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ABSTRACT
Today in the world of linguistics, the priority is given to integrative scientific works in the approach to onomastic units
in literary text, including the study of problems such as allusive names, onomastic metaphors, onomastic scale of
literary text, intertextual aspects of names are considered as the heated problem. Improvement of the linguopoetic
approach in modern Uzbek linguistics has also raised the issue of a comprehensive study of the language units that
make up the literary text. Because any linguistic unit can become an invaluable tool in the literary text, serving the
artistic intention of the author, and reflect the unique poetic laws. In particular, onomastic units are no exception.
Therefore, today there is a great interest in the study of the role and functions of onomastic units in the formation of
literary texts, the meaning of symbols in addition to the nominative function of names, their linguopoetic features,
their role in Uzbek linguoculture. Therefore, today there is great interest in the study of the role and functions of
onomastic units in the formation of literary texts, the meaning of symbols in addition to the nominative function of
names, their linguopoetic features, and their role in Uzbek linguoculture. This article describes the role of zoonyms in
the literary text and their lingvopoetic features.
KEYWORDS
Linguopoetics, onomastics, onomapoetics, zoopoetonim, onomapoetonim, fiction text, occasional titles.
INTRODUCTION
Research Article
LITERARY FUNCTIONS OF ONOMASTIC UNITS
Submission Date:
July 02, 2023,
Accepted Date:
July 06, 2023,
Published Date:
July 12, 2023
Crossref doi:
https://doi.org/10.37547/ajps/Volume03Issue07-05
Dilrabo Andaniyozova
Phd Student In Philology Institute Of Uzbek Language, Literature And Folklore Of The Academy Of Sciences Of
The Republic Of Uzbekistan
Journal
Website:
https://theusajournals.
com/index.php/ajps
Copyright:
Original
content from this work
may be used under the
terms of the creative
commons
attributes
4.0 licence.
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Onomastic units appear in different situations in a
literary text. These units participate in the text in
accordance with the writer’s artistic intent, sometimes
simple, in their own sense, sometimes complex, and
with a variety of associations. Onomastic units in the
literary text are studied in linguistics within the
principles of interdisciplinary interrelationships, which
have been developing rapidly in recent decades, in
particular,
on
the
basis
of
lingvopoetic,
lingvoculturological approach to onomastic units. In
these studies, it is emphasized that onomastic units
such as anthroponyms, toponyms, zoonyms perform a
specific aesthetic function in the literary text and serve
to reveal various subtleties of meaning [1]. In this
article, we will focus on the role of zoonyms in the
literary text.
In linguistics, the term zoonym is used in the sense of a
name, a nickname, given to animals and birds. N.V.
Podolskaya use
s the term zoonym to refer to “a pet,
wild animal, animal kept in a zoo, personal name or
nickname of an animal living in a circus or certain places
[2]”.
A set of zoonyms in a language is called zoonomy, a
compiled list (dictionary) of zoonyms is called
zoonymy, and the field of onomastics that studies
zoonyms is called zoonomics [2. 59-60]. The zoonyms
used for poetic purposes in the literary text should be
called zoopoetonyms.
THE MAIN FINDINGS AND RESULTS
There is no special research on the role of zoonyms in
the literary text in Uzbek ethnography. Some studies
have focused on the fact that zoonyms are a means of
creating the fine arts, but in these studies, too, the
genus horses of animals have been analyzed under the
term zoonymy [3]. Commenting on the research on
zoonyms, Ya. Avlakulov writes about the problems in
the field: Zoonim means a special name of an animal
taken separately, a well-known horse. It is therefore
considered an onomastic unit. A. Gubanov divides
zoonyms into two: general zoonyms and special
zoonyms, and the first group includes words such as
nightingale, crow, crane, sparrow, which are related
names of animals and other animals. The second group
includes famous horses for animals: Zili, Gemer (horse
names), Alabash, Demir, Topush (dog names) [4]. In
our opinion, only special names addressed to animals
should be studied under the term zoonym. This is
because in linguistics, zoonyms are studied as a well-
known horse type. This, in itself, requires that the
name be given a name, as the common name of other
related horses.
Experts point out that it is more difficult to collect
zoonyms than other onomastic units. Because
“zoonyms are not recorded in official documents, the
death of the animal will lead to the loss of its name [5]”
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The Uzbek people used to give special names to
horses, dogs, and in some cases birds and cows and
lambs. For example, Boychibor, Kokkashka, Girat,
Girkok, Tarlon, Akbota, Yulduzkashka, Boribosar,
Arslan, Tiger, Qoplon, Olapar, Barakvoy, Mosh,
Mallaboy, Humo, Semurg.
By giving nicknames and names, each bird and animal
is compared, likened, and characterized to specific
national concepts. A number of zoonyms are formed
on the basis of comparing dogs to wild animals,
likening certain div parts of horses to something. In
the literary text, a special name for animals - zoonyms -
is often used. It should be noted that zoonyms with
poetic value are analyzed under the term
zoopoetonyms. Related horses of animals and birds,
which are involved in the literary text with their
nominative function, are important tools in the
creation of the arts, and a number of studies have been
conducted on this subject [6]. It should not be
forgotten that both of these are of special importance
in the literary text.
It can be seen that the tradition of giving nicknames to
animals in works of art was formed long ago in Uzbek
literature. Such names are mostly symbolic. Gulkhani’s
epic “Zarbulmasal” also contains names for birds such
as Yapalakqush, Boyogli, Kulonkir Sultan, Kordon,
Korkush, Gunashbonu. Y.Solijonov and S.Muminov
studied these names as names that served to
illuminate the artistic intent of the artist [7].
Horse nicknames are widely used in the literary text.
Horse nicknames are also mentioned separately in
examples of folklore, and they are usually given with
commentary. In general, the image of a horse is of
special importance in Uzbek folklore [8]. The
description of the horse Jiyranqush in the Ravshan epic
illuminates the meaning of its nickname and refers to
certain features of the animal:four legs are equal,
waists are large, aired through qarchigay (oak tree).
In the literary text, zoonyms in folklore used as a
popular name, creating intertextuality and serving to
ensure the multi-layered nature of the text. In
particular, the legendary racehorse in the epic
"Alpomish", the inseparable companion of Alpomish
Boychibor zoonim can be seen in our modern
literature. This zoonim was used as a benchmark in
poetic texts, creating associations with the horse in the
epic Alpomish: On the way to Dovon rushes as wind
Our Jiguli,Not “Jiguli” it is like Duldul, We can certainly
say Boychibor (E.Vakhidov “On the way to Dovan”). In
the poem, the zoopoetonym Boychibor is used in
comparison to the car brand. In epic images, these
horses are famous for their running from the wind. The
poet emphasizes this feature of the horse with the
analogy of not "Jiguli" , as if Duldul, certainly as
Boychibor .
In N.Odinaeva's line "There is a Boychibor in my heart"
Boychibor rose to the level of a symbol calling the
lyrical hero to a lively and turbulent life: Veins
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connected with mine, my Motherland, Let me recite a
poem florish till the sky, On my right shoulder sits
Alpomish, in my heart there is Boychibor (N. Odinaeva.
“Generation of Alpomish”) (Tra
nslation by author).
The zoonyms in the literary text can be studied by
dividing them into groups such as real, tissue, and
mythosonyms.
Real zoonyms are special names given to animals in our
language. The Uzbek language has special names for
various animals, and the special names given to horses
are noteworthy in this regard. Horse nicknames also
occupy a large place in the literary text. It follows that
the Uzbek people have love for horses among living
things. For our people, from ancient times the horse
was valued as the companion of a young man. For this
reason, national traditions also have a certain influence
in giving special names to animals and other creatures.
The originality of the use of horse nicknames for poetic
purposes is also evident in the works of Togay Murad
in Uzbek literature. The writer often gives the
nickname of the horse with comments, which indicates
that the creator is well aware of these riches of our
language. In particular, in the work "Evening with a
horse" such nicknames as Tarlon, Torik, Saman, Chil,
Chagir are mentioned. In the play, Ziyo's horseman’s
Tarlon rises to the level of a "literary hero". The reader
will also be perfectly aware of the definition of a horse.
That is, the lexical meaning of the nickname is
expressed poetically: Brothers. What does a real horse
look like?Like flour will be white. If he has ancestor’s
blood, he will be Tarlon when he is nine years old.At the
age of nine, black grains appear on the div of the
gray. From then on, he will be a Tarlon horse, not a gray
one. Tarlon spotted horse! Tarlon the best horse ..(
Translation by author).
Zoonyms are widely used in children's fiction. In the
poems of the People's Poet of Uzbekistan Anvar
Obidjon we can see that zoononyms are used for a
special aesthetic purpose. The following examples
illustrate a subjective attitude by adding caressing
suffixes to the nicknames of creatures: Hey, Mr. Cats,
forgive me, I would throw a stone if you crossed my
path. Remove me from the "black list", Thousand
apologises, Barakjon, Forgive, me, Mosh (A.Obidjon.
"Selected works").
In the following example, although the nickname of
the dog is specific to another language, the meanings
of intimacy and loyalty are further exaggerated by the
addition of the Uzbek suffix -gina to the nickname. It
can even be said that through the affix -gina the animal
is in a sense "personalized." The logical basis of this
affix is strengthened by the author's speech. That is,
when Farman leaves, he hugs Goebbels, strokes his
neck, and kisses his nose, as if depicting a close
relationship between people. Therefore, the addition
of the -gina affix to the dog's nickname does not
surprise the reader. The nickname of the dog also
served to shape the text by choosing it according to
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the title of the work: Farman presses Goebbels to his
chest and rubs his neck before leaving. He kissed her
on the nose. "You're staying here now, my Goebbels
(Gebbelsginam)." We will never see each other again.
(S.Ahmad. “Hindi song”).
It is known that in fairy tales insects and animals are
animated by human behavior. Sometimes this
phenomenon is also observed in naming them. That is,
their cognate horse rises to the level of an
anthroponym, and the concept of gender is also
referred to by the suffixes -boy, -khan added to them.
Tulkiboy, Beetle bikach. Example:
The fly flew away and landed on the ledge. The thorn
of Yantak entered his beak ("The Tale of the Fly")
(Translation by author).
When naming creatures, the creator sometimes
creates original names. It is appropriate to call such
names tissue zoonyms. The nickname of the creature
used in H. Dostmuhammad's work "Jajman" attracted
the attention of many people. The word Jajman is
originally from the Tashkent dialect, and the
Explanatory Dictionary of the Uzbek Language states
that it means "jajji"(small). The word is used in the
same sense in Kadyri's Toshpolat Tajang. The word is
also found in Oybek's works. Thus, H. Dostmuhammad
created the nickname Jajman on the basis of its
appellate basis, that is, the nickname refers to the fact
that the creature in the work is a symbol of the great
hunger, and although its name means small, it
contradicts the greatness of the hunger.
- Ola-a! "What's the matter with that little thing! It's a
joke, ha-ha-ha!" "Don't say I haven't heard," said the
madman, dispelling the doubts in everyone's hearts.
The creature's name is Jajman! Jajman! .. Don't say I
haven't heard! ..
... Here the quarrel at the top of the turf continued.
Let's deal with this mousefaced. Let him eat as much
as he can, he will not swallow the world in his stomach
like an angishvana! .. (H. Dostmuhammad. “Jajman”)
(Translation by author ).
The name of the elephant has acquired a poetic
character by pointing to the appellate meaning of the
nickname given to the elephant in P. Kadirov's novel
"Humoyun and Akbar". In the literary text, the
nickname of the elephant served as a linguopoetic tool
to beautifully express the grandfather's advice to his
grandson: Khurram, who turned thirteen this year and
is younger than his father, liked the tallest black
elephant. Akbar presented the elephant to his
grandson: - Its name is Zinhor! He explained. "An
elephant is a very intelligent animal."Do not forget the
good and the bad. Do not harm the elephant. Take only
the good qualities from your ancestors and do not
follow our shortcomings! (P. Kadirov. Humoyun and
Akbar) (Translation by author ).
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In M. Azam's work "Legend of the Immortal Bird" the
ornithonym "Immortal Bird" was used. This nickname
has given rise to associations with the immortal bird in
Uzbek folk tales. It has also been used successfully to
increase the impact of the work. The immortal grief in
the heart of a young man named Immortal encourages
him to become a bird of the same name, to continue
his life, to punish the wicked. That is, a man named
Nahang obeys his stepmother and kills his son named
Immortal. His daughter, Diamond, did not bury her
brother’s bones in tears and turned into a bird and says
to take revenge on the wicked. His brother turns into a
bird. The name of the bird is pronounced as Immortal
Bird: “My own father slaughtered, my stepmother was
fed. My surviving owner was born on a blue cloth and
buried under a rose. Kuk-ku, Kuk-ku! "I am an Immortal
Bird that will never bow at anyone." If they shoot, I am
immortal, I am immortal. ("The Legend of the Immortal
Bird" by M. Azam).
In the following poem of Usman Azim, the nickname of
the horse served to ensure the integrity of the tone of
the text: The flowers smell, the wind plays in the
steppe. There is a star on your forehead, there is your
name - Yulduzkashka. Iron smiles have not torn your
lips yet, Nails have not yet pierced your hooves ...
(U.Azim. "Yulduzqashqa") (Translation by author )
The nickname of the dog in S.Ahmad's story "Karakoz
Majnun" is Karakoz(Black eye). Noting that the use of
the nickname Karakoz in relation to a dog is observed,
it should be noted that the word Majnun added to it
together is a sad name unique to Said Ahmad, so we
called it a tissue zoonim.The Uzbek people love their
child as a “black eye”, which tells the story of Saodat
Aya's inability to find the love she expects from her son
Borikhan (Borya), the old woman's grief over the death
of her dog owner, and her longing for Saodat Aya as a
child. In the text through the nickname Karakoz, there
is a hint that the dog showed affection that the child
could not show, even though it was an animal, while
paying attention to the dog’s appearance (eyes).
“After a while the old woman's voice began to be
heard. Karakoz's ear was straight. It moaned as if it
was crying when it heard the voice of a loved one she
had lost for the past two months. (...) The old woman's
voice was coming from the tape recorder. "Where are
you staring?" Do you ever sit at home or not? Is it
snowing? My stupid. Listen to me, why do you chase
soft dove? ” (...) The tape was still spinn
ing. "Don't die,
Majnungina, where are you going?" Did you get your
girlfriends? When do you show the bride? Let me see
your Layli ... "The black-eyed old woman's voice was
lying lifeless, turning her face towards the upstairs
room. (Translation by author )
Or another example: It was only after the old woman
was forty that a man's foot slipped out of the yard.
Qumri and Karakoz mourned in the yard where the
owner left. Now the two mourners are looking at each
other and shedding tears. Karakoz no longer wandered
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at night. Every day he would wake up before dawn
(when the old woman got up in the morning)
(S.Ahmad, Karakoz Majnun) (Translation by author ).
There is another group of zoonyms that we have
included in the group of myphosoonyms. It is known
that mythonyms are names based on imagination, and
the motive of the name lies in the mythical imagination.
Such a name can be a toponym, an anthroponym, a
zoon, or an oronym[9]. Mythozonyms have a special
poetic significance in the literary text. Mythozonyms
such as Qaqnus, Humo, Samandar are actively used in
Uzbek literary texts. They serve as a popular name for
text formation, intertextuality.
In the following example, a melody is formed by the
name and word of the legendary Buroq horse, a parody
of mythozonim and lexeme. It is known that Buraq was
“a winged hors [10] sent by God to the Prophet
Muhammad to go to Jerusalem and ascend to heaven
on the night of Miraj,” and this zoopoetonym also
served to shape the content of the text:
The beautiful horse of the throne is Nurqanot Buroq
He took Muhammad to a high place.
The picture is not necessary,
However, Visol (view of Allah) was given to Rasulullah
(A. Aripov. “Me'raj”).
The name of the great legendary bird Qaqnus, which is
found in Eastern fairy tales, is used for poetic purposes
in the literary text. The name Qaqnus is used in literary
texts as a linguopoetic tool in increasing the
effectiveness of artistic content, compared to people
who sacrifice themselves for a cause.
The fate of Qaqnus helped us,
We burned to ashes
(S.Rauf. "Are we bored ...").
In the following example, the same mythosonym came
in the form of Qaqnus as an onomastic metaphor: I
want to compare creative generations to Qaqnus. Each
generation burns to straighten the height of a new
generation of creators, to conquer high, creative
peaks, to spread their wings wide. He makes flames in
his heart and burns himself to ashes. But just because
it burns to ashes doesn't mean it's over. In this way, it
creates a new way of thinking, a new understanding of
the world, a new vision of society, a new vision of
reality. The history of mankind, the series of heroes in
world literature - this is the history of new and new
(Translation by author ) Qaqnus (N. Rahimjanov.
"Qaqnus". The truth of life and artistic image).
It is known that Samandar is one of the most widely
used mythozoonims in Eastern poetry. According to
legend, it is a bird that appears from the grass and lives
in the grass. Zoonism of Samandar is mentioned in
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poems about love, serving to emphasize that the lyrical
protagonist’s mental anguish is immensely deep. In
this case, Samandar's life in the fire is often compared
to a lover burning in the fire of love:
My div melts from the Samandar people,
My div dries up from the stain of grief,
My name is inscribed on the Kohi Qof stone:
I am a miser of Adam!.. ( Translation by
author)(Khurshida. "In the depths of your eyes ...")
Let my soul burn with love like Samandar,
To tell you
–
Buraq will go as wind
(Gulbahor. "Joy is happiness, where is purity ...").
In this poem, the name Buroq is also used for poetic
purposes, coming in the sense of as fast as the wind
and serving as an analogy.
Of course, we cannot study any zoon in a particular
literary text as a poetonym. They must have an artistic
intention. For example, in Uzbek poetry it has become
a tradition to use the name Humo in poetic texts as a
symbol of happiness and the state. Through such use,
an intertextual text is created, referring to the motifs
associated with the Humo bird depicted in Uzbek
folklore. Humo is also known as Semurg, who is
described in Uzbek folklore as a friend and protector of
the positive hero.
Humoy to you,
It is a place where you follow in the footsteps of great
people.
To you in the poetic shrine,
Only Alisher will become an imam.
(A.Oripov.)
My dreams, my sweet dreams - my sweet mother,
My flying Humo bird is my tender mother(Translation
by author ).
(Yo.Ahmadjonov. “Soul is a station ...”)
The mifozoon in the first example was used in the
sense of "happiness, luck", while in the second it was
used in the sense of "source of happiness" in relation
to the mother. The symbol "Humo bird" is also used in
modern Uzbek poetry to aesthetically express such
meanings as “peace”, “wealth, state”, “prosperity",
“freedom” and “independence”. In particular, the
meaning of "freedom-independence" became popular
during the years of independence, when the bird Humo
began to be used in state symbols:
There is a man who sacrifices his life for the
motherland, there is a man,
There is a bird Humo that landed on his shoulder, there
is a bird,
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There is a great work called independence, there is a
work,
Ohuvva-hay, Vatanim-ay (Ohuvva-hay, My homeland)(
Translation by author)
(R.Musurmon
. “My homeland”).
In the following example, in the Avesto, the nickname
of the giant, a symbol of lies and slander, oppression
and darkness, served as a standard of similitude and
served to reinforce the meaning emphasized by the
foundation:
Ahriman, who was as tall as a giant, a big man about
thirty five years old and came out of a glass in Alif-
Laylo, was coming towards the car among white
cotton seeds (Translation by author ) (S.Ahmad, Desert
Eagle).
The Ahriman mythosonym also appears in the literary
text as an onomastic metaphor and is used in the sense
of evil and wickedness:
Oh,I wish my heart is broken, I wish my eyes shine,
waiting for God! I wish that the hole in my chest would
have swallowed the Being Ahriman! ...( Translation by
author )
Would a world be left behind - white ... (U. Hamdam.
Would a world be left behind - white ...).
The name Hormuz (Ahuramazda), which contradicts
this myth, is also used for poetic purposes in the
literary text. It is known that Hormuz, the god of the
Zoroastrian faith, who protects truth and justice,
honesty and purity, is mentioned in the Avesto as the
god of goodness who created land, water, plants and
all natural resources. This poetonym was used in the
literary text as a symbol of goodness and kindness,
creating an onomastic metaphor. The poem is also
expressive by contrasting the names Ahriman and
Hormuz: Wonders Devill, winner Ahriman,The insult jar
is comfortable in this. Where are you going, burning
hero, Where are you going, O Fire-Woman? ... Burning
Woman, have mercy, wake up, Burning Woman,
Hormuz shelter, Look at your child, she is a living
rebellion ... (R.Parfi. Burning Woman)
CONCLUSION
The study of the place of onomastic units in the literary
text involves two situations: first, the statistical
situation related to the vocabulary of the writer or poet
is determined. This can be important for pure linguistic
research on a particular topic. Second, it is possible to
analyze specific layer units separated from the lexical
base on the basis of different approaches. In fact, both
cases have their own linguistic significance. The only
point to note is that in the lingvopoetic approach, not
any onomastic units, but certain parts of them, are
considered to have serious aesthetic value in the
literary text.In this sense, zoopoetonyms that serve
only to emphasize the writer’s diverse artistic
intentions have poetic value as a unit related to art. But
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03
ISSUE
07
P
AGES
:
21-30
SJIF
I
MPACT
FACTOR
(2022:
5.
445
)
(2023:
6.
555
)
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
the connotative, signifiable, and denotative meanings
of the zoonyms, which constitute a structural element,
a specific layer of the lexicon of a literary text, change
the lingvopoetic function of nouns, and this
phenomenon leads to their study by different
approaches.It is also possible to get acquainted with
the historical and cultural life of the people to whom it
belongs through zoonyms, and these associations are
reflected in the literary text in one form or another.
Nicknames given to animals used for a specific purpose
in an artistic text are studied under the term
zoopoetonyms.
Zoopoetonyms
perform
such
functions in the literary text as analogy, comparison,
intertextuality, onomastic metaphor.
REFERENCES
1.
Калинкин
В.М.
Теоретические
основы
поэтической ономастики: Автореф. дисс. ...
д
-
ра филол. наук. –
Киев, 2000. –
С.14.
2.
Подольская
Н.В.
Словарь
русской
ономастической терминологии. 2
-
е издание.
–
М.: Наука,1988. –
С. 58.
3.
Zaripov B. Involvement of zoonyms in the
formation of art forms: PhD. diss. avtoref. -
Tashkent, 2002; Hamidova Z. Names of lion and
farang horse in "Lison-ut tayr". PhD. diss.
avtoref. Tashkent, 1983.
4.
Avlakulov Ya. Linguistic study of onomastic
units of the Uzbek language. PhD diss-
Taskkent, 2012.P. 50
5.
Теория
и
методика
ономастических
исследований. –
М.: Наука, 1986. –
С. 190.
6.
Zaripov B. Involvement of zoonyms in the
formation of art forms: PhD. diss. avtoref. -
Tashkent, 2002; Hamidova Z. Names of lion and
farang horse in "Lison-ut tayr". PhD. diss.
avtoref. Tashkent, 1983.
7.
Solijonov Y., Muminov S. Some functions of the
name in works of art // Uzbek language and
literature, - Tashkent, 1984, issue 2, - PP. 44
–
49.
8.
Tilovov A. Historical bases and artistic
interpretation of the image of the horse in
Uzbek folk epics. PhD. diss. - Tashkent, 2000.
9.
Avlakulov Ya. Presented dissertation. - P. 36.
10.
Annotated dictionary of the Uzbek language. 5
volumes. Volume 1 - Tashkent: UME, 2006. - P.
380.
