ARTISTIC, STYLISTIC AND LINGUISTIC PECULIARITIES OF DRAMATIC WORKS BY TURKIC NATIONS (based on materials of kazakh and azerbaijanian plays)

Аннотация

The article deals with general review of artistic, stylistic and linguistic skills of dramatic works by Turkic nations, previously fundamentally unexplored by the world and Turkic language[1]speaking scientific community. The scientific innovation of the article lies in the fact that the whole variety of linguistic instruments of dramatic effect aimed at implementation of writer's idea was revealed based on particular facts. For the first time, the problems of stylistic and language signs of a dramatic discourse: it is universal by character and unique by the scope of implemented functions: a word can implement any linguistic function. Only a word mark can cover the whole scope of linguistic functions. Word marks bear both communicative as well as pragmatic functions, influence the people around with their meaning, stylistic and expressively emotional pattern. In this respect, the special potential capabilities of a word are revealed at its functioning within a literary text, in which words along with their common meanings also become the means of expressing the playwright's artistic and aesthetic orientation. Comprehensive study of the lexis, etymology, and stylistic skills of dramatic works (tragedy, drama or comedy) of kindred Turkic nations brings us to a conclusion that playwrights, as opposed to their predecessors and contemporaries, very rarely use the typifying role of the extra literary lexis (subdialiects, dialects, slangs, ritual talks).