Uzbek State University of World Languages, Tashkent, Uzbekistan

scientific journal of the modern education & research institute • The Kingdom of Belgium

reflection of a successful dialoGue in the Press

israil Shukhrat Mukhtar ugli, Professor (muzaf17@gmail.com) israil Mukaddas irgashevna, Doctor of philosophy (Philology), Professor (israil19mukaddas@gmail.com)

uzbek State university of World languages, Uzbekistan

abstract

As the researchers note, the main important principle of building an interview is a dialogue. Dialogue is a multi-faceted term, used both to denote a communicative type of speech, and to denote one of the types of interviews (interview-dialogue). Dialogue as a communicative type of speech was formed in antiquity, it is, along with the monologue, the basic concept and the basis for the construction of Russian speech. The problem of distinguishing between dialogue and monologue has become one of the main problems in linguistics of the XX century. The resolution of this issue was handled by L. P. Yakubinsky, L. V. Shcherba, T. G. Vinokur, from modern researchers-E. V. Krasilnikova, E. N. Shiryaev and others. The article is devoted to the study of the interview genre as one of the leading information genres of journalism at the beginning of the XXI century, to identify the stylistic features of interviews, the peculiarities of the functioning of linguistic-stylistic units within the interview, to analyze scientific research on this topic.

Keywords: dialogue, dialogical unity, interview, interview-dialogue, interview-monologue, linguistic and stylistic features, journalistic style, sociolinguistic factors, journalist’s remark, press language.

Dialogue is a part of colloquial speech (in contrast to the monologue that underlies the literary language), it consists of a chain of replicas [12, p. 115]. The concatenation of replicas, in which the second replica is based on the first one in its structure, grammatically depends on it, is called a dialogic unity and is the main unit of the dialogue [10, p. 84]. However, the presence of a chain of replicas cannot be perceived as an unconditional marker of the dialogue [12, p. 274], there is no strict boundary between a monologue and a dialogue, as evidenced, for example, by the frequent inclusion of extensive monologic statements of communication subjects in the dialogue: «Replicas turn into logically expanded arguments, polemically sharpen, grow into monologues addressed to the interlocutor, and the entire dialogue becomes a system of dialogically correlated and compared monologues» [19, p. 172].

In the newspaper, the dialogue is reflected primarily in the genre of interviews. Their close fusion is evidenced by the fact that in some works analyzing interviews, the term «dialogue» is used as a synonym for interviews in general [19, p. 197]. However, the genre of the interview can also reflect such communication between the journalist and the interviewee, in which the latter’s answer is, in fact, a monologue – this type of interview is called a monologue interview. The role of a journalist in this case is reduced to the following: the journalist initiates a response-a monologue of the interviewee with his

remark. Even if in a printed interview, the journalist’s remarks are inserted into the text-monologue of the interviewee (such as «Yes, yes», «Of course»,» This is understandable», and so on), this does not change the essence of the monologue, since the journalist’s remarks are an expression of contact attention, consent and no more [9, p. 140].

Interview-dialogue is the most common type of interview, formally expressed by a chain of questions and answers alternating with each other. The genre of conversation has similar features. Determining the place of this genre in the classification causes difficulties. Thus, V. V. Voroshilov takes this genre beyond the scope of interviews, a conversation in his system of journalistic genres is equal, for example, with news, a note, a report and an interview [18, pp. 67-68]. In the book «Fundamentals of the creative activity of a journalist», a conversation is given as a kind of interview, along with a dialogue, a monologue and other types, that is, the scope of its features for the authors is different from the features of an interview-dialogue [3, p.145]. We adhere to the opinion of B. V. Streltsov, who considers an interview-conversation to be synonymous with an interview-dialogue [16, p. 51].

The text of the interview-monologue is not formally divided, at the beginning of it the journalist’s question is given, which determines the topic of the conversation, then there is a detailed monologue of the interviewee. This construction does not at all indicate that during the conversation the interviewer did not ask questions or did not interrupt the speaker, just the author considered it unnecessary to break the text into replicas. On the pages of newspapers, this type of interview is less common compared to an interviewdialogue, since a long fragment of the text makes it difficult to read. In this form, advertising interviews of politicians, interview reports of business leaders, and so on are often given.

A distinctive feature of the sketch interview is the presence of author’s comments, digressions, and so on: «The sketch interview gives the journalist the opportunity not only to ask questions, but also to express his opinion, comment on the facts in question, tell about the situation in which the conversation took place, give brief characteristics of his interlocutor, create his portrait with a few strokes» [7, p. 219].

Such a variety of types of interviews is presented on the pages of the Russian and Uzbek press. However, various publications with dissimilar expressive-stylistic and, accordingly, genre models, prefer certain types of interviews, ignoring others. The analysis of interviews used in newspapers from the point of view of reflecting the author’s origin, purpose and subject of the message, taking into account compositional and linguistic features (such as types of questions, ways of their arrangement in the text and the relationship between them), types of interviews helps to identify genre models of publications, their orientation, their readership.

The modern press impresses with its diversity. These are entertainment newspapers, women’s magazines, «high-quality» press, and specialized publications. But despite all the differences in their subject matter and style, there is something that unites the press-the publication model.

The understanding of interviews as a method of obtaining information is more typical for Western scientists. In Russia, the study of interviews as a method is mainly carried out by practical journalists, for example, M. I. Shostak, M. N. Kim [8, p. 51].

The term «interview» (in the sense of an interview as a genre) is defined in dictionaries as «a conversation intended for publication by a well-known figure with a correspondent on a matter of public interest» [2, p. 672]. Modern authors somewhat clarify this formulation, noting the expansion of the group of interviewees (from a «well-known figure» to any person): «This genre is a conversation of a journalist with one or more persons of public interest, intended for transmission through the channels of the mass media» [7, p. 218], – as well as expanding the range of topics: «This is a conversation intended for the mass media and initiated by a journalist with any person on any topics of interest to the general public» [4, p. 259].

However, scientists agree that the author’s position, whatever it is called, is still present in the interview, expressed in the author’s style, manner of speech, his speech position.

Speech positions, or « speech parties», are associated with several factors that determine them – the topic, the personality of the interlocutor, language competence, the language appearance of the speakers [5, p. 144]. E. I. Golanova identifies two main speech positions of the interviewer: 1) the interviewer is traditionally polite, correct, adheres to the norms of public communication, questions are usually prepared in advance; 2) the interviewer is a representative of the «new wave» of journalists, has his own « language mask», psychological looseness and freedom in choosing language means, the interview proceeds in the form of a free conversation, questions are often not prepared at all [5, p.144].

These speech positions are a characteristic feature of journalism of the last two or three decades, because earlier, in an era when journalism was « prescribed» in textbooks and recommendations and it was almost impossible to deviate from the rules, the role of a journalist was reduced to the role of a stenographer and no more. Only recently, the interviewer has become an active participant in communication, which is clearly reflected in the appearance of the second type of the journalist’s speech position.

The main communicative task, the pragmatic purpose of the interview is «to get important, useful, interesting information as a result of communication between a journalist and a participant (participants) of a particular meeting and transmit them through the mass media to the general public» [6, p. 251]. Another purpose of the interview is to encourage the reader to familiarize himself with the text of the conversation [6, p. 251]. Such a double focus determines the stylistic features of the interview genre. The invasion of advertising on the pages of newspapers has led to the emergence of a new type of interview – advertising, the main purpose of which is the desire to force the reader to buy a product or service after reading the text of the interview. Thus, the target setting also becomes an important factor in the style of different types of interviews.

So, the development of the interview genre has led to the appearance of various types, reflected in various classifications. The analysis of these classifications through the prism of genre-forming features allows us to identify the features of the genre and its specific formations. The category of the author in the interview is manifested in the presence of two speech positions, which, in turn, affect the style of the genre. The purpose and subject of the message are reflected in the division of interviews into informational, expert, problematic, and«dating»interviews. Depending on the subject of the message, there is a logical scheme of the interview, which may consist of one or two semantic centers. Another genre-forming feature is the standard of the means of expression.

Interviews, referring to the journalistic style due to their connection with current phenomena and events of our time, are aimed at truthfully reporting the most important information from reliable sources, comprehensively highlighting a fact with reference to the interlocutor..., reflecting public opinion on important issues of social life [1, p. 57].

The interview is a special kind of text, which is based on the co-authorship of two people – the journalist and the interviewee. In accordance with the peculiarities of this type of text, the informative content of the interview text is set by special communicative requirements that distinguish this method of information exchange from a normal dialogue.

On the pages of newspapers and magazines, the text of the interview is presented in the form of a dialogue. It is advisable to attribute this type of text to the monologized type of dialogical speech, where the» monologue « statements of the interviewee are directed by more brief remarks of the journalist.

The main unit that reflects the specifics of the dialogue is a replica-a segment of speech limited by the change of speakers. It can consist of one or more sentences. Some replicas are relatively independent in form and content, while others do not have this independence. The utterances in these replicas are connected and mutually conditioned and are considered as a special communicative and structural-grammatical unit – a dialogic unity.

The questions in the journalist’s remarks are aimed at obtaining the maximum amount of information. The volume and nature of the information in the answers of the interviewee depend on the communicative essence of the question.

At the formal language level, subjective information can be presented in the interview text by: 1) emotional-evaluative vocabulary, 2) contextually-conditioned indirect evaluative means, 3) stylistic techniques.

As the analysis shows, the ratio of objective and subjective information in the answers of the interviewee depends on the type of interrogative remark. A special question is aimed at obtaining very specific information. The answer is in such a dialogical unity. fills in the question, concretizes the fact that was outlined in the question. An interview is characterized by the fact that the answer to a special question is usually simple, contains more than one sentence.

Answers to a special question can only provide the requested information, do not contain additional information. The general question in the interview, as it may seem, is aimed at obtaining less information, since the very formulation of the question requires confirmation or denial of the fact outlined in the question. But since the very type of the interview text implies the need to justify one’s point of view, the answer consisting only of the words «yes» or «no» is not informative enough and is insufficient for continuing

communication between the journalist and the interviewee. Therefore, «yes» or «no» is usually followed by complete sentences that develop the topic of the question, giving a statement of facts or events, commenting on or evaluating them.

Question-and-answer dialogical units often include alternative questions in the speech sector of a journalist. The communicative essence of the answer to an alternative question is the choice of one of the facts and the assertion of its reality. In the answers, the interviewee justifies why he chooses one and not another point of view on the question posed and proves its advantages. Therefore, the answer to this type of question has a special persuasiveness.

In the texts of interviews, they can be presented not only in the form of a «question-answer», where the question prompts the interlocutor to speak. One of the means of encouraging a journalist to speak out is also full-fledged narrative sentences that thematize the interviewee’s subsequent remark. These proposals are often retrospective in nature, contain a reference to some initial fact or event, the opinions of other persons, etc. Such remarks often contain the journalist’s assessment of previous events, which are presented from the point of view of his individual perception, thereby encouraging the interlocutor to express his subjective attitude to the mentioned fact or phenomenon.

In the text of the interview, every dialogical unity is not autosemantic. Given by the title, a single thematic core is traced in the text, which splits into several particular subtopics that unite from one to several dialogical units. They carry a certain load in the deployment of the main topic of the conversation and information progression. Such associations are conventionally called «extended dialogic unities». They are characterized by relative autosemanty, thematic integrity and completeness within the framework of the general text. The boundaries between the «extended dialogical units» pass where there are minimal thematic and logical-semantic connections between the replicas.

In the text of the interview, the extended dialogical unity consists of several dialogical units that are closely related to each other, within which there are strong thematic connections. The journalist’s remark seems to follow from the interviewee’s answer and can represent, in a communicative sense, not only an incentive to speak, but also a reaction to the words of the interlocutor-an accompanying remark. It can be: 1) a word hint, a brief clarification, an addition, a question. 2) the accompanying remarks of the journalist may also be separate evaluation proposals commenting on what the interviewee said.

It can be concluded that in question-and-answer dialogical units, the nature of the information requested and received depends on the type of question. In most cases, the information received is broader than the requested one and contains an element of subjective assessment.

In the text of the interview, there are dialogical unities that do not contain a formally expressed question. Nevertheless, the initial remark of a journalist in such dialogical units, usually reporting some facts known to the interviewee, also requires him to provide additional information and is the starting point of the conversation.

The dialogical unity can be expanded by including additional replicas of the journalist, expressed by elliptical or full-component narrative sentences, the purpose of which is to obtain additional information.

Thus, we examined the features of information transmission in the text of a newspaper and magazine interview and identified the relationship between the requested and received information within the dialogical unity of the interview text, the nature of which depends on a particular type of question.

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