European International Journal of Philological Sciences
42
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TYPE
Original Research
PAGE NO.
42-48
DOI
OPEN ACCESS
SUBMITED
25 January 2025
ACCEPTED
24 February 2025
PUBLISHED
26 March 2025
VOLUME
Vol.05 Issue 03 2025
COPYRIGHT
© 2025 Original content from this work may be used under the terms
of the creative commons attributes 4.0 License.
Strategies for Translating
Cultural Elements from
Korean To Uzbek
Abdiyeva Iroda Normurotovna
Uzbekistan State World Languages University, Lecturer at the Department
of Korean Philology (Independent Researcher/Doctoral Student),
Uzbekistan
Abstract
: This study examines the challenges of
translating Korean cultural elements into Uzbek and
explores various strategies to address practical
incongruities (
실제적
부등성
). The research applies R.
Stolze’s theory of cultural incongruence and Venuti’s
domestication and foreignization strategies to analyze
the cultural adaptation process in translation. Using
data from the Korean National Culture Encyclopedia,
the study identifies five major strategies employed in
translating culture-specific items. The findings indicate
that domestication is the predominant strategy due to
its accessibility for the target audience, while
foreignization is selectively used to preserve cultural
authenticity. The study concludes that an optimal
translation approach requires a context-dependent
balance between domestication and foreignization.
These findings provide valuable insights for translation
studies, particularly in training future translators for
Korean-Uzbek cultural exchange.
Keywords:
Cultural
translation,
Korean-Uzbek
translation, practical incongruence, domestication,
foreignization, cultural adaptation, equivalence in
translation, translation strategies.
Introduction:
Translation is the process of converting a
source text into a target text. As the connection
between translation and culture has developed based
on new principles, the concept of “cultural elements”
has been introduced into translation theory. Cultural
elements refer to all socio-cultural factors that shape
understanding or corresponding actions in a given
context. This concept includes not only linguistic
phenomena but also non-linguistic aspects that do not
exist in the target language’s culture or are de
fined
differently.
When considering cultural elements in translation, it
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becomes clear that translation involves accurately
recognizing cultural components in the source
language and recreating them in the target language.
If a translator does not fully understand the cultural
differences between Korean and Uzbek, errors in
translation are likely to occur. Such differences can
sometimes create barriers to accurate comprehension.
Therefore, cultural elements play an increasingly
significant role in translation, and interest in
translation strategies addressing these elements is
growing.
R. Stolze defines cultural elements unique to the
source language culture but absent in the target
language culture as "practical incongruence" (
실제적
부등성
). If such discrepancies exist between cultural
elements, translation becomes more challenging.
However, by employing appropriate compensation
mechanisms, these cultural gaps can be bridged. The
aim of this article is to identify effective translation
strategies that help compensate for these cultural
differences.
Therefore, this study explores the theory of cultural
discrepancies and analyzes various translation
strategies in Korean-Uzbek translation through
practical examples.
Literature Review
Theories of Translating Cultural Elements
The concept of "cultural elements" is similar to a
linguistic phoneme and represents fundamental
components of culture. Skopos theory founder
Vermeer considers language a part of culture and
defines cultural elements as "cultural products that are
not fully conceptualized within a speech network but
can be accepted by the target language culture."
Kim Hyo-jung defines cultural elements as "all socio-
cultural factors that trigger specific concepts or
corresponding actions in a given situation." According
to Kim, cultural elements include not only linguistic
aspects but also non-linguistic phenomena and
institutions present in the source language culture but
unknown or interpreted differently in the target
language culture.
Lee Geun-hee describes cultural elements as "culture-
bound lexicon," emphasizing that such lexical units are
based on a society’s history, social status, economy,
politics, and linguistic customs.
Aixela refers to culturally specific words and phrases as
"culture-specific items," noting that these units serve a
specific function in the source text and can pose
challenges in translation. Examples include regional
organizations, street names, historical figures,
artworks, and other cultural references.
S.Sun highlights that these terms lack direct equivalents
in the target language culture, making translation more
complex. As a cultural mediator, the translator plays a
crucial role in bridging the gap between the source and
target language cultures. Relying on S.Sun perspective
categorizes cultural elements as follows:
1.
Proper nouns (names of people, buildings,
organizations)
2.
Culture-related units
3.
Units associated with specific events and figures
4.
Idiomatic expressions
5.
Measurement units
Although scholars have yet to reach a complete
consensus on the classification of cultural elements,
their concepts and understandings are largely similar.
Therefore, this article follows Kim Hyo-
jung’s approach
and refers to cultural elements as "cultural units."
If the set of cultural elements present in the source
language culture has not developed in the same way in
the target language culture, a cultural discrepancy
arises. R. Stolze explains this phenomenon as follows:
cultural elements that are widely known and commonly
understood in the source language culture but
unfamiliar in the target language culture; elements that
evoke specific associations in the source language
culture but do not perform the same function in the
target language culture; and elements that are
insignificant in the source culture but carry significant
connotations in the target culture.
According to Stolze, a text is a product of culture, with
culture being embedded in the text and the text
manifesting as a concrete form of culture. The main
challenge in translation is correctly identifying cultural
factors expressed or implied in the text. Stolze
categorizes cultural discrepancies into three main types:
1.
Absolute Non-equivalence (reale Inkongruenz)
–
cultural elements present in the source language
culture but completely absent in the target language
culture.
2.
Formal
Non-equivalence
(formale
Inkongruenz)
–
cultural elements present in both
cultures but with different linguistic forms.
3.
Semantic
Non-equivalence
(semantische
Inkongruenz)
–
elements in the target language that
extend beyond the source language’s meaning or evoke
unintended associations.
Among these types, absolute non-equivalence poses
the greatest challenge in translation. Stolze suggests
that the most effective way to bridge such gaps is to
substitute the source text element with a similar text in
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the target language.
METHODOLOGY
Translation Strategies for Resolving True Non-
Equivalence
When translating cultural elements that exist in the
source language (Korean) but do not exist in the target
language (Uzbek), what strategies should a translator
adopt? This article analyzes the challenges associated
with cultural elements that have a unique cultural
background and exhibit true non-equivalence.
Difficulties arising during the translation of
intercultural texts are often not only due to differences
between the two language systems but also due to
cultural disparities. In such cases, a translator must
choose one of the following two approaches:
preserving the original text’s cultural environment as
much as possible to help readers understand the
foreign culture, or fully adapting cultural elements to
the target language’s culture to minimize readers’
sense of foreignness.
From this perspective, Venuti introduced the concepts
of "domestication" and "foreignization" in the
translation process:
•
Domestication
–
This strategy aims to
integrate cultural and linguistic elements specific to
the source language into the culture and traditions of
the target language. In extreme cases, the translated
text may significantly differ from the original.
o
Methods of domestication:
1.
Expressing the text freely to ensure clarity in
the target language culture.
2.
Using broader terms or superordinate terms to
convey meaning at a higher level of generality.
3.
Employing alternative terms that align with the
target language culture.
•
Foreignization
–
This strategy focuses on
preserving the characteristics of the source language
culture and making readers aware of the foreign
nature of the translated text.
o
Methods of foreignization:
1.
Phonetically adopting words from the source
language.
As
Venuti
emphasized,
domestication
and
foreignization are two opposing yet comprehensive
concepts. The extent to which the source text should
be adapted to the target language culture or retained
as foreign must be determined in each translation
process.
Analyzing Cultural Differences and Translation
Strategies Through Real Examples
To identify cultural elements that exhibit true non-
equivalence, it is sufficient to examine whether they
exist in the target language culture. Therefore, studying
which translation strategies are applied in the translated
text is essential. This article analyzes a text taken from
the
"
한국민족문화대백과사전
"
(Encyclopedic
Dictionary of Korean National Culture), translating
several Korean cultural elements into Uzbek and
categorizing them into the following seven groups:
1.
Korean cuisine
2.
Korean clothing culture
3.
Korean lifestyle
4.
Korean traditions and daily life
5.
Korean folk beliefs
6.
Korean aesthetics and art
7.
Korean symbols and specialty products
This dictionary is primarily intended for foreigners newly
introduced to Korean culture, particularly Uzbek
learners of the Korean language. Since the translated
text highlights important aspects of Korean culture, it
provides significant benefits for Uzbek-speaking
readers.
However, translating cultural elements that exhibit true
non-equivalence is not easy. Misinterpretations may
arise as different translators translate the same cultural
concepts differently. Therefore, in this article, several
cultural elements from the encyclopedic dictionary are
analyzed, examining whether domestication or
foreignization was used in the translation process.
Cultural elements specific to the source language
culture can be expressed in various ways. These
differences play a crucial role in determining which
approach should be used when translating cultural
elements. The following sections will explore these
strategies in detail.
RESULTS AND DISCUSSIONS
Analyzing Translation Strategies for True Non-
Equivalence
①
Expressing with an Equivalent Concept in the
Target Language
This strategy involves translating cultural elements
through explanation when no direct equivalent term
exists in the target language. The main advantage of this
approach is that it helps convey a large amount of
cognitive information. If the cultural gap is significant,
additional explanatory methods should be employed in
the translation process to bridge this difference.
However, a drawback of this strategy is that it may lead
to the loss of stylistic uniqueness found in the lexical
units of the source text. In other words, the aesthetic
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and stylistic aspects of the original text might not be
preserved, as the primary focus is placed on making
the text understandable.
Examples of this strategy in the Uzbek translation of
the
"
한국민족문화대백과사전
"
(Encyclopedic
Dictionary of Korean National Culture) include:
약과
→ "asal aralashtirilgan qovurilgan pechenye"
김장
→ "qish uchun karam tuzlash odati"
떡볶이
→ "achchiq sousda pishirilgan guruchli taom"
미숫가루
→ "don va dukkakli o’simliklardan
tayyorlangan kukunli ichimlik"
솟대
→ "darvoza
yoki
qishloq
chegarasiga
o‘rnatiladigan uzun yog‘och ustun"
장승
→ "himoya maqsadida yo‘l chetiga o‘rnatiladigan
haykallar"
댕기
→ "ayollar uchun an’anaviy soch tasmasi"
대님
→ "erkaklarning shim bog‘ichlari"
윷놀이
→ "an’anaviy koreys taxtali o‘yini"
고싸움
→ "ikki jamoa bo’lib tayoq bilan urish
musobaqasi"
살풀이춤
→ "gieseng marosim raqsi"
김밥
→ "guruch va dengiz o’tidan tayyorlangan yengil
taom"
다리밟기
→ " ko‘prikdan yurish marosimi"
깍두기
→ "tuzlangan turp salati"
동치미
→ "turpdan tayyorlangan suyuq kimchi"
'
막걸리
' → "guruchdan tayyorlangan alkogolli
ichimlik"
빈대떡
→ "yasmiq unidan qovurilgan koreys
quymog’i"
쌈
→ "salat bargi ichiga go’sht va salatlarni o’rab
yeyish"
곰국
→ "suyak va go‘shtdan tayyorlangan sho‘rva"
인절미
→ "guruchdan tayyorlangan shirin taom"
회
→ "xom baliqli taom"
절편
→ "bug‘da pishirilgan guruchni dumaloq qilib
tayyorlangani"
'
두루마기
' → "koreys an’anaviy ustki kiyimi"
'
사물놀이
' → "to‘rt xil zarbli cholg‘u ijrosi"
'
판소리
' → "epik vokal hikoyalash san’ati"
적
→ "kabob uslubida tayyorlangan koreys taomi"
From these translations, it is clear that the translator has
tried to explain the essence of cultural elements. This
allows Uzbek readers to get a clearer understanding of
concepts unique to Korean culture. However, in some
cases, the length of the translated text may increase,
and the stylistic aspects of the source text may be lost.
In the next section, other methods of domestication will
also be examined.
Example (1):
a.
장승은
지역의
수호신으로서
경계표시나
이정표
역할을
했던
민속문화의
조형물이다
.
주로
마을
어귀나
사찰의
입구
혹은
성문
밖에
세워졌다
.
장승은
재료에
따라
돌장승과
목장승으로
구분되는데
,
목장승은
통나무를
잘라
사람
얼굴을
해학적으로
조각하고
전면에
이름을
새겨
만든다
.
b.
Jangseung (himoya maqsadida yo‘l chetiga
o‘rnatiladigan haykallar) –
bu xalq madaniyatiga oid
haykaltaroshlik obidasi bo‘lib, hududning himoyachisi
sifatida chegara belgisi yoki yo‘l ko‘rsatkich vazifasini
bajargan. U asosan qishloq chekkasida, ibodatxona
darvozasi oldida yoki qal’a tashqarisida o‘rnatilgan.
Jangseung ishlatilgan materialiga qarab tosh jangseung
va yog‘och jangseung turlariga bo‘linadi. Yog‘och
jangseung
–
daraxt tanasidan yasalib, inson yuzi hajviy
tarzda o‘yib ishlangan va old tomoniga
uning nomi
yozilgan haykal shaklida bo‘ladi.
In (1a), the Korean term ‘
장승
’
is a cultural concept
unique to Korean heritage and is considered a reality
foreign to Uzbek culture.
In (1b), based on the description “
지역의
수호신으로서
경계표시나
이정표
역할을
했다
”
(which means "served as guardians of the area and
functioned as boundary markers or signposts"), it has
been translated into Uzbek as ‘himoya maqsadida yo‘l
chetiga o‘rnatiladigan haykallar’ ("statues installed on
the roadside for protection").
Example (2):
a.
댕기란
길게
땋은
머리
끝에
드리는
장식용
끈을
말한다
.
삼국
시대부터
조선
시대까지
사용되었다
.
쓰임에
따라
쪽댕기
·
제비부리댕기
·
큰댕기
·
앞댕기
·
어린이용댕기
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가
있다
.
b.
Daengi (ayollar uchun an’anaviy soch tasmasi)
–
bu, uzun o‘rilgan soch uchiga bog‘lanadigan bezakli
tasmaga aytiladi. Undan uch qirollik davridan tortib
Choson
davrigacha
foydalanilib
kelingan.
Qo‘llanilishiga qarab chok
-daengi, jebiburi-daengi,
katta daengi, old daengi va bolalar uchun daengi kabi
turlarga bo‘linadi.
In (1a), ‘
댕기
’
is described as a ribbon that Korean
women in earlier times used to tie their hair.
In (2b), however, the emphasis is placed more on the
meaning of ‘soch tasmasi’ rather than
‘bog‘ich’. That is,
in the Uzbek translation, it is defined as ‘ayollar uchun
an’anaviy soch tasmasi’ ("a traditional hair ribbon for
women").
Although this word could be directly translated as it is,
a more detailed explanation is necessary to ensure
better comprehension for Uzbek learners of the
Korean language.
Example (3):
a.
윷놀이는
길고
작은
원기둥
모양의
나무
두
개를
세로로
반씩
쪼개어
네
쪽으로
만든
윷과
말
,
그리고
말판으로
노는
놀이이다
.
남녀노소
가릴
것
없이
누구나
즐기며
장소에도
특별한
제약이
없다
.
윷을
던져
끗수가
정해지면
말을
가지고
말판에
끗수에
맞게
올려놓거나
옮긴다
.
b. Yutnori (an’anaviy koreys taxtali o‘yini) –
bu o‘yin
kichik va uzun silindrsimon shakldagi ikkita yog‘ochning
bo‘ylamasiga teng ikkiga bo‘linib, to‘rtta bo‘lakdan
iborat yut, shuningdek, figuralar va o‘yin taxtasi
yordamida o‘ynaladi. Bu o‘yinni yosh
-u keksalar
hamma zavq bilan o‘ynashi mumkin va uni o‘ynash joyi
bo‘yicha hech qanday cheklov yo‘q. Yutni otganda
tushgan natijaga qarab, figuralar taxtaga joylashtiriladi
yoki harakatlantiriladi.
In (3a), the Korean term ‘
윷놀이
’
is a cultural word
unique to the Korean people and is unfamiliar to Uzbek
culture. Koreans usually play this game with their
families on national holidays. However, since this type
of game does not exist in Uzbek culture, translating it
presents a challenge.
In (3b), based on the descr
iption “
나무
두
개를
세로로
반씩
쪼개어
네
쪽으로
만든
윷과
말
,
그리고
말판으로
노는
놀이이다
”
, the term has been
translated into Uzbek as ‘an’anaviy koreys taxtali
o‘yini’ ("a traditional Korean board game").
②
Using Cultural Equivalents in the Target Language
The strategy of using cultural equivalents extends and
applies the equivalence theory proposed by Vinay and
Darbelnet. This approach involves using corresponding
cultural terms in the target language when the source
language contains cultural units that do not exist in the
target culture.
The main advantage of this strategy is that it allows the
reader to understand the translation more easily by
using familiar equivalent words. As a result, the reader
can grasp the translated text without feeling a sense of
foreignness.
Primarily, native words that are deeply rooted in the
local culture fall into this category. Below are some
examples for analysis.
'
나막신
' → "yog‘och kovush"
'
뚝배기
' → "sopol kosa"
'
식혜
' → "guruchli ichimlik"
'
탈춤
' → "niqob raqsi"
'
불고기
' → "go’shtli ovqat"
'
반찬
' → "salat"
'
양반
' → "zodagon"
주불놀이
→ "olov o‘yini"
Example (4):
a.
양반은
고려
·
조선시대
지배신분층이다
.
국왕이
조회를
받을
때
,
남향한
국왕에
대하여
동쪽에
서는
문반과
서쪽에
서는
무반
두
반열을
통칭하여
양반이라
하였다
.
고려
초반까지만
해도
양반은
문자
그대로
문
·
무반
관료를
지칭하는
말이었다
.
그러나
양반관료체제가
점차
정비되면서
가부장적인
가족
구성과
공동체적인
친족관계로
인하여
양반
관료의
가족과
친족도
양반으로
불리게
되었다
.
양반층은
음직과
과거를
통한
관직의
세대
이전
,
그들
간의
폐쇄적
혼인
등으로
점차
폐쇄적
계층으로
굳어졌고
,
양반이라는
말
자체도
지배
신분층을
뜻하는
개념으로
바뀌어
갔다
.
b.
양반
(zodagon)
–
Goryeo va Choson davrining
hukmron tabaqasi. Goryeo va Choson sulolalari davrida
ular jamiyatning hukmron tabaqasini tashkil qilgan.
Qirol davlat ishlarini muhokama qilish uchun qabul
qilganda,
sharqda
turgan
munban
(fuqarolik
amaldorlari) va g‘arbda turgan muban (harbiy
amaldorlar) birgalikda
양반
(zodagon) deb atalgan.
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Dastlab, Goryeo boshlarida
양반
(zodagon) faqat
davlat xizmatidagi fuqarolik va harbiy amaldorlarni
bildirgan. Biroq, vaqt
o‘tishi bilan
양반
(zodagon)
tizimi mustahkamlanib, patriarxal oilaviy tuzilma va
jamoaviy
qarindoshlik
munosabatlari
sababli
amaldorlarning oilasi va qarindoshlari ham shunday
ataladigan bo‘ldi.
Bu tabaqa merosiy lavozim olish, faqat o‘z tabaqasidagi
kishilar bilan nikoh tuzish, davlat imtihonlari orqali
martabaga erishish kabi yo‘llar bilan jamiyatning yopiq
elitasiga aylandi. Shunday qilib,
양반
(zodagon)
tushunchasi asta-
sekin hukmron tabaqa ma’nosiga ega
bo‘lib bordi.
In (5a), the term ‘
양반
’
historically referred to the
ruling class in Korea. This word can be replaced with
the Uzbek term ‘zodagon’, as it fully corresponds to the
given definition of ‘
양반
’
. In this case, readers familiar
with the target culture will not face significant
difficulties in understanding the meaning.
If there is no exact equivalent, the term can be
replaced with a more general concept (a higher-level
term
–
상위어
). However, the drawback of this
method is that it may slightly alter the primary
meaning and diminish the cultural nuances.
Therefore, this strategy should be applied carefully,
depending on the translator’s discretion and the
purpose of the translation.
CONCLUSION
This article examined methods of conveying cultural
elements in Korean-to-Uzbek translation, drawing on
R. Stolze’
s theory of "practical incongruity" and
Venuti’s translation strategies of localization and
foreignization. To analyze these methods, cultural
texts from the
한국민족문화대백과사전
(Korean
National Cultural Encyclopedia) were translated into
Uzbek, and the applied translation strategies were
studied.
The research identified five main translation strategies,
summarized as follows:
1.
Translating the source language’s cultural
concept through explanation.
2.
Replacing the source language concept with a
cultural equivalent in the target language.
When analyzing the applied strategies, it was observed
that localization was used more frequently. However,
the method of translation involving high-level
generalization within localization was not utilized, as
this approach might alter meanings and obscure
cultural characteristics of the source language.
Additionally, within the foreignization strategy, direct
translations of certain words were frequently used.
However, they were applied in a limited manner to
avoid creating comprehension difficulties for readers.
A key takeaway is that the mentioned translation
strategies each have distinct functional properties and
effectiveness and can be used in combination.
Therefore, selecting the most appropriate strategy
based on the trans
lation’s purpose and context is
crucial.
Nevertheless, due to the limited scope of the selected
texts, some translation choices may have been
influenced by the translator’s personal linguistic style.
Hence, caution should be exercised when generalizing
these findings.
Moreover, the classification and precise boundaries of
each translated cultural element remain a challenge.
These boundaries may sometimes overlap, making their
distinction unclear. For this reason, further in-depth
research on this topic is necessary.
Future Research Prospects
Beyond this analysis, it would be beneficial to compare
how cultural elements are translated across different
text genres. From a translation education perspective,
studying and developing methodological materials on
cultural translation techniques holds significant value.
This could serve as a valuable academic and practical
resource for incorporating cultural aspects more
effectively in future translations.
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