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LANGUAGE GAME IN THE ARTISTIC TEXT : PROBLEMS AND TASKS

Language play is a certain type of speech behavior of speakers, based on deliberate (conscious, thoughtful) violation of the system relations of language, i.e. on the destruction of speech norms in order to create non-canonical language forms and structures that acquire expressive meaning as a result of this destruction and the ability to cause aesthetic and, in General, stylistic effect in the listener/reader. This article highlights the actual problems in linguistics language game in the literary text: problems and problems.


Introduction
In modern linguistics, interest in the manifestations of the creative function of language, one of which is the language game, has significantly increased. In this regard, the study of a literary text with a high degree of linguistic conditionality is particularly relevant, the distinctive feature of which is the author's focus on the intentional modeling of semantic, lexical, syntactic, word-formation, pragmatic anomalies. The latter help to realize inherent in the system of language and reflected in speech inconsistency and ambiguity of the functioning of language units.
Experimental anomalies act as an artistic language experiment of the author and create prerequisites for the inclusion of the literary text receptor in the language game. The complexity of the phenomenon of language game determines the ambiguity of approaches to the interpretation of its essence, mechanisms, philosophical, psychological, social, aesthetic and linguistic nature. Turning to the issue of the possibility of translation of language play from one language to another due to the desire of linguists to investigate the problem of the author's individual word creation, derogations from the language of the Canon, field rules and antinomy in the language.
The present study is devoted to the comparative analysis of the language game in the literary text on the material of English, Russian and Uzbek languages.

Materials and Methods
The beginning of the development of the theory of the game is usually associated with the names of such scientists of the nineteenth century, as F.Schiller, H.Spencer, W.Wundt. In developing their philosophical, psychological and mainly aesthetic views, they are only simultaneously in several positions, and touched the games as one of the most common phenomena of life, linking the origin of the game with the origin of art.
In the works of E.Hazing presented the concept of the game as the original form of human activity. His research led him to realize the relationship between play and art as activities with a common genetic basis. E. hazinga also came to the conclusion about the universality of the game principle in culture, which extends to various spheres of human activity. Language is seen as an object, outdoor games for impact. Language game is a term in which different authors do not put quite the same content. This is explained by the complexity of the phenomenon itself, since "the diversity of the language game makes it difficult to define it consistently and comprehensively." In modern researchers, this term is understood primarily as a manifestation of a person's creative attitude to language, a conscious destruction of the language norm by the individual. it is a set of "the most stable traditional implementations of the language system, selected and fixed in the process of public communication." Most often with the expression in the speech of comic meanings or the desire to create a "fresh, new image." Characterized mainly , public and an artist styles of speech.
The term "language game", introduced into linguistics by L.Wittgenstein, denotes the specific use of language units, conscious of the speaker in functional terms, i.e. correlated with the sphere of communication. Language game is associated with the activity of the linguistic personality and the ability to creatively use language knowledge.
Understanding of language game outside of creative activity is impossible, because: 1) the ability of the subject to a bright, unusual, effective use of the word (or expression) is always secondary to the knowledge of the language system and the possession of its normative connections, i.e. the ability to "play with the word" involves the possession of the stylistic aspect of language; 2) "game" moment in speech communication can appear only when the speaker carries out a purposeful search for methods of destruction of conventional language structures and related stereotypes of speech perception; 3) Language game it is always targeted: being purposeful and thought out as a spectacular variant of language use, it cannot take place as such without understanding it by the addressee; 4) Language game is always aimed at creating a new meaning in the language (speech) structure, unfamiliar to the listener/reader.
Language game is one of the many stylistic variants of implementation of the task (see), which is planned and carried out the speaker to achieve a particular stylistic effect is a stylistic component of the structure of a communicative act, or "language usage and stylistic features of the complex": stylistic taskstylistic meaningstylistic effect. Within the framework of speech usage, stylistic meaning (see) serves as a link uniting this opposition on the basis of cause-and-effect relationship.
The criterion of differentiation of the facts of Language game and speech errors is the linguistic and widerstylistic competence of the speaker. In contrast to the speech errors Language game is built thanks to the knowledge of the system of language relations and knowledge of stylistic patterns of use of units of language, as well as taking into account the specifics of the genre of speech production. Language game has a double orientation: it is a linguistic and speech phenomenon, because for the realization of Language game of paramount importance is the ability to creatively break (rebuild) the learned models of the standard use of language; cf. the famous line A.S.Pushkin: "No grammatical mistakes, I do not like Russian speech". In this regard, we can say that language gamea phenomenon of functional and stylistic (see).
The effect of Language game is based on the associative potential of the wordassociative valence of the word, allowing variation when combining its plan of expression and plan of content andas a result a different interpretation of its meaning [1]. In the context, one or another particular associative valence of a word is realizedphonetic, semantic, lexical, word-formation, syntactic. Each of these particular valences acts as one or another mechanism of the Language game in Addition, the associative nature of the Language game indicates that an important means of its creation in speech is a metaphor (see Stylistic resources vocabulary, or lexical style).