296 AMERICAN Journal of Language, Literacy and Learning in STEM Education www. grnjournal.us AMERICAN Journal of Language, Literacy and Learning in STEM Education Volume 03, Issue 01, 2025 ISSN (E): 2993-2769 Linguopoetic analysis of John Steinbeck’s novels Ismoilova Diloromxon Rustamjon qizi Associate professor at Renaissance Educational University d.r.ismoilova@mail.ru Abstract. Linguopoetics deals with the poetic meaning of words and phrases in the literary works. It focuses on stylistic devices and expressive means utilized by the writer. The author analyzed the linguopoetical features of John Steinbeck’s novels and identified the typical features of the writer. The examples extracted from the novel played an important role in proving the theoretical findings of the author. Key words: linguopoetics, stylistic devices, expressive means, literary device; Introduction Currently, linguopoetics is the object of the majority of the research work in the sphere of linguistics. It is based on the integration of linguistics and literature, so it causes many hot debates between scholars. Many linguists believe that, linguopoetics is the branch of only linguistics and it highlights the linguistic matters while the scholars who conduct the research in the field of literary studies. However, there are some people who advocate that, there is no point in discussing whether linguopoetics belongs to literature or linguistics. They are inclined to believe that, linguopoetics should be studied mutually, because it is a philological branch in general. Considering all theoretical conclusions presented by great linguists, we conduct the research dedicating the linguopoetical features of John Steinbeck’s novels. mailto:d.r.ismoilova@mail.ru 297 AMERICAN Journal of Language, Literacy and Learning in STEM Education www. grnjournal.us Methodology One of the renowned researchers Megan L. Dwyer studies the language of Steinbeck’s works in terms of emotional and poetic imagery. Another linguistic research devoted to the use of different stylistic devices was conducted by Susan Shillinglaw and analyzed the repetition, parallel structure, and symbolism in his works. Robert DeMott scrutinizes the symbolism in Steinbeck’s literary legacy. The essential point of his linguopoetics is utilization of dialects and oral speech patterns and it was the object for many scientific articles. David Wyatt looked into the linguistic peculiarities of regional dialects used by the author. Results. First of all, it is essential to state the typical feature of giving the information about the history, geography and nature of the country in J.Steinbeck’s works. For example, in this example, one can read the novel and also get the knowledge on the different spheres of life. To the red country and part of the gray country of Oklahoma, the rains came gently, and they did not cut the scarred earth. From Sallisaw to Gore is twenty-one miles and the Hudson was doing thirty-four miles. Paden to Meeker is thirteen miles; Meeker to Harrah is fourteen miles; Oklahoma City to Bethany is fourteen miles. We looked into the functions of stylistic devices used by the writer and acknowledged how artistically he used them. For instance, exaggeration is far more used in his novels to color the speech and intensify the meaning. But-you see, a bank or a company can’t do that, because those creatures don’t breathe air, don’t eat side-meat. They breathe profits; they eat the interest on money. If they don’t get it, they die the way you die without air, without side-meat. By the means of exaggeration, the author describes the dominance of the banks over ordinary people and shows how they are overdebt at that time. 298 AMERICAN Journal of Language, Literacy and Learning in STEM Education www. grnjournal.us Get enough wars and cotton’ll hit the ceiling. Another example conveys the meaning by this stylistic meaning to depict the life of that time. The interesting point of his writing style is seen in utilizing the stylistic devices in a mixed form. In this juncture, mostly metaphor comes together with exaggeration, personification with exaggeration or simile with metaphor and so on. The wind grew stronger, whisked under stones, carried up straws and old leaves, and even little clods, marking its course as it sailed across the fields. During a night the wind raced faster over the land, dug cunningly among the rootlets of the corn were freed by the prying wind and then each stalk settled wearily sideways toward the earth and pointed the direction of the wind. In these sentences personification and exaggeration are utilized in one sentence. The writer intends to express the strength of the wind giving the human features. The writer gives the nature and action of human into the lifeless objects by the help of exaggeration: The dusk slipped backforward darkness, and the wind cried and whimpered over the fallen corn. According to the writer, the leaving of dusk is resembled to hide behind the darkness, the loud noise of the wind is described as it cried like a person. And dusk crept over the sky from the eastern horizon, and darkness crept over the land from the east. And this sentence shows the movement belongs to the human being is transferred to the dusk as everybody knows a baby or a person may creep, but not a dusk. John Steinbeck is the master in terms of simile created on his own. Importantly, he used not only traditional simile which was the result of the folk wisdom. The jack was clean as a whistle-Jesus God, you got salt too? I was mean like a wolf. Now I’m mean like a weasel. His hands were hard, with broad fingers and nails as thick and ridged as little clam shells. The sky was brilliant over the spot where it had gone, and a torn cloud, like a bloody rag. 299 AMERICAN Journal of Language, Literacy and Learning in STEM Education www. grnjournal.us The author ideally coins the compound words, mostly adjectives to give poetic effect to the context. It means the writer is not satisfied with the current compounds. Their sunburned faces were dark, and their sun-whipped eyes were light. Steinbeck created the compound to depict the difficulty in looking at the sun when it shines and it coloured the speech. He led the way across the fine-dusted ground. Then out of the broken sun-rotted mountains of Arizona to the Colorado, with green reeds on its banks, and that’s the end of Arizona. Snub-nosed monsters, raising the dust and sticking their snouts into it, straight down the country, across the country, through fences, through dooryards, in and out of gullies in straight lines. Discussion The essential point of his writing which provides the natural atmosphere of the characters is transforming the oral speech into the context. This phenomenon involves using dialects, contractions, colloquial words and writing the oral (pronounced) version together with other ungrammatical features. I hate to get pushed around. I lots rather take a sock at Willy. He’s a nice sort of a guy when he ain’t stinko. I heard somebody got killed or somepin. “You’re bound to get idears if you go thinkin’ about stuff. You use ta give a good meetin’. John Steinbeck tries to be closer to the life of characters and never intends to make their speech artificial. As a consequence, he utilizes the words like Pa, Ma, Grampa and Grandpa instead of Mother, Father, Grandfather and Grandmother. “Pa’ll be glad to see you.” Grampa says she was good the first five plowin’s, while the wild grass was still in her.” What we going to do, Ma? Maybe you better get a plate an’ gimme back a couple rolls of wire. Hey, Muley! How ya? An’ they says, ‘If we put all our lan’ in one piece we can jus’ hardly make her pay. 300 AMERICAN Journal of Language, Literacy and Learning in STEM Education www. grnjournal.us Another example for using informal words like “buck” in this novel as a meaning of money. At eighty bucks you got a buy. “You just got a stomickache. You et too much. You crowd up ya stomick an’ ya get a stomickache, ‘he says. Nex’ noon she’s outa her head, an’ she dies at about four in the afternoon.” This speech is fully colloquial and shows the natural attitude of the character. Because the word “stomickache”, “et” and “outa” are spoken versions of the words: “stomachache”, ‘ate” and “out of”. The writer inserts repetition in the works as they intensify the poetic meaning and involve the readers far more better than other linguistic devices. Listen to the motor. Listen to the wheels. Listen with your ears and with your hands on the steering wheel; listen with the palm of your hand on the gear-shift lever; listen with your feet on the floor boards. If a man owns a little property, that property is him, it’s part of him, and it’s like him. Big shots won’t give you three dollars a day if you worry about anything but your three dollars a day. Conclusion. Last but not least, notable feature of his writing is abundance of rhetorical questions and the questions without auxiliary verbs at the beginning of the sentence. “Ma, you scared a goin’? You scared a goin’ to a new place?” (rhet) “Got any money?” “Sure. Think we’re beggin’?” “Want another?” “Know what’s wrong?” You hear anything? In conclusion, we state that, John Steinbeck contributed substantially to the development of the modern English literature with quintessential linguopoetical 301 AMERICAN Journal of Language, Literacy and Learning in STEM Education www. grnjournal.us means in his literary legacy. They all serve to widespread of the works throughout the world as well as understand the peculiarities of English language. Reference 1. Jakobson, Roman. Linguistic Poetics: Textuality and the Theory of Literature. Edited by Morris Halle, 1960. MIT Press. 2. 2John, Steinbeck. The grapes of wrath, 1967, Penguin books. 3. Bex, Tony, & Burke, Mike, eds. Language and Literature: A Stylistic Reader. 2002. Routledge. 4. Weber, Jean-Jacques. Linguistics and Literature: An Introduction to Literary Linguistics. 2001. Palgrave Macmillan.