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CHARACTERISTICS OF CONCEPTUALIZATION OF
PHRASEOLOGISMS WITH A COLORATIVE COMPONENT IN
ENGLISH AND KARAKALPAK LANGUAGES
Djumamuratov K.A.
PhD Student at Karakalpak State University
https://doi.org/10.5281/zenodo.13691981
Annotation.
The article effectively analyzes the conceptualization of color
in English and Karakalpak, establishing a thesis that underscores the cultural
and cognitive dimensions of color semantics. By employing comparative
methodologies and referencing a broad range of scholarly work, the author
sheds light on the intricate relationship between language, culture, and color
interpretation, although the incorporation of concrete examples would further
strengthen the analysis.
Key words:
color, culture, cognitive conceptualization, paradigm, lexeme,
semantics, фразеологические единицы
Colors are a means of clearly demonstrating the unity of each nation, and in
this process, the goal is to determine the process of conceptualizing color
interpretations in people's minds. At the same time, information was discussed
and taken into account about the main criteria for studying colors as an object of
study, as well as about the processes of their study. In this case, the research
methods are a comparative discussion of color interpretations in English and
Karakalpak languages based on historical, comparative, ethnocultural, and
cognitive phenomena. The absence of similarity in the lexical layer of English
and Karakalpak languages, which are heterogeneous languages, is an axiom, and
therefore, the existence of a range of modern languages is possible only if there
are differences in this aspect of similarity. According to our hypothesis, the
semantics of each lexical unit is related to the functional-semantic description of
these terms and concepts, that is, it is clarified that the conceptualization of
color terms in English and Karakalpak languages is related to prototypes,
metaphorical, metonymic, cultural associations, connotation and aspects that
differ from the semantic field.
The study of the phenomenon of color in the context of linguocultural and
cognitive paradigms is a simple regularity (from foreign scientists: Berlin, Kay
1969; R. Gackendoff 1993, 2002; V. Berlin, R. Kay 1969; N. Rosch, 1973; J. Itten,
1970; Scientists from the CIS: Vorobyov 1997; Makovsky 1996, 1997; Telia
1996; Maslova, 1997; Krasnix 2001, 2002; Stepanov 1997, 1997; from local
scientists: Khojanov 2013; Seytkasimov 2016; Khodjalepesova 2021;
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Turabayeva 2021; Kadyrbaeva 2023; Orazimbetova 2024 et al.), their research
focuses on the study of linguistic systems, the analysis of structural features of
language, the conceptual system, the analysis of problems related to the role of
language in constructing all its manifestations, and the identification of cognitive
mechanisms for understanding reality. Due to the priority of a sensitive and
artistic form of studying the world, color has the ability to change a person's
physical and psycho-emotional state, which in turn leads to the stabilization of
culture and the formation of a necessary part of the conceptual image with the
oldest semiotic system. In myths, which are the source of the most basic
knowledge, colors are classified, serve as an element of rituals and beliefs, and at
the same time are a means of gathering the most necessary information.
Therefore, they become not only an objective characteristic of the world for a
person, but also a moral and aesthetic category, expressing indicators, norms,
and attitudes saturated with expressive evaluation.
Prototypical images and categories are closely related to color expressions,
and color has always been of great importance in human culture, it is closely
related to the interpretation of existence as the foundation of the philosophical
and aesthetic sphere, in which L.V. Knodel expresses the opinion that "a person
organizes himself in his whole existence through more color and harmonizes his
relationships with the world" [Knodel 2019: 5].
Color as a physical phenomenon was first described by I. Newton, who
studied colors as light waves of a certain length. In his scientific work, I.V.
Goethe provides information about color: "the sensation and aesthetic action of
color." This thesis states that colors have different meanings and emphasize that
they have a certain psychological content, therefore their study requires
research within the framework of the mechanical method, based on traditional
physics [Goethe 2019: 51]. However, when studying colors within the
framework of a mechanical phenomenon, only their denotative meanings are
taken into account, while connotative semantics is neglected.
In L.V. Knodel's monograph "English Color Idiomatics," he states that
"although dictionaries of different languages contain 100 to 150 names of colors,
the human eye can distinguish only 100,000 types of colors" [Knodel 2019: 7].
Researchers define the number of color names differently, and at the same time,
they believe that different methods of color research are used. It has been
established that the number of color expressions on the Internet exceeds 1028,
which makes their research difficult, therefore, we decided to focus on their
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semantic properties by dividing the first stage of their research mainly into
colors based on their simple functional properties.
N. F. Pelevina identified the differences between the results of the
distribution of activity reflected in all the simple forms of different languages
and scientific knowledge: "For each nation, there is a special psychological
reason for classifying reality, particularly the color field, which is knowledge
based on the objects and phenomena of the environment around us" [Pelevina
1987: 152]. A similar position is supported by G. Auberg: "We try to understand
each other only when there is a need to regulate and classify our emotions." Only
in this case can the words black, white, red, yellow, green, blue be sufficient as
basic terms for our senses. The combination and variation of these words is
enough to express our feelings based on this color, or at least to convey them in
a way that is understandable to other people" [Auberg 1980: 180]. We fully
agree with the aforementioned opinions of scientists, and in addition, the entire
national image of each nation influences the use of language units through
emotions. The colors found in nature are divided into achromatic and chromatic
colors, which refer to colors based on the division of colors and a metaphorical
or metonymic context based on a person's own experience. Chromatic colors
generally include white, black, and gray, while all other colors are chromatic.
According to the assumption of successive stages of color development
based on senses, in the first stage, a person's color experience was limited to
only being divided into white and black, while in the later period, red and yellow
colors appeared [Onol 1996: 21]. In literature on linguistics, which has been
studied for almost many centuries, it is observed that the names of new colors
are widely used, that is, various images were created through color names.
Starting in the 16th century, new color terms began to be actively used in
literature, especially in poetry, to create vivid poetic images: "The development
of color terms is considered related to the aesthetic needs of literature, that is,
the enrichment of the color vocabulary is primarily related to the expansion of
simple color terms, often used in poetry, through synonyms in poetic verses..."
[Barodina, Gak 1979:37]. With the development of artistic style, the range of
color terms expands, with the help of various images, feelings are revealed, and
the life of the people is reflected:
Sarı boyaw
– kewlimdegi kayǵı – muń,
Qara boyaw
– táǵdirimniń gúńsı.
Jasıl boyaw
- ármanları jaslıqtıń,
Qızıl boyaw
- júregimniń jarası.
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(I.Yusupov “Gilemshi hayal haqqında haqıyqatlıq”, - p. 114).
Along with the development of literature, he contributed to the scientific
and technical revolution and the expansion of the color palette. With the
development of the textile and dyeing industries, color terminology actively
enriched, which arose as a result of the creation of artificial dyes of new colors.
The development of color terminology was greatly influenced by the influence of
French fashion in Europe at the end of the 19th century, as well as the wave of
debt associated with the development of trade with the East.
To understand the specific features of the language, it is necessary to
analyze texts that preserve the culture of each ethnic group, primarily oral folk
art and fiction. When color names are formed on the basis of cultural
associations and specific connotations, they are associated with the historical
formation of an ethnic group. Therefore, the empirical material for such research
was works in the language of comparison - poetic lines, prose, folklore.
The color scheme of any language reflects the appearance of all languages,
expressing certain concepts, feelings, and emotions. The significance of a
particular color in the culture of different peoples can vary, therefore the
embodiment of colors is determined by the expression of a more or less
emotional reaction in the language. This is due to the strong association between
ethnic groups, determined by their social, historical, and geographical
characteristics. Scholar G.K. Kdyrbaeva also expresses her opinion on this issue:
"Each member of an ethnic group understands each other because they are
aware of the entire language of their community in a national form, based on life
experience." For example, in the phraseological fund of the Karakalpak language,
"kuk tigilsin" is currently used for Karakalpaks in connotations such as "shame,"
"compression," and representatives of the ethnic group who know its archetypal
meaning understand that it is "gargys" [Kdirbaeva 2023:651].
All associative linguistic color expression is an effective means of
understanding other cultures [Alimova 2007:77], it is sensitive to any changes in
the color "sign" of society [Alimova 2007:77], it expresses the specific features of
personifications, which are firmly linked to national-cultural characteristics
[Dmitryuk 1983, 1985].
The semantic field is also taken into account when forming color names.
That is, the classification of colors with the same quality helps to identify the
differences between them. Moreover, the expression of a typical object
embedded in color terms is given through "official interpretations": oq - clear
sky, cloud, snow, milk; qora - coal, night, darkness; yashil - grass, leaf, spring.
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According to R.M. Frumkina, "the method of explaining color images, which
includes an indicator directed directly at the object, is a method that provides
broad and accurate information" [Frumkina 1982: 145]. One of the most
effective ways to form color names is to transfer color as an object to a
description, for example: cherry red - red as the color of ripe silk, grass green -
green as plentiful hay, sky blue - blue as a clear sky, golden yellow - shiny yellow
as gold, coal black - black as coal.
It is a universally accepted fact that it is impossible to accurately translate
(give) color names from one language to another, as an equivalent color name in
one language may not exist in another language. The English lexical unit "green"
in the Karakalpak language means green and blue, but the lexical unit
representing the color "green" is more commonly considered "green."
As J. Lyons notes, "different languages have different numbers of basic color
names." However, the correct translation of color names is often an unrealistic
activity [Lyons 2004:279].
Among color names, it is one of the means of expressing phraseological
units and national mentality. Phraseological units with a color component are
embodied on the basis of cultural, mythological, symbolic, socio-historical and
other factors through the ability to vividly and figuratively reflect the peculiarity
of the people's worldview [Zolnikova 2009: 88]. Phraseologisms, as a living,
metaphorical, and emotional means of language, "impose on native speakers
special attention to a particular situation," phraseological units help to create an
aesthetically significant picture of the world [Maslova 2001: 82]. Since national-
cultural concepts are most vividly reflected in phraseological units, special
attention is paid to the analysis of phraseological units in English and
Karakalpak languages with a component of coloration.
The role of color in the formation of all linguistic manifestations is
undoubtedly great, as different linguistic principles and cultural communities
connect certain associations, certain color preferences, with the same color.
Thus, according to N. Serov, "the change of colors in religion, art, and fashion
contributes to the understanding of humanity's identity." Therefore, colors have
always and everywhere expressed quality, not quantity or form. That is, it is
impossible to reflect in a colorless imagination an action that can be reflected,
expressed, or measured, including even the quality of our reason" [Serov 2004:
5].
Colors, which are the main concepts of culture, in all languages express
great semantic ability and linguocultural signs of national difference in their
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names. Color should be considered in four cases: 1) from an anthropological
point of view (social color); 2) from an ethnocultural perspective (cultural-
historical color); 3) from a psychological perspective (emotional-evaluative
color); 4) from the point of view of linguistic sign (systemic-structural color).
Considering the color problem from this perspective implies reconstructing the
stages of forming the meanings of color lexemes, reflecting these stages in the
context of national-cultural and ethnic differences in the language.
The semantic structure of the meaning of a special color sign is multi-
layered. At the core of the linguistic and cultural sphere, interest in color in the
most essential phenomena and objects of reality for a person is of particular
importance. The initial associations and reactions of colors also represent a set
of archetypal, and later mythological, symbolic meanings that are constantly
renewed at the boundary of the field, determined by the natural physiological
aspect to the meanings determined from them. There is an increase in the use of
color in individual cases on a national scale due to the deviation from the
semantic center. The universality of color meanings in the languages under
analysis is due to the correspondence of their deep layers.
Color has a universal classification function, combining various objects and
phenomena of reality, human nomination, social and social, religious and moral,
emotional and interpersonal relationships in all comparable languages,
revealing a clear logical and relatively rigid system.
Thus, it has been proven that the semantics of each lexical unit is mainly related
to the functional-semantic classification of concepts, that is, the
conceptualization of color names in English and Karakalpak languages is related
to prototypes, metaphorical, metonymic, cultural associations, connotation and
features of the semantic field.
Literature:
1. Knodel L., Angliyskiye idiomy tsveta: monografiya, Kiev 2019, 320 p.
2. Auberg G. Nauchnie svedeniya o svete. Volgograd: Peremena, 1980.
3. Borodina, M.A. K tipologii i metodike istoriko-semanticheskix issledovaniy
[Tekst] / M.A. Borodina, V.G. Gak. - L., 1979. - 232 p.
4. 13. Borodina, M.A. K tipologii i metodike istoriko-semanticheskix issledovaniy
[Tekst] / M.A. Borodina, V.G. Gak. - L., 1979.5. Alimova Ye. N. Assotsiativnaya
lingvotsvetovaya kartina mira // Vestnik Sankt-Peterburgskogo un-ta. Ser. 9
Filologiya, vostokovedeniye, jurnalistika. 2007. Vip. 2, ch. 2. S. 74—77. - 232 p.
5. Dmitryuk N. V. Assotsiativnoye povedeniye i natsionalno-kulturnaya
spetsifika // Tekst kak instrument obsheniya. M., 1983. p. 81-92.
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6. Dmitryuk N. V. Natsionalno-kulturnaya spetsifika verbalnix assotsiatsiy:
Avtoref. dis. ... kand. filol. nauk. M., 1985. 22 p.
