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American Journal Of Philological Sciences   
(ISSN – 2771-2273) 
VOLUME 02 ISSUE 11  Pages: 22-28 

SJIF IMPACT FACTOR  (2022: 5. 445)  
OCLC – 1121105677    METADATA IF – 5.963 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 
Publisher: Oscar Publishing Services 

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ABSTRACT 

This article aims at defining functions of lexical-stylistic  devices used to create image in fiction by analyzing excerpts 

from English and Karakalpak literary works. It exposes the role of figurativeness, detalization, informativeness, 

implicativeness and comparative function in picture generation in both languages. 

 

KEYWORDS 

Lexical-stylistic device, image, imagery, figurativeness, detalization, informative function, implicative function and 

comparative function. 

  

INTRODUCTION

The question on the stylistic function of language is 

one of the most important issues of contemporary 

stylistics. The notion of “stylistic function” is not clearly 

defined because the word itself, i.e. “function” is 

considered from different sides, and has various 

contents. 

Stylistic function is determined as expressive potential 

for interaction of linguistic means in the texts which 

  Research Article 

 

FUNCTIONS OF LEXICAL-STYLISTIC DEVICES IN ENGLISH AND 

KARAKALPAK LITERARY WORKS 
 

Submission Date: November 01, 2022, Accepted Date:  November 05, 2022,  

Published Date: November 17, 2022  

Crossref doi: https://doi.org/10.37547/ajps/Volume02Issue11-04 

 

 

Adimova Nilufar Kamiljanovna 
Trainee Teacher Of English Linguistics Department, Karakalpak State University, Uzbekistan 

  

 

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Copyright: Original 

content from this work 

may be used under the 

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commons attributes 

4.0 licence. 

 

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Volume 02 Issue 11-2022 23 

                 

 
 

   
  
 

American Journal Of Philological Sciences   
(ISSN – 2771-2273) 
VOLUME 02 ISSUE 11  Pages: 22-28 

SJIF IMPACT FACTOR  (2022: 5. 445)  
OCLC – 1121105677    METADATA IF – 5.963 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 
Publisher: Oscar Publishing Services 

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make evident both the logical content of the text and 

its expressive, emotional, evaluative and aesthetic 

information. 

The word “function” has broad meaning, and has to be 

defined more accurately in all these combinations. It is 

a notion of purpose and dependence of nature of the 

use of any element in the system of wholeness, i.e. 

integrative relations, that is invariant of all its use. 

A number of scientists investigated the notion of 

stylistic function several times. Most of them suppose 

that, on one hand, function is a specific way of 

transferring the thoughts and feelings of a writer with 

the help of this device, but on the other hand, it is 

stated that stylistic device gives a psychological 

influence upon the reader. In the style of language of 

the work of art these two sides of stylistic functions 

unite. Thus, the goal of stylistic function is to transfer 

different stylistic information. Most of the stylistic 

devices, used in the novels, definitely pass certain 

stylistic information.  

The brightest stylistic function of an epithet, 

metaphor, simile is the creation of figurativeness. 

Figurativeness or imagery may be used in order to 

allow the reader to form a clear picture in his mind that 

represents an idea the writer wants his reader to 

understand or accept. Imagery is often quite 

emotional, so it can also be used to express certain 

feelings or to evoke an emotional response in the 

reader. 

The stylistic devices with function of figurativeness 

mean creating perceptible conception about a 

described subject or phenomenon [1,115]. 

A broad variety of peculiar and unique epithets used by 

Hemingway in novels generate bright figurativeness of 

things. The most common forms of figurativeness are: 

 “The motor car climbed up a slight rise and went  on 

through the  trees and then out into a grassy  prairie-

like opening and kept in the shelter of the trees along 

the edge, the driver going slowly and Wilson looking 

carefully out across the prairie and all along its far side” 

[2, 137].  

        “There was a heavy dew and as the wheels went 

through the grass and low bushes he could smell the 

odor of the crushed fronds. It was an odor liked 

verbena and he liked this early morning smell of  the 

dew, the dew, the crushed bracken and the look of the 

tree trunks showing black through the early morning 

mist, as the car made its way through the untracked, 

park -like country” [2, 162]. 

          Here in these examples, writer speaks of “a 

grassy opening” as “a prairie-like” and of “the 

untracked country” as “park-like” thus giving a new 

feature to the natural elements described. 

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Volume 02 Issue 11-2022 24 

                 

 
 

   
  
 

American Journal Of Philological Sciences   
(ISSN – 2771-2273) 
VOLUME 02 ISSUE 11  Pages: 22-28 

SJIF IMPACT FACTOR  (2022: 5. 445)  
OCLC – 1121105677    METADATA IF – 5.963 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 
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          Indeed, Hemingway's comparisons and figurative 

language constitute different means towards this 

same description of scenes, involving the reader 

imaginatively, engaging his listeners, not just informing 

them. 

Furthermore, well-known Karakalpak writer T. 

Kayipbergenov’s works have a wide range of unusual 

and distinctive similes that provide a brilliant figurative 

quality. The most prevalent types of figurativeness are 

the following:  

“-Iras-aw, qızım, — dedi ol eziwinen kúlіp. Onıń bul 

kúlkisi, solıǵan gúl birden ashılıp, ústine nurlı quyash 

túskendey, jıyrıq-jıyrıq júzіn jaynattı. — Házirgi 

zamanda at qoyıw tań emes, qızım... ” [7, 376]. 

 “Bir jola Vera degen qızdı anası ertip keldi, Vera 

bunnan bir ay ilgeri ǵana meniń menen bir stolda otırıp 

awqatlanatuǵın edі. Túnde bir krovatta jatatuǵın edik. 

Qarasam, kiyimleri ózgerip ketken. Qarday aq jipekten 

kóylek kiyip, shashına aq jipekten lenta taǵıptı. Misli aq 

gúbelek bolǵan. Qolında rezinka qoyanı bar... 

Hammenіń háwesi ketti” [7, 366]. 

We can see how the author enhanced the image of her 

smile and dress by using figurative language, which 

helps the reader visualize via his senses, in the example 

above. 

    Function of detalization is another function of lexical-

stylistic devices  creating  image in  fiction. Literary 

details are very important, and they even take a core 

place in creating some features. A literary detail is a 

depiction of features or characteristics of the subject 

or phenomena as the basis for calling up the whole 

picture of description in its wholeness and 

completeness by reader. Following the literary details, 

the reader can recreate a described picture either by 

drawing logical conclusion or by his/her own 

imagination. It makes the reader think about the 

picture, to reveal those features that were hidden or 

just tacit. Literary detail is often called as a sign of 

laconic and brief style. Detail saves figurative means 

and creates an exhaustive image owing to one of its 

feature. Detail is an actualisation of lexical unit and the 

signal of figurativeness that makes reader not only to 

experience  events  with  the  writer  but  also  to  create  

his/her  own  creative aspirations. A detail plays an 

important role in portrayal of the main characters’ 

appearances. Thanks to it, their appearance is 

individualised and detailed. 

In novels, writer’s artistic skills were shown in creation 

of portraits. The portraits of Hemingway are various. 

This is the one of them: 

“One of my friends, an extremely underfed-looking 

painter, who was obviously to Madame Duzinell 

neither well brought up, of good family, nor a 

sportsman, wrote me a letter asking if I could get him 

a pass to get by the concierge so he could come up and 

see me occasionally in the evenings” [3, 53]. 

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American Journal Of Philological Sciences   
(ISSN – 2771-2273) 
VOLUME 02 ISSUE 11  Pages: 22-28 

SJIF IMPACT FACTOR  (2022: 5. 445)  
OCLC – 1121105677    METADATA IF – 5.963 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 
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It is the detailed portrait with the exact description of 

the individual external signs. Main function is to create 

impression of visual sensation of object. A great 

attention in this particular example is given to the look 

of a painter expressed by a compound epithet – 

“extremely underfed-looking”. Here we may observe 

the expressiveness which is achieved by lexical means, 

i.e. the word “extremely”. 

We should pay attention to the function of the epithets 

used to describe the characters’ features such as “flat, 

cold eyes” in the following example: 

“So she woke him when she came in, Wilson thought, 

looking at them both with his flat, cold eyes” [2, 231]. 

By describing eyes these epithets (“flat, cold”) reveal 

other peculiarities of the person, that is his inner world 

which at that very moment was filled with the air of 

indifference and detachment. 

“Bir kúni bir hayal keldi. Ózi júdá tompaq eken. Tolı 

qanarday deseń de boladı, tek parqı qıymıldaǵan 

ayaqları bar. Ol hámmeden ótip kelip, meniń qasıma 

irkildi. Iyegimnen kóterip, betime úńildi. Yelena 

Semenovnaǵa qaradım. Ol basın iyzep, kúlimlep, állá 

nárseni maqullap turdı... ” [7, 367]. 

In this extract, woman’s overweight is compared with 

filled sack generating a bright visual imagery. 

“ — Ooo, Perixan! — dedi asa quwanısh penen. Biziń 

keń jaylaw únsiz japalaq kibi qusları menen emes, keń 

dalaǵa siymay, asır salıp oynaytuǵın asaw tay kibi, 

shaqalaqlaǵan kúlkisi búlbúl sestine megzes Perixan 

menen gózzal eken!” [7, 130] 

In fact, detalization assists reader in considering the 

image, revealing characteristics that were previously 

concealed or just unspoken. Due to one of its 

characteristics, detail preserves figurative means and 

generates a comprehensive image. A detail is vital in 

the representation of the key characters' looks. It 

allows them to have unique and intricate looks.  

The notion of stylistic function and the semantic 

characteristics are closely connected. In addition to the 

subject - matter of a word, transmitted by logical 

characteristics, the semantic characteristics 

complements the word by some more information. 

This additional information is called stylistic 

information.  

Such stylistic devices as epithet, metaphor, simile 

widely used in novels, perform informative function. 

They are used to transfer new information about the 

characters of a novel, having thus a key value. The 

epithets supplement portraits by some information 

about the social position, nationality, life experience 

and “inner world”, physical condition and age.  

Let us investigate the following example: 

“She had high cheekbones, merry eyes and a straight 

mouth with full lips” 

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Volume 02 Issue 11-2022 26 

                 

 
 

   
  
 

American Journal Of Philological Sciences   
(ISSN – 2771-2273) 
VOLUME 02 ISSUE 11  Pages: 22-28 

SJIF IMPACT FACTOR  (2022: 5. 445)  
OCLC – 1121105677    METADATA IF – 5.963 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 
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[2, 54]. 

Here the key word for writer's evaluative attitude is 

manifest in such combination as “merry eyes”. It is the 

writer who sees the person being of a joyful nature and 

immediately presents this fact to us. 

According to Stepanov, stylistic information is an 

addition to the keynote of an utterance that is the 

subject of  “inner stylistics” of a language. 

The specificity of Hemingway is expressed in the use of 

various epithets, covering a subject or phenomenon 

from the different sides. It is interesting to mention the 

apt use of epithets which give emotional colouring to 

whatever episode the writer describes.  

Implication plays an important role in the novels, as it 

creates implication (external feature pays attention to 

the depth sense). Hemingway, brightly describing the 

face, eyes, nose, hair of the heroes, also gives the 

description of their clothes. 

Epithet helps writer to create bright and alive portrait 

of character and the same one may be repeated 

throughout the whole novel. In this case the character 

secured by a particular sign of description belonging to 

him or her by which a reader can easily define the 

character. In description of appearances Hemingway 

uses epithets formed by compound - derivative 

adjectives. More popular of these are epithets 

structured by such model as “adjective + noun +(suffix) 

ed”, e.g.: 

“...the flat-faced man, who was called Andres” [2, 89]. 

With the help of such epithet as “flat-faced” formed by 

the above-described construction, Hemingway 

describes the appearance. We can observe that this 

kind of epithet structure is used by many writers as well 

as by Ernest Hemingway. It is typical to Hemingway to 

give special attention to the description of not only 

every person but also each element and object is well 

noted. 

We find special examples in the novels to show writer's 

view of the characters. 

“He'd been to an expensive school and he's got good 

expensive manners” [2, 10]. 

           Here we see the implicative function of epithet as 

“expensive manners” the second part of the sentence 

whereas in the first one we see only informative one, 

“an expensive school”. 

Comparisons are of great importance as they give 

something new to the subject. Hemingway scoops the 

majority of comparisons from the things and 

environment that surrounds a man, for example: 

“…the vegetables were as beautiful as snakes” [2, 

289]. 

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(ISSN – 2771-2273) 
VOLUME 02 ISSUE 11  Pages: 22-28 

SJIF IMPACT FACTOR  (2022: 5. 445)  
OCLC – 1121105677    METADATA IF – 5.963 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 
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The stylistic choice of describing “vegetables”  “as 

beautiful as snakes” is the most marked. It is a rare 

comparison and refers to a Hemingway style. As the 

name suggests, ‘vegetables - beautiful – snakes’ 

represents objects as patterns of colourful and smooth 

shapes. The reader faces some challenge deciding just 

how this exceptional stylistic indicator could be 

connected with the word. It seems to form a unique 

chain. We might imagine these vegetables as 

conversion of snake¬like pattern of colours.  

Comparative portrait with use of the indirect 

characteristic at gradual, concentric disclosure of an 

image can be found in the novels. So, writer shows 

separate and accurate details describing the heroes. 

Thus creating a portrait of his character, Hemingway 

thinks of a woman in the following way: 

“She had a skin that was as smooth as olive-colored 

ivory, if there were olive-colored ivory, with a slightly 

smoky rose-like cast”  [2, 273]. 

This example features what the woman’s skin is, as if it 

were “as smooth as olive-coloured ivory”. This 

example also shows one-word comparative epithet 

“rose-like” formed of the noun “rose” with the suffix-

word “like”. 

It should be noted that Hemingway gives a superb 

though laconic description of his characters in his 

novels. In this sentence with the help of a comparative 

epithet “rose like” in combination with the word 

“cast” referred to the skin of woman, Hemingway tries 

to inform us that the woman is healthy. 

Comparative function of an epithet is evident in such 

combination where an attributive word includes the 

comparative word "like" thus forming epithets. We can 

detect the following one: 

Now he dug with it in a steady, almost machine-like 

desperation [2, 101]. 

In this sentence we can find rather a strange word 

combination of a comparative epithet “machine-like” 

and the word “desperation”.  

“-Ómir degen jańa aralasqan adam ushın tikenekli bir 

qapırıq. Adamdı kirgizbeydi, ashshı ushlı tikenleri 

boladı. Tırnaydı, deneńdi de qanatadi, bıraq batıl kirgen 

adam ózine hám basqaǵa jol ashadı... — dedi” [7, 373]. 

 “Qız ashılǵan gúldey bolıwı kerek, ol solıǵan gúl, 

ǵumshalamaydı, erjetkende jigit almaydı. Aqlıqlı bala 

almasam... " dep, jeńislik bermey atır eken” [7, 367]. 

As it is clear from provided examples, T. Qayipberberov 

also used various stylistic devices such as simile and 

metaphor by comparing two unrelated objects. It can 

appeal to the senses and bring a lifelike quality to 

characters or settings in a written work, which often 

aids or at least stimulates the reader's imagination.  

We have now examined multiple motives for the 

stylistic choices and their functions in the novels. Taken 

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American Journal Of Philological Sciences   
(ISSN – 2771-2273) 
VOLUME 02 ISSUE 11  Pages: 22-28 

SJIF IMPACT FACTOR  (2022: 5. 445)  
OCLC – 1121105677    METADATA IF – 5.963 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 
Publisher: Oscar Publishing Services 

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all together, they produce an effect far more 

impressive and moving than any description of the 

same scene in ordinary, careless style. The result of the 

investigation shows that all these functions produce 

more intense emotional impact on the reader and 

promote better understanding of the personages. 

REFERENCES 

1. Ashurova  D.U "Text Linguistics" T., “Taffakur 

qanoti” ,2012. 

2. E. Hemingway. “The short stories of Ernest 

Hemingway” Scribner, N.Y., 2017. 

3. E. Hemingway. “The Sun Also Rises” Macmillan 

Publishing Company, N.Y., 1986 

4. Galperin I.R. "Stylistics", M., 2001. 

5. Khadjieva D., Djumambetova D., “English 

Stylistics” N., 2020. 

6. T.Qayipbergenov “Múǵálimge raxmet”  

“Bilim”  Nókis, 2016 

7. T.Qayipbergenov “Tańlamalı shıǵarmaları” 

“Bilim” Nókis, 2017   

 

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