To live " meaning: I shelter sayyid in Hussein, Mura's little flat, khan Excellency (XN, 10)s.
In meaning development of the " Load " word: There are hard-worker carrying load of the Sayyid Hussein, world in shoulders people! (XN, 13).
Pun reveals different meanings of the word. :
Fariz, to say, let us take bird of all ?
Bird takes for memory of the work of Aga Hussein, person, bull (BS, 66).
He will be able to measure of Afandiyev use from puns, play on words in the speech of the personages of usage mastery from word. To see this condition in the following dialogue are possible:
slave, Alxan has said uncle hundred times that be lazy and you should get up to drop at from one side! Our Narıngul, as far as, collar in hand of like you drunk, I will drop at,. 195) .
Did work of Alıkişi, club and has finished work of Alıkişi, club, Palace of Culture is necessary now! Understand!. Help, good, I would come down now (2 c., so on. 295) .

We take out next number of the wall newspaper mother-pearl now. Alxan, you draw whom this time? You will know tur Load , after newspaper went out , we shall not know mystery of the editorial office in order. Alxan laughs too girl ! It is necessary to be afraid of you. Write. Disgrace lazy . That Najaf deviate from to yourself durable. Mother-pearl. Let us what draw , let us draw what (2 c., so on. 180)
“To draw” developed in the meaning of to do verbal criticism in two places of the text, comic situation has formed.
Author has should use about (the) war time from secret meanings of the typical words. For instance, " Letter " word has used instead " Paper " that he draws attention as this stylistic substitution: Mother-pearl, time where I waited postman of the most painful minutes was. My patience cut that come. When came he has dared and paper from you, he has been and can ask not being,. 184)
Reyhan. future who knows?! Lightning Atayev. They have planted " Who knows " and have/has not grown. It will are mother of the talent for!
Dilşad. To pass limit!
Reyhan. What you speak,imits striked and if did not pass.
Can do big works as this?
You are terrible Aynur, you! There are not holy anything your in this world! You have learnt everything to sell! You sell persons, you sell posts (duties),.
Pun shows yourself as basic stylistic priyom in I.Afandiyev's dramatics. Pun is ways with style of the two systematic meaning of the word learnt from our side connected with, but he is not only other likeness to him and insignificant composition part of the category analysed of the style have been included. " purpose of inform to considerations, addresses, positions of joky, ironic, satirist attitude" spies on pun differently near all the most difficult and existing functions from simple entertainment and oral play. If such direct ating in the context is not existing, with/by result confidence this time, then word system is not existing, therefore, in that case it is impossible to speak about pun. For instance, my poems -now end easily. As mouth water. My I, brother, I do not approve creative work of your
Joined members carry word to new semantic plan from remark being in front:
a) And or xud with all meaning of the context created;
Or syntactic becomes clear (come to the surface) new semantics of the word with changing of the connections.
He is near and another system of the dialogue direct ating in different ways of the remark as join having connection with semantics of the word. This method consists of concrete of the incomplete words from change or semantic side quick-witted real of word different.
These signs are direct theoretical problems entering semantics of the I.Afandiyev's dramatic language .
He allows to take out the following results of analysis of intensive in I.Afandiyev's dramas:
1) Influence of the figurative speech of the dramatic language does not less are nothing of I.Afandiyev's in the art system from prose.
2) There are characteristic images for dramatic: Manner of these images, their speech, To use word changes in the course of events.
Two systematic in I.Afandiyev's dramatic language method of reviving is different. It is to build of the contexts being in this general meaning, synonymy meaning shades and to antonym, connections of new grammatical word, comparison (in the very active writer style)s create.
Two systematic reviving is been explanation of the figurative sense with often changing base. For instance to get tired to rest etc.
3) Constancy and tolerance is not to say to one systematic being still his in images. This characteristic feature will be able to be with different ideological meaning in the creative work system of the dramatist in the joint picture .
4) Many figurativeness involves for attention ( " For instance, to burn, to draw" as important kind of the figurativeness in the dramatic language . Two systematic revive sing in verbs of the figurative sense happens.
5) If he concerns say to. Afandiyev’s entire genre these, it are this more salient in the drama. Negotiation speech of the images motivates with characterizing signs of the different time here thanks to equal Of the using word from semantic side . Words being in the dramatic differ with his simplicity, with clearness.
1) Figurative Of the using word sometimes suffers to evolution in the I.Afandiyev's dramatic language. His style changes, weakens gradually, abstract disappears meanings gradually. He changes aesthetic meaning of some genetic systems. " Mansion masters, Children of the sun, Strange fates, Crystal palaces ".
To meet circumstance of develop in other meanings of the word much possible. Məs.:
" Grandfather " word: II shop-keeper, grandfather, revolution It is necessary mub our what? Grandfather, without shah country are possible? (BQT, 114)
To work to throw over: Let him is of the ancient conscience, poppy ! You my enemies this kind of you have begun (BQT, 95) to throw over me in such period (time).
Text bottom meanings conception is one of sides belonging. V.Vinoqradov writes that has been turned arising of the forms to problem in the world literature. Text buttom meaning are adapted to nature of the word from side. Therefore he approtext buttomaches according to nature to linguistics. Text buttom includes two plans meaning in yourself: But one origin meaning, secondly deeper and private meaning. (2 does never fall (-the) seco to (the) top top, so on. 468
Text buttom has spread meanings in the I.Afandiyev's dramatic composition widely. For instance: Ferish welcomes commission, I would spread a hundred here under the foot of the commission from aeroport! (BQT, 212). Allusion forms Line bottom meaning here.
Results of the investigation show that investigations must be carried out in the special stylistic towards that let style of , private and typical speech can reveal about personages in the I.Afandiyev's dramatic language . Let this kind of analysis can surround subject and (too) of image and word, " I.Afandiyev's language and dramatic composition " especially.
One basic problems is connected with new phase development of the dramatic language . He is art mastery of the writer that is. They are role development of the I.Afandiyev's Azerbaijani literary art language, work did this development dramatist.
Investigation opened system character of the usage and shows system character of the usage of the concrete writer from word.
Style evolution of the genre specificity of the art means, dramatist, system of the semantic stylistic objective lawses, general semantic principles, dialogues and their objective lawses, direction etcs of in meaning changing. It are learnt to speech material of the plays according to.
Dramatic composition and language his lyrical psychological styles of the style traditions, new kind dramatics, meaning passage, to change structure of the word. Investigate is learnt.
Investigation shows that essential features semantic functional of the art word are endless and different in I.Afandiyev's dramatics. Stylistic nature of the word learning of these functional sides.
Text buttom connects deep and private meaning in yourself. These meanings are one of characteristic features for I.Afandiyev's dramatic language . Dialogues he built is not only life for describing and text buttom has opened emotional thoughts of secret potential and crop up.

Literature
1.Xudiyev N. Soviet time of Azerbaijan literary language . Baku, 1989
Виноградов В. В. O Yaзыке художественной литературы. М., Гослитиздат, 1959.

Art literature
Ilyas Afandiyev. The elected works . The bottom in the cover, II , Baku, Writer, 1984.
Ilyas Afandiyev. Our strange fate . Baku, 1989.

Essence
Flora Namazova

Semantics and functions of the word in the Ilyas Afandiyev's dramatic composition language.

Azerbaijan is looked through public writer Ilyas Afandiyev's dramatic composition language in the article. Word organize base of this language and his art cost , semantic and functional aspects is analysed on the basis of fact and adducing evidence. Encirclement is grounded of the aesthetic function of the word being meaning opportunities in dialogues.