ILMIY VA PROFESSIONAL TA’LIM JARAYONIDA MULOQOT, FAN VA MADANIYATLAR
INTEGRATSIYASI
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Samarkand State Institute of Foreign Languages
THE ARTISTIC FUNCTION OF ANTHROPOCENTRIC PHRASEOLOGICAL UNITS
IN THE WORKS OF TOG‘AY MUROD AND JOHN STEINBECK
D.A. Akhmedova,
Head of the department, SamSIFL
U.E.Tagayeva,
Teacher, SamSIFL
U.A.Ruziyeva,
Teacher, SamSIFL
Annotation.
This study analyzes the artistic function of anthropocentric phraseological
units in the works of Tog‘ay Murod and John Steinbeck. It explores how these expressions
contribute to character development and cultural representation, emphasizing their role in
shaping literary narratives.
Keywords:
Anthropocentric phraseology, literary function, character development,
cultural context, linguistic parallels, phraseological expressions.
Annotatsiya.
Ushbu maqolada Tog‘ay Murod va John Steinbeck asarlarida antropotsentrik
frazeologik birliklarning badiiy funksiyasi tahlil qilinadi. Mazkur birliklarning obraz yaratish va
madaniy tasvir shakllantirishdagi o‘rni yoritilib, frazeologiyaning adabiy jarayonga ta’siri ko‘rib
chiqiladi.
Kalit so‘zlar:
Antropotsentrik frazeologiya, badiiy funksiya, obraz yaratish, madaniy
kontekst, lingvistik o‘xshashliklar, frazeologik birliklar.
Аннотация.
В данной статье рассматривается художественная функция
антропоцентрических фразеологических единиц в произведениях Тогая Мурода и Джона
Стейнбека. Анализируется их влияние на создание персонажей и культурное
представление, а также их роль в литературных повествованиях.
Ключевые слова:
Антропоцентрическая фразеология, художественная функция,
создание
персонажей,
культурный
контекст,
лингвистические
параллели,
фразеологические выражения.
Introduction
Language is a powerful tool in literature, shaping narratives and giving depth to
characters. One of the most effective linguistic devices that authors employ to achieve these
effects is phraseological expressions, particularly those that are anthropocentric in nature.
Anthropocentric phraseological units focus on human experiences, emotions, and social
interactions, making them essential elements in character portrayal and thematic development.
These expressions not only enrich the stylistic and artistic qualities of literary works but also
serve as a bridge between the text and the reader, reinforcing cultural and psychological
dimensions.
Tog‘ay Murod, a prominent Uzbek writer, and John Steinbeck, an iconic American
novelist, both utilize anthropocentric phraseological units to depict their characters and socio-
cultural settings. Murod, deeply rooted in Uzbek traditions, employs idiomatic expressions and
proverbs that reflect the historical consciousness and moral fabric of his society. Steinbeck, in
contrast, uses phraseology to convey the struggles of the working class, particularly in the
context of the Great Depression. This study aims to analyze the artistic function of
anthropocentric phraseological units in their works, highlighting how language is used to
enhance character development and convey deeper social and philosophical meanings.
Methodology
This study adopts a qualitative comparative analysis to investigate the role of
anthropocentric phraseological units in character development in the works of Tog‘ay Murod
and John Steinbeck. The methodological framework consists of several interconnected analytical
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approaches, each contributing to a comprehensive understanding of how phraseology shapes
literary characterization and cultural representation.
Firstly, a lexical-semantic analysis is conducted to identify and categorize
anthropocentric phraseological expressions found in the selected texts—Murod’s
Otamdan
Qolgan Dalalar
and Steinbeck’s
The Grapes of Wrath
. This stage involves a systematic
classification of phraseological units based on their semantic structure and connotative meanings.
For instance, in
Otamdan Qolgan Dalalar
, the expression
"erib ketmoq"
(to melt away)
metaphorically represents emotional exhaustion and despair, while in
The Grapes of Wrath
, the
phrase
"turning into dust"
conveys the devastating impact of economic hardships on struggling
farmers. Similarly, Murod’s frequent use of phrases like
"qon-qardoshdan ayrilmoq"
(to be
separated from one's kin) underscores the themes of familial loyalty and loss, whereas
Steinbeck’s phrase
"a man got to keep going"
reflects perseverance despite adversity. These
phraseological units are then grouped based on their thematic relevance, such as suffering,
resilience, and human dignity.
Secondly, a contextual analysis is employed to examine how these expressions function
within dialogues, character monologues, and narrative descriptions, thereby enhancing the
thematic and emotional depth of the texts. This stage focuses on how phraseological expressions
contribute to character development and the overall message of the literary works. For example,
in
Otamdan Qolgan Dalalar
, the phrase
"cho‘ldek qolmoq"
(to remain like a desert) is used in
internal monologues to illustrate the protagonist’s sense of loneliness and desolation. In contrast,
in
The Grapes of Wrath
, the phrase
"we got nothing but the land"
reflects the deep attachment to
land as a source of identity and survival. Moreover, idioms such as
"yurak pora bo‘ldi"
(the heart
was torn apart) in Murod’s work are used to emphasize emotional turmoil, just as Steinbeck
employs the phrase
"his heart sank"
to illustrate characters' despair.
Furthermore, a comparative analysis is carried out to draw parallels and distinctions
between the authors' use of phraseological expressions, considering cultural, historical, and
social influences. This comparison sheds light on the shared human experiences depicted in both
Uzbek and American literary traditions while also highlighting the unique linguistic and cultural
perspectives embedded in each author's phraseology. For instance, Murod’s use of
"ota-ona
duosi qarg‘ishdan kuchli"
(parents’ blessings are stronger than curses) reflects the deep-rooted
importance of family honor and generational wisdom in Uzbek culture. In contrast, Steinbeck’s
phrase
"a fellow got to eat"
reveals the stark reality of economic struggles faced by working-
class Americans during the Great Depression. Similarly, Murod’s expression
"arqonni uzun
tashla"
(to give someone a long rope) metaphorically signifies patience and trust, whereas
Steinbeck’s equivalent phrase
"give ‘em enough rope to hang themselves"
carries a more
cautionary undertone.
Finally, a pragmatic analysis is conducted to explore the implicit meanings and emotional
undertones conveyed through these phraseological expressions. This analysis focuses on how
phraseology reinforces character psychology, reflects social realities, and influences reader
perception. For example, Murod frequently employs expressions such as
"qachon tuyaning
dumidan tutmoq"
(to hold onto a camel’s tail), which metaphorically describes reliance on
external forces for survival, mirroring Steinbeck’s representation of displaced families seeking
stability during the Great Depression. Likewise, the phrase
"tashlab ketilgan uyday bo‘lib
qolmoq"
(to feel like an abandoned house) in Murod’s work symbolizes emotional emptiness and
abandonment, paralleling Steinbeck’s frequent use of
"got no home"
to reinforce themes of
displacement and instability. Additionally, expressions such as
"yurakni tosh bosdi"
(the heart is
weighed down by a stone) in Uzbek and
"a heavy heart"
in English serve similar functions in
portraying deep sorrow and resignation.
The study employs a multi-faceted approach, integrating lexical-semantic, contextual,
comparative, and pragmatic analyses to provide a thorough examination of anthropocentric
phraseology in the works of Murod and Steinbeck. This methodological framework allows for a
nuanced exploration of how phraseological expressions shape character development, enrich
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narrative structures, and reflect broader cultural and historical contexts. By analyzing these
linguistic units in a comparative manner, the study underscores the universality of human
emotions and struggles while also emphasizing the distinctiveness of Uzbek and American
literary traditions.
Results
The detailed analysis conducted in this study underscores the significant role of
anthropocentric phraseological units in the literary works of both Tog‘ay Murod and John
Steinbeck. These linguistic expressions serve not only as stylistic devices but also as
fundamental tools for enhancing character development and deepening thematic exploration.
Through their use of phraseology, both authors manage to create multidimensional characters
whose speech patterns, emotions, and worldviews reflect the socio-cultural realities of their
respective literary landscapes. The findings of this study can be categorized into several key
aspects that highlight the importance of phraseological units in literature.
First and foremost, anthropocentric phraseological expressions play a crucial role in
character individualization, as they contribute to making each character’s speech distinctive,
relatable, and contextually appropriate. Murod and Steinbeck carefully construct the linguistic
identity of their characters through phraseology, allowing readers to discern personalities,
emotional states, and social backgrounds based on their speech patterns. For instance, Murod
frequently employs the expression
“cho‘ldek qolmoq”
(to remain like a desert), which
metaphorically encapsulates a character’s sense of abandonment, solitude, and emotional
desolation. This phrase reflects not only the character’s psychological state but also the broader
existential struggles faced by individuals in Uzbek society. Similarly, Steinbeck’s phrase
“a
fellow got to eat”
exemplifies the survival-driven mentality of his characters, who navigate the
hardships of the Great Depression with a sense of pragmatic endurance. Other notable examples
include Murod’s use of
“ko‘ngli cho‘kmoq”
(to feel deeply disheartened),
“yuragi hovuchday
bo‘lib qolmoq”
(to be filled with fear or anxiety), and
“ko‘z ochib ko‘rmagan”
(to be completely
unaware or inexperienced), all of which contribute to character individualization. In Steinbeck’s
case, expressions such as
“can’t get ahead”
,
“down on his luck”
, and
“ain’t got a dime”
further
emphasize the struggles of working-class individuals and solidify their unique linguistic profiles.
Furthermore, cultural reflections are deeply embedded in the phraseology of both authors,
offering insight into the traditions, values, and social norms of their respective communities.
Murod’s use of idioms and proverbs is strongly tied to Uzbek cultural heritage, emphasizing
themes of familial bonds, moral integrity, and the wisdom of elders. A striking example is
“ota-
ona duosi qarg‘ishdan kuchli”
(parents’ prayers are stronger than curses), which highlights the
significance of parental blessings in Uzbek society. Other examples include
“elga yarashmoq”
(to live in harmony with society),
“eldan ajralmoq”
(to be ostracized or separated from one’s
community), and
“bosh egmoq”
(to submit or show humility), all of which reflect the collective
mindset and ethical principles upheld in traditional Uzbek culture. Conversely, Steinbeck’s
phraseological choices are heavily influenced by the economic and social struggles of American
life during the 1930s. Expressions like
“turning into dust”
, which metaphorically represents the
devastation of agricultural land and the suffering of displaced farmers, reflect the hardships of
the Great Depression. Similarly,
“pull yourself up by the bootstraps”
,
“scraping by”
, and
“a
hard row to hoe”
all capture the resilience and perseverance of working-class Americans,
demonstrating how cultural contexts shape linguistic expression.
In addition to their cultural significance, anthropocentric phraseological expressions also
contribute to the emotional and psychological depth of characters, serving as powerful tools for
conveying inner turmoil, hope, despair, and determination. Both Murod and Steinbeck use
phraseology to articulate complex emotional states, often embedding them within dialogues,
monologues, and narrative descriptions. In
The Grapes of Wrath
, for example, the recurring
phrase
“I’ll be there”
symbolizes unwavering loyalty, resilience, and a sense of collective
struggle among the Joad family. This phrase carries a deeper connotation, implying that familial
bonds and solidarity persist despite adversity. Similarly, in
Otamdan Qolgan Dalalar
, the
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expression
“erib ketmoq”
(to melt away) is employed to depict a character’s emotional
exhaustion, hopelessness, and sense of defeat. Other phraseological examples in Murod’s work
that express psychological depth include
“dil tor bo‘lib ketmoq”
(to feel emotionally burdened),
“yuragi ezilmoq”
(to be overwhelmed with sadness), and
“umidi so‘nmoq”
(to lose all hope). In
Steinbeck’s novel, expressions such as
“got no home”
,
“barely hanging on”
, and
“worn to the
bone”
vividly portray characters’ struggles with displacement, poverty, and the weight of
economic hardships.
Finally, anthropocentric phraseological units also serve as a medium for social critique
,
allowing both authors to comment on the socio-economic conditions of their respective societies.
Steinbeck, in particular, employs colloquial phraseology to critique the systemic injustices faced
by migrant workers, poor farmers, and displaced families. The phrase
“got no home”
becomes
emblematic of the widespread displacement experienced by the working class during the Great
Depression, reinforcing the novel’s overarching themes of instability and social inequity. Other
notable expressions include
“pay the piper”
(to face the consequences of economic hardship),
“living hand to mouth”
(to struggle for basic necessities), and
“penny-pinching”
(to be forced
into extreme frugality). Murod’s use of idiomatic expressions similarly highlights the existential
and moral struggles of post-Soviet Uzbek society. For instance,
“qachon tuyaning dumidan
tutmoq”
(to hold onto a camel’s tail) metaphorically suggests relying on external forces for
survival, reflecting the challenges faced by individuals navigating socio-political uncertainty.
Additionally, phrases like
“qismati qora”
(to have a dark fate),
“dunyosi tor bo‘lib qolmoq”
(to
feel trapped in life), and
“ertaga ishonch yo‘q”
(to lack hope for the future) underscore the sense
of disillusionment prevalent among Murod’s characters.
Discussion
The findings of this study indicate that anthropocentric phraseological units are not
merely ornamental linguistic features but rather fundamental narrative devices that contribute
significantly to character development, thematic depth, and overall reader engagement. Both
Tog‘ay Murod and John Steinbeck utilize phraseological expressions as an intrinsic part of their
storytelling, shaping the voices of their characters in ways that reflect personal identities, social
conditions, and cultural traditions. Murod’s reliance on Uzbek proverbs and traditional
expressions serves as a means of embedding cultural heritage into his narratives, reinforcing the
deep-rooted values of family, honor, and perseverance in Uzbek society. Similarly, Steinbeck’s
extensive use of idiomatic language and colloquialisms mirrors the socio-economic struggles of
working-class Americans during the Great Depression, allowing his characters to express
resilience, frustration, and hope in an accessible and emotionally charged manner. These findings
highlight how language serves as a vessel for cultural memory and philosophical insight,
carrying within it the lived experiences and collective wisdom of a given society.
Moreover, the study underscores the universality of phraseological expressions in
literature, demonstrating that despite significant cultural and historical differences between
Uzbek and American societies, human emotions, struggles, and aspirations are often conveyed
through common linguistic patterns. Expressions that depict hardship, endurance, or longing are
present in both Murod’s and Steinbeck’s works, albeit framed within different linguistic and
cultural contexts. For instance, Murod’s phrase
“qora kunlarga qolmoq”
(to be left in dark days)
and Steinbeck’s
“down on his luck”
both encapsulate the experience of misfortune and economic
struggle. Similarly, the Uzbek idiom
“yuragi qon bo‘ldi”
(his heart turned to blood) and the
English expression
“his heart sank”
both serve to illustrate a character’s deep sorrow or
disappointment. These parallels emphasize the shared nature of human experiences, reinforcing
the idea that literature, through its use of phraseology, can bridge cultural divides and foster
mutual understanding.
Furthermore, the research highlights the pragmatic role of phraseological expressions in
literature, particularly in their function within character dialogues and narrative structures. In
both Murod’s and Steinbeck’s works, these linguistic units enhance the realism of conversations,
making the dialogues more authentic and reflective of natural speech. By incorporating
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colloquialisms and idiomatic expressions, the authors ensure that their characters’ voices are not
only distinctive but also representative of their respective socio-economic and cultural
backgrounds. For example, in
Otamdan Qolgan Dalalar
, the phrase
“elga yarashmoq”
(to be
accepted by society) is often used to reflect a character’s desire for social belonging and moral
righteousness, whereas in
The Grapes of Wrath
, expressions like
“got to keep going”
convey
resilience in the face of adversity. These phraseological units serve as powerful tools for
embedding social class markers, ideological perspectives, and emotional depth within the text,
ultimately enriching the literary experience for the reader.
Conclusion
The study concludes that anthropocentric phraseological units play a vital artistic role in
the works of Tog‘ay Murod and John Steinbeck. These expressions contribute to character
development, cultural representation, and thematic profundity, demonstrating the power of
language in literary art. The comparative analysis of Uzbek and American phraseology provides
valuable insights into how different linguistic traditions utilize similar rhetorical devices to
achieve emotional and psychological depth in literature. Future research could expand on this
study by exploring the function of phraseological units in a broader range of literary traditions,
further examining the intersection of language, culture, and narrative artistry.
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