The Language Features Of The Drama "Gulinha"

Uyghur drama is an important part of the Uyghur culture, and has a long cultural history. In the 10th century, Uyghur drama was already in existence. As we know from the ancient drama Maitrisimit, which was about the Buddhist life story, it appeared as an original screenplay. Fragments of the original screenplay was found in 1954 in an ancient house in the Qumul Prefecture of Xinjiang. With the limitation of Islam, Uyghur drama had remained in a long period of stagnation, the October Revolution in Russia, especially its impact on the youth movement and other revolutionary movements in Xinjiang brought Uyghurs the new cultural enlightenment and caused the development of Uyghur drama again. From the 1930s the Uyghur dram stepped into its exuberant period, and the Uyghur drama creation ushered in an unprecedented "adolescence." In the 20th century, Uyghur drama slowly disappeared from people’s vision. In recent years, people have started to discuss the Uyghur drama, start talking about "where did drama come from and where is it going" and other issues, and some fierce discussion in this regard. Although there has been a lot of researches, it is all about how to perform on the stage and the history of drama. Therefore, we try to study drama on a theoretical level, and take the audience appreciation of drama in our concern. Because this is a main factor in keeping drama alive for a longer period of time. So, according to my own interest and hobbies, in this paper Ⅰ have chosen the drama Gulnisa written by the famous Playwright Zunun Qadiri as my topic in the dissertation. Ⅰ believe this study has some academic value.The paper is divided into six chapters:The first chapter is an introduction, mainly introduces the topic of my purpose and significance of the topic, and elaborates the development and characteristics of the Uyghur drama in detail, and finally introduces drama in Uyghur publications.The second chapter is about the lexical features of the drama Gulnisa, this chapter introduces Zunun Qadiri first, and then introduces Gulnisa’s stories. The lexical analysis is generally about the drama, including dialect words, industry terms, ancient words and loanwords analysis. Section Ⅲ is fixed with the relevant characteristics of this part, analyzing the characteristics of fixed phrases and proverbs as examples, includes drama vocabulary requirements and attention.The third chapter is about the drama Gulnisa’s grammatical features. This chapter divides into four sections:the first section is analysis on adjectives. Due to the nature of the drama, the use of adjectives is relatively high, and very unique, so Ⅰ follow the adjective composed itself Features and Word Transformation in the drama of usage analysis. Section Ⅱ is a syntactic analysis, this part of the section there are lines and stage directions partial syntactic analysis syntactic analysis, syntactic analysis through the use of drama to understand the characteristics and stage lines indicated. Section Ⅲ call language analysis, language Ⅰ call this part of the sentence beginning to emerge, the sentence and the end of the call statement appeared as the basis for analysis. Section IV is elliptical sentence, is to analyze the subject of the sentence is omitted. Section V is inverted sentences, this part Ⅰ first analyze the role of inverted sentences by example. Then summarize the impact of the drama of grammar.The fourth chapter is about Gulnisa’s Rhetoric analysis of many typesof rhetoric, but this drama is the most characteristic metaphor, irony and exaggeration, so Ⅰ analyzed these three rhetorical. Each section has a relatively examples and explanations for the drama concludes rhetorical language which helped.The fifth chapter is about Gulnisa’s Poetry in use, the first section is a folk ballad, Section Ⅱ is about two lines of the poem, section Ⅲ is Nawayi poetry,The sixth chapter is the conclusion. The main content of five chapters summarize before, introducing innovations and shortcomings in the play, summed up his views on the drama and creative expectations.Hope such a studying of the ancestral drama Gulnisa’s by Zunun Qadiri can provide writers with useful clues, and provide with proper language arts and drama features so that they can contribute to the prosperity of Uyghur drama in the future.