S H A R Q M A S H ’ A L I
83
ТАРЖИМАШУНОСЛИК
PECULARITIES OF FOLKLORE REPETITIONS
IN THE TRAGEDY “ROMEO AND JULIET”
ASKAROVA SHAKHNOZA
Associate Professor, TSUOS
Abstract. The article is dedicated to analysis of the repetitions, expressed by noun in Uzbek translation of the
work "Romeo and Juliet" by W. Shakespeare. In it is considered way of talking of the repetitions in Uzbek
translation of original English text is spoken about skill of the translator in process, are researched particularities
of their usage. Linguistics uses several means of expression to ensure the effectiveness of speech. One of them is
repetition, which serves to effectively express the speaker's speech and causes the listener to emotionally arouse
in connection with a certain event or incident, as well as to highlight certain statements in speech. It is used when
the speaker is under the influence of strong emotions. Repetition, as one of the most common stylistic devices, is
found in a wide variety of genres, colorful works and in a wide variety of texts. As a stylistic method, the properties
of repetition are associated with the feelings and moods of the reader, reinforcing and reinforcing the thinking in
his mind. Therefore, in our opinion, the main stylistic function of repetition is the function of absorbing strong
emotions and subtleties in the reader or listener. There are also types of repetitive stylistic means such as verbal,
phonetic, lexical, syntactic, semantic repetition. Hence, it also includes multiple uses of units at a specific linguistic
level or at multiple levels to improve the tone and emotionality of the text. The power of this effect is manifested
not only in the repetitive units of phonetic and lexical meaning, but also in the communicative and distant repetition
of repetitive linguistic units in this context. Thus, the main function of communicative repetitions is to draw the
attention of the reader or listener to the emotionality and expressiveness of the expression, as well as to create the
tone of the text. Duplicate words that go side by side (at the end of the first sentence and at the beginning of the
second sentence) always provide new or additional information in sync with the development of the textual content.
They help create vertical rhyme and enhance the expressiveness of the poetic image.
Keywords and expressions: folklore, translation, original, repetition, translator, research, work, adopted
word, the influence, stylistic devices, dictionary.
Аннотация. Мақола “Ромео ва Жульетта” асари таржимасида такрор воситасининг берилиш
усулларига бағишланган. Ушбу асар аслияти ва таржимасидаги такрор воситанинг иштироки,
аҳамияти хусусида мулоҳаза юритилади. Такрорнинг ҳиссий таъсирчанликни оширувчи хусусияти
тадқиқ этилади. Тилшуносликда нутқнинг таъсирчанлигини таъминлаш мақсадида бир неча ифода
воситалари қўлланилади. Улардан бири такрор бўлиб, у сўзловчи нутқини таъсирчан қилиб ифодалаш ва
тингловчида маълум воқеа ёхуд ҳодисага нисбатан ҳиссий қўзғалишни уйғотиш ҳамда нутқдаги маълум
баёнларни алоҳида таъкидлаш учун хизмат қилади. Ундан гапирувчи шахс кучли ҳис-ҳаяжон таъсири
остида бўлганида фойдаланилади. Такрор кенг тарқалган стилистик услублардан бири сифатида ҳар хил
жанрлар, ранг-баранг асарлар ҳамда турли матнларда учрайди. Стилистик усул сифатида такрорнинг
хоссалари китобхон ҳис-туйғулари ва кайфиятига ҳавола этилиб, унинг онгидаги мулоҳазаларни кучай-
тиради, мустаҳкамлайди. Шунинг учун ҳам, фикримизча такрорнинг асосий стилистик функцияси
ўқувчи ёхуд тингловчига кучли ҳис-ҳаяжон ва нафосатни сингдирувчи функциясидир. Бундай таъсирнинг
кучи нафақат товушли ва лексик мазмунга эга такрорланувчи бирликларда намоён бўлади, балки бир неча
бор қўлланувчи у ёки бу тил бирликларининг мазкур контекстдаги алоқавий ва масофавий такрорланиши
билан ҳам изоҳланади. Шундай қилиб, алоқавий такрорларнинг асосий функцияси ўқувчи ёки тинглов-
чининг бутун диққатини ифоданинг эмоционаллиги ва экспрессивлигига тортиш, шунингдек, матн
S H A R Q M A S H ’ A L I
84
оҳангини яратиш ҳисобланади. Ёнма-ён (биринчи гапнинг охири ва иккинчи гапнинг бошида) келган
такрор сўзлар матн мазмунининг ривожи билан ҳамоҳанг ҳолда доимо янги ёки қўшимча маълумот
беради. Ўзига хос кўпфункциялилик ичида алоҳида ажралиб турадигани – масофавий такрордир. Улар
вертикал қофияни юзага келтириб, шеърий образдаги ифодавийликни кучайтириш учун ёрдам беради.
Масофавий такрорлар ҳам ёнма-ён (биринчи гапнинг охири ва иккинчи гапнинг бошида) келадиган
такрорлар каби вертикал ёки горизонтал такрорларни вужудга келтириб, ахборот узатишда, шеърий
асарларда тузилмавий-семантик алоқа ўрнатишда иштирок этади.
Таянч сўз ва иборалар: фольклор, таржима, аслият, такрор, таржимон, тадқиқот, асар,
ўзлашма сўз, таъсир, стилистик усуллар, луғат.
Аннотация. Статья посвящена анализу повторений, выраженных существительными в узбекском
переводе произведения «Ромео и Джульетта» В. Шекспир. В нем рассматриваются способы выражения
повторений в узбекском переводе оригинального английского текста, говорится о мастерство переводчика в
процессе, исследуются особенности их употребления. В лингвистике используются несколько средств
выражения, чтобы гарантировать эффективность речи. Одним из них является повторение, которое
служит для эффективного выражения речи говорящего и вызывает у слушателя эмоциональное
возбуждение в связи с определенным событием или инцидентом, а также для выделения определенных
высказываний в речи. Это используется когда говорящий находится под воздействием сильных эмоций.
Повторение как один из наиболее распространенных стилистических приёмы встречается в самых разных
жанрах, красочных произведениях и в самых разных текстах. В качестве стилистического метода свойства
повторения связаны с чувствами и настроениями читателя, усиливая и усиливая размышления в его уме.
Поэтому, на наш взгляд, основная стилистическая функция повторения - это функция поглощения сильных
эмоций и тонкости в читателе или слушателе. Существуют также типы повторяющихся стилистических
средств, такие как словесные, фонетические, лексические, синтаксические, семантические. Следовательно,
это также включает многократное использование единиц на определенном лингвистическом уровне или на
нескольких уровнях, чтобы улучшить тон и эмоциональность текста. Сила такого эффекта проявляется не
только в повторяющихся единицах фонетического и лексического значения, но также в коммуникативном и
удаленном повторении повторяющихся языковых единиц в этом контексте. Таким образом, основная
функция коммуникативных повторов - привлечь внимание читателя или слушателя к эмоциональности и
выразительности выражения, а также создать тон текста. Повторяющиеся слова, которые идут рядом
(в конце первого предложения и в начале второго предложения), всегда предоставляют новую или допол-
нительную информацию синхронно с развитием текстового содержания. Они помогают создать верти-
кальную рифму и усиливают выразительность поэтического образа.
Опорные слова и выражения: фольклор, перевод, оригинал, повтор, переводчик, исследование,
произведение, иноязычное слово, воздействие, стилистический приёмы, словарь.
Language is a means of human communication, through which the culture of this society is in
constant and continuous contact with the world, and ultimately all this determines the level of
development of society. Language is a mirror of culture, on the basis of which not only the real
world around a person, not only the real living conditions of a person, but also the social
consciousness of an entire nation, its mentality, national character, way of life, traditions, customs.
Language is a tool of culture, a weapon. It forms the worldview, mentality, communication with
people, that is, through the culture of the nation, as well as through this language, which is used as
a unit of communication, through a direct connection between the speaker and the language
1
. As a
form of human activity, language is an integral part of culture and is defined as the overall result of
human activity in such aspects of human life as production, social and spiritual. But as a form of the
mental world and, most importantly, as a unit of communication, language stands side by side with
1
Сулаймонова Ф. Шекспир Ўзбекистонда. – Тошкент: Фан, 1978.
S H A R Q M A S H ’ A L I
85
culture. Through the language itself, knowledge gained from individuals becomes a community
experience that allows people of the same people and of the same culture to understand each other
despite different experiences and diversity of knowledge.
An important factor in the development of human society is reflected in the interaction,
communication, interdependence of language and culture. The attention of linguists working in different
fields to the phenomenon of repetition is explained by its universality, as well as its prevalence in
different genres of speech. The relevance of the topic lies in the small mass of repetitive works.
According to the researchers (repetition occurs at all levels of the language hierarchy system
1
. Although
there is not always a correlation between repetitions at different levels, there is no doubt that there is a
close connection between them: falsehood. Linguistics uses several means of expression to ensure the
effectiveness of speech. One of them is repetition, which serves to effectively express the speaker's
speech and causes the listener to emotionally arouse in relation to a certain event or incident, as well as
to highlight certain statements in speech.
Repetition plays an important stylistic role in giving a stress to
the main part of the sentence, describing sensitive condition of the speaker, showing the speaker’s
emotional-expressive attitude to describing object and expressing length of the process.
It is used when
the speaker is under the influence of strong emotions. Repetition is one of the
most common stylistic
styles, found in a wide variety of genres, colorful works, and in a variety of texts. Recently, it has become
an active object of the study of linguistic text.
English folklore consists of the myths and legends of England, including the English region's
mythical creatures, traditional recipes, urban legends, and folktales. English folklore encompasses the
traditional Robin Hood tales, the Brythonic-inspired Arthurian legend, and the more contemporary
urban legends and monsters such as the Beast of Bodmin Moor. English folklore takes a heavy influence
from Pagan tradition, with a number of figures, legends, and creatures being adapted from the pre-
Christian traditions of the region. This Pagan influence means that English folklore generally differs
between regions in the country, however some myths pervade most of the country. Thousands upon
thousands of folk songs in England have been collected from traditional singers, including the
famous Child Ballads which were collected in the 19th century. Some of these provide evidence
pertaining to other folk tales including the Arthurian legends and the tales of Robin Hood.
Others contain mystical elements which probably stem from Anglo Saxon paganism or Celtic
paganism, such as "The Elfin Knight" (of which "Scarborough Fair" is a variant), "John Barleycorn",
"The Wife of Usher's Well", "Thomas the Rhymer", "Tam Lin" and "King Henry".
Some festive songs use imagery that hints at a pagan origin, such as The Holly and the
Ivy and certain wassailing songs.
Many parts of English and British folklore still contain evidence of Europe’s pre-Christian past.
In common with most other regions of Europe, some aspects of past Pagan religions survive in
English Folklore. Examples of this include the Wild Hunt and Herne the Hunter which relate to
the Germanic deity Wooden. The Abbots Bromley Horn Dance may represent a pre-Christian
festival and the practice of Well dressing in the Peak District, which may date back to Anglo-
Saxon or even Celtic times. May Day celebrations such as the Maypole survive across much of
England and Northern Europe.
Many Christmas traditions appear to have their roots in Paganism, such as decorating trees, the
significance of holly, and Christmas carolling itself.
English folklore crops up in books, films and comic books and these appearances include:
1
Сулаймонова Ф. Шекспир Ўзбекистонда. – Тошкент: Фан, 1978.
S H A R Q M A S H ’ A L I
86
Lancre and The Chalk, the settings for the
and Tiffany Aching story arcs of
the Discworld fantasy book series, are heavily inspired by British mythology and folklore, described
by author Terry Pratchett as 'solid folklore.
Characters such as Jenny Greenteeth, The Black Shuck and Black Annis have made an appearances
, and in the short story
by Simon Spurrier and Lee Garbett.
Herne the Hunter and other references to English folklore and Arthurian legend can be found
in Susan Cooper's books,
The name Springheel Jack is used in the Bethesda Softworks game
Quest line.
There are several mentions of British folklore creatures in the
Rowling such as Boggarts and Redcaps.
takes inspiration from various aspects of English folklore.
Rudyard Kipling was keenly interested in folklore, as he has written many English works based
on folklore such as,
Rewards and Fairies and Puck of Pook’s Hill
. His experiences in Indian
environment have led him to create several works about Indian themes and tradition. Since Kipling
has lived a great deal of life in Indian regions, he was much familiar with the Indian languages.
The Jungle Book,
consists of plenty of stories about traditional folktales.
He also has Indian themes in his work,
Just So Stories,
in which he has given many characters
recognizable names related to Indian languages. Helen Bannerman has also penned an Indian themed
folktale,
Little Black Sambo,
during the same period.
A. K. Ramanujan has written a lot about context sensitivity as a theme in many cultural essays,
classical poetry, and Indian folklore. For example, in his works
Three Hundred Ramayanas,
and
Where Mirrors are Windows
, he talks about intertextual quality of written and oral Indian literature.
His popular essay,
Where Mirrors Are Windows: Toward an Anthology of Reflections,
and
commentaries done on Indian folktales, including
Oral Tales from Twenty Indian Languages,
and
The Interior Landscape: Love Poems from a Classical Tamil Anthology,
Present Perfect examples
of Indian folk literature studies.
Alan Garner is a renowned English novelist popular for writing fantasy tales and retellings of
traditional English folk tales. His works are mainly rooted in history, landscape, and folklore of his
native country Cheshire. One of such children’s novels is,
The Weirdstone of Brisingamen: A Tale
of Alderley,
which took a local legend from
The Wizard of the Edge,
and described landscapes and
folklore of neighboring Alderley Edge, where Alan had grown up. The novel is set in Alderley Edge
in Cheshire and Macclesfield. This is a very good example of the use of folktales in literature.
Function of Folklore. The main purpose of folklore is to convey a moral lesson and present useful
information and everyday life lessons in an easy way for the common people to understand. Folk
tales sugarcoat the lessons of hard life in order to give the audience pointers about how they should
behave. It is one of the best mediums to pass on living culture or traditions to future generations.
Currently, many forms of folk literature have been transformed into books and manuscripts,
which we see in the forms of novels, histories, dramas, stories, lyric poems, and sermons. Folk
literature is, however, not merely a carrier of cultural values; rather, it is also an expression of self-
reflection. It serves as a platform to hold high moral ground without any relevance to present day
reality. Instead, writers use it as a commentary or “satire” on current political and social reality. In
the modern academic world, folklores and folktales are studied to understand ancient literature and
civilizations. In spite of researching of repetition, which meets in literary works, this problem has
not found it’s unraveling till the end. That is why its research is one of the actual problems of today’s
S H A R Q M A S H ’ A L I
87
modern philology. Especially, the peculiarities of the expression of repetition in original and
translation text of literary works need attention of linguist-researchers. As an example we can
analyze the repetitions in the tragedy of “Romeo and Juliet” which is written by the great English
ancestor and one of the unique members of the world literature William Shakespeare and its Uzbek
translation by famous Uzbek poet and translator M. Shaykhzoda
1
.
Conducted observations show that, in the work of “Romeo and Juliet” by Shakespeare there are 331
word repetitions, 38 repetitions of word combinations, 52 sentence repetitions, 5 prepositional
repetitions. If we want to represent the participation of parts of speech, the author used 38 verbs, 32
pronouns, 28 adjectives, 7 adverbs, 5 numerals. They participated in the work as repetitions. There are
62 repetitions concerning to noun, so noun is counted as the most active part of speech in this work. It is
known that, there is no any language alone itself, languages in the world fill and enrich each other. Just
this condition can be observed in the dictionary of English word’s vocabulary. In above mentioned work
with a row of transparent English words, there are French, Latin and German adopted words which take
part as noun repetition in the work. The main goal of this classification is to specify noun repetitions
belonging to what language, reflection of these repetitions’ meaning in translation and to work the ways
of translation without loss of the meaning of the work. It is very necessary factor for translation. As a
result of this full meaning of original work will be understandable for the reader. Let’s pay attention to
some examples which are expressed by noun repetitions.
Ғам-ғуссали
соатларнинг умри ҳам узун,
Ҳозир бундан кетган киши отам эмасми?
Ғам –
[
а.
Қайғу, ҳасрат, ғам-алам]
1
Руҳий азоб ҳис-туйғуси, руҳиятдаги шундай ҳолат, қайғу.
2
Кўзланган мақсад, иш ва шу кабилар йўлидаги безовталик хатти-ҳаракати, шу ҳақдаги
ўй-ҳаёл, ташвиш.
Ғусса –
[
а.
Бўғувчи нарса, ғам-қайғу] Ғам-алам, қайғу. [Ўзбек тилининг изоҳли луғати. 2006.]
In this rhythme two words “ғам” and “ғусса” are adopted from Arabian origin. The meanings of these
words are similar to each other. Translator used from the first meaning of the word “ғам” in dictionary and
similar word “ғусса” according to original. Now, we’ll look through it in English original work.
Ay me!
Sad
hours seem long.
It is known that, according to the place and content every word is used in different meanings. In
this line M. Shaykhzoda translated a word “sad” into Uzbek with the help of semantic repetition.
We think that, this is right way of translation. W. Shakespeare wrote the work in the measure which
consists of 10 syllables. And during the process of translation, translator used the “finger” measure
of Uzbek epic poetry consisted of 13 syllables. So, in order to provide measure proportionality in
poetry translator used semantic repetition and there is no any changing in meaning, otherwise he
could give the meaning fully. Another example for noun repetitions in original which were expressed
in translation the same with repetition.
In translation:
Чечак бунда! Энди менинг куёвим
ажал.
Қизим эри, ворисим ҳам
ажалдир, ажал.
Мен ҳам бешак ўлажакман, ҳамма нарсамнинг,
Мулкимнинг ҳам, умримнинг ҳам вориси –
ажал.
The word “ажал” in Uzbek translation is adopted from Arabic origin. This word is described in
the book of “Ўзбек тилининг изоҳли луғати” as following:
1
Шекспир В. Ромео ва Жульетта. Танланган асарлар. Беш жилдлик. – Тошкент: Ғафур Ғулом номидаги адабиёт
ва санъат нашриёти, 1981. – 1-жилд. – Б. 21-178.
S H A R Q M A S H ’ A L I
88
ажал
[
а
. – вақт оралиғи; белгили муддат] – Ўлим пайти, қазо вақти; ўлим [Ўзбек тилининг
изоҳли луғати, 2006.].
In original:
Death
is my son-in-law,
Death
is my heir;
My daughter he hath wedded: I will die,
And leave him all, life living all is
Death
’s!
death –
noun. 1) the action or fact of dying or being killed.
2) the state of being dead.
3) the end of something [The Oxford English Dictionary, 2000.].
In these examples the proportion of repetitions is almost equal. In translation of “Romeo and
Juliet” translator expressed some nouns with the help of repetition which were written in original
work once. The cause of this can be explained by providing the proportion of measure in poetry,
devoting emotionality to the expression. Another passage was translated as following:
Капулетти: Шундай қизнинг бўлишига минг
лаънат, лаънат
!
лаънат
[
а
. – лаънат, қарғиш] –
1
Кечириб бўлмайдиган айби, хатти-ҳаракати, оғир жиноя-
ти учун қаттиқ қарғиш, шундай мазмунда айтилган гап-сўзлар.
2
Қаттиқ ғазаб ва нафратли қарғишни ифодалайди
1
.
If we compare this passage with its original there are some differences in usage of words between them.
Capulet: And that we have
a curse
in having her.
curse – noun. 1) a solemn appeal to a supernatural power to inflict harm on someone or something.
2) an offensive word or phrase used to express anger or annoyance.
The reader should pay attention to the usage of proper nouns during the process of reading. As
it is known, during the translation, in many positions proper nouns are taken from one language into
another according to the transcription (otherwise, according to their reading). Repetitions of proper
nouns also meet in this work in the formation
of addressу and they are reflected as following:
Энага: Фалак қила олмас экан,
Ромео
қилди!
Войдод, войдод, ким ўйлабди?
Ромео,
войдод!
In original:
Nurse:
Romeo
can,
Тhough heaven cannot. O!
Romeo, Romeo;
Who ever would have thought it?
Romeo
Proper nouns used repeatedly in original were given also with the help of repetition in translation. There
are 9 proper nouns in both languages (in original and in translation also), they are: Romeo, Montague,
Benvolio, Capulet, Juliet, Tybalt, and Paris. Among these names proper nouns of Romeo and Juliet meet
many times in the formation
of addressу during the dialogues in this work. The most interesting facet is
that, in English dictionaries which explanations of all English words were given, above mentioned two
names were noted. But in fact, explanations of proper nouns are not given in dictionaries.
Romeo –
noun. 1) an attractive, passionate male seducer or lover.
2) a code word representing the letter R, used in radio communication.
ORIGIN the hero of Shakespeare’s romantic tragedy
Romeo and Juliet
2
.
This words’ entering to the structure of modern English dictionaries straightly depends on
Shakespeare’s tragedy “Romeo and Juliet” and because of its well-known all over the world. So
1
Ўзбек тилининг изоҳли луғати, 2006.
2
The Oxford English Dictionary, 2000.
S H A R Q M A S H ’ A L I
89
that, the object of our research – “Romeo and Juliet” was the cause of entering these nouns to the
structure of modern English dictionaries. In many places of Uzbek translation of “Romeo and Juliet”
translator was limited with using repetition words or word combinations only once. It is the influence
of Russian translation of it. Shaykhzoda effectively used Russian and Azerbaijan translation of
“Romeo and Juliet” during the translation process (“Ромео и Джульетта” is the translation of B.
Pasternak from English into Russian). But Uzbek translator chose excellently the equivalents of
words. It means that, Shaykhzoda was a master of translation. He used many adopted words from
different languages as noun repetitions. (1-table)
1-table
39 words belonging to
English
THE PECULARITIES OF NOUN
REPETITIONS IN THE WORK
OF “ROMEO AND JULIET”
Noun repetitions
in origin
of the work
12 words adopted
from German
6 words adopted from
Latin
9 proper nouns
belonging to English
2 words adopted from
French
42 words adopted from
Arabian
36 words adopted from
Persian- Tajik
33 words belonging to
Uzbek
1 word adopted from
Mongolian
16 words adopted from
French
Noun repetitions in
Uzbek translation of
the work
S H A R Q M A S H ’ A L I
90
Organized researches show that, the great English ancestor and one of the great members of the
world literature William Shakespeare, who lived five centuries ago, also used different types of
repetition. The main aim of using repetitions is to describe the speech of heroes in the work more
expressively. One of important peculiarities of repetition: many repetitions are used in culmination points
of development of events in original work of “Romeo and Juliet” and its translation. It means that, the
significance of repetition is endlessly in devoting expressiveness to the utterance. Each repetition
reinforces rhythmical aspect of the sentence. It is an important stylistic device in presenting the
speech melodiously, efficiently and bewitching and by this way the speech will be received easily
by listener.
This means that it is not enough for the speaker to use a word, phrase or phrase once to
express his speech effectively. In addition to A. Shomaksudov, and Khodjiev's opinion, it can be
said that a word, phrase, sentence repeated two or more times increases the efficiency of speech.
This encourages the use of a repetition tool. Thus, the pause between repeating words is long, they
can be used in a sentence two or more times, such words originating from a sentence are mor-
phologically the same. Consequently, due to the national and cultural characteristics of both peoples,
repetition in these languages is studied in different ways. B. In addition to Musaev's analysis, it
should be noted that syntactic devices such as anaphora, epiphora can be interpreted as types of
repetition. Because in both of them, although the first is at the beginning of a sentence and line, and
the second at the end of a sentence and line, there is a repetition of the same word or phrase. This
indicates that they can be added to the list of types of repetitive means of expression. The stylistic
functions of repetition are varied and multifaceted.
БАДИИЙ ТАРЖИМАДА КОНЦЕПТУАЛ МЕТАФОРАЛАРНИНГ
ҚАЙТА ЯРАТИЛИШИ
КУРБАНОВА ГУЛСАРА
филология фанлари бўйича фалсафа доктори (PhD), доцент, ЎзМУ
РОФИЕВА ГУЛАСАЛ
филология фанлари бўйича фалсафа доктори (PhD), ЎзМУ
Аннотация. Мазкур мақола ўзбек тилидаги концептуал метафораларнинг французча таржима-
сининг ўзига хос хусусиятларини Э.Аъзам асарларининг французча таржималари асосида ўрганишга
бағишланади. Ўзбек тилидаги концептуал метафораларнинг французча таржимасининг ўзига хос
хусусиятларини очиб беришда Э.Аъзамнинг учта асар намуналари ва уларнинг Ш.Миноваров
томонидан қилинган таржималари ўрганиб чиқилди.
Таҳлилга тортилган метафоралар оригиналлиги, таржимада берилиши ва матн мазмунидаги таъсир
даражасига биноан саралаб олинди. Ориентацион, структуравий ва онтологик метафоралар таркибига
кирувчи таснифларни метафораларнинг семантик турларига оид манбалар асосида кенгайтирилди.
Таянч сўз ва иборалар: концептуал метафора, ориентацион, структуравий ва онтологик мета-
форалар, ёзувчи ва таржимон услуби, муқобил таржима.
Аннотация. Статья посвящена исследованию особенностей французского перевода концеп-
туальных метафор на узбекский язык на основе французских переводов произведений Э. Азама. Для
