Volume 03 Issue 05-2023
83
International Journal Of Literature And Languages
(ISSN
–
2771-2834)
VOLUME
03
ISSUE
05
Pages:
83-86
SJIF
I
MPACT
FACTOR
(2021:
5.
705
)
(2022:
5.
705
)
(2023:
6.
997
)
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
ABSTRACT
This article deals with the stylistic means of artistic speech and its translation. Some basic notions from prominent
scholars are given according stylistic devices and provide examples basing on the topic.
KEYWORDS
Translation, fiction, colloquialisms, tropes, metaphors, allegories, ironies, exaggeration.
INTRODUCTION
Translating literary works involves more than just
conveying the meaning of the text; it also requires
preserving its artistic and emotional impact. This
demands a deep understanding of the author's style
and intentions, as well as the ability to recreate them in
the target language. Accuracy and precision are crucial
in fields such as business, law, medicine, and
technology, where mistranslations can have serious
consequences. Thus, translators must possess
specialized knowledge and expertise in the relevant
field to ensure effective translations. Translation is a
complex and challenging task that involves linguistic,
cultural, and subject matter expertise. It is crucial for
promoting
communication
and
understanding
between different cultures and languages, preserving
linguistic heritage, and promoting global cooperation.
When translating scientific, technical, economic, or
literary works, the translator frequently encounters
the challenge of accurately translating certain national
realities
or
lexical
expressions
that
are
incomprehensible to readers from other nations or
may not even have equivalents in the translation
language. The process of translating a book from one
language to another can take a long time, and literary
translations in particular can provide a number of
challenges and concerns because of their distinctive
stylistic qualities.
Research Article
LINGUOPOETIC CHARACTERISTICS OF ARTISTIC TEXT
Submission Date:
May 05, 2023,
Accepted Date:
May 10, 2023,
Published Date:
May 15, 2023
Crossref doi:
https://doi.org/10.37547/ijll/Volume03Issue05-17
Aziza Axtamovna Marupova
Samarkand State Institute Of Foreign Languages Senior Teacher Of The Department Of English Philology,
Uzbekistan
Journal
Website:
https://theusajournals.
com/index.php/ijll
Copyright:
Original
content from this work
may be used under the
terms of the creative
commons
attributes
4.0 licence.
Volume 03 Issue 05-2023
84
International Journal Of Literature And Languages
(ISSN
–
2771-2834)
VOLUME
03
ISSUE
05
Pages:
83-86
SJIF
I
MPACT
FACTOR
(2021:
5.
705
)
(2022:
5.
705
)
(2023:
6.
997
)
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
In a piece of fiction, a word might have purposes other
than just conveying information. The phrase is
frequently used to refer to an aesthetic effect on the
reader made possible by creative imagery. The reader
is more likely to be affected by a picture if it is bright
and true [1].
Writers frequently use colloquialisms and outmoded
dialect terminology in their writing in addition to the
vocabulary of the literary language.
The emotionality of the creative story differs
significantly
from
the
emotionality
of
the
conversational and journalistic forms, it should be
highlighted. It serves an aesthetic purpose in a literary
work. A thoughtful and fair choice of linguistic tools is
required for this approach. A literary work may be
recognized by the employment of unique figures of
speech that give the story color and picture.
There are many different and varied ways to express
one artistically. Tropes like analogies, personifications,
allegories, metaphors, metonymies, synecdoche, and
similar devices are among them. Epithets, hyperboles,
litotes, anaphora, epiphora, gradations, parallelisms,
rhetorical inquiries, omissions, and other stylistic
devices are also forms of creative expression.
Numerous tropes (turns of phrase in which a word or
term is employed in a metaphorical way) are utilized
often in the creative style [1].
The route relies on the transmission of signals from one
thing or phenomena to another. Different factors
contribute to the transfer of signs in tropes, which are
then separated into simple and complicated ones
based on their complexity. Simple tropes include
epithets and analogies, while complex tropes include
metaphors, allegories, ironies, exaggeration, and
others.
The meaning of a word that determines how
expressive it is known as the epithet (from others-
Greek, “attached”). A noun (“fun noise”), an adjective
(mostly), an adverb (“to love dearly”), and a number
(“second life”) are also used to represe
nt it [2].
An epithet may also be characterized as a figurative or
poetic definition, highlighting its opposition to the
subject's logical description, which also serves to
concretize the subject’s notion.
A comparison, or “comparatio” in Latin, is a verb
al
statement in which the notion of the item being shown
is made concrete by being compared to another
object. As a result, the comparison contains the
indications needed to concretize the representation
into a more concentrated manifestation. The phrase
“
The globe of the earth is chained to the leg like a
nucleus” (attributed to M. Voloshin) is one example of
how the symbol of the planet's shape and gravity is
metaphorically shown in a “concentrated” form. The
comparison is composed of three parts: the thing
being compared, or the “object” of comparison (Latin
comparandum); the thing being compared, or the
“image” (Latin. comparatum); the basis on which they
are compared; and the sign by which the comparison is
made (Latin tertium comparationes).
Metaphor, metonymy, irony, and sarcasm, together
with its constituent parts, come together to form a set
of complicated tropes.
Metaphor is a term whose meaning is transferred to
the name of another thing related with the object to
which this word normally refers by similarities (from
the Greek “transference”). This is a metaphorical term
Volume 03 Issue 05-2023
85
International Journal Of Literature And Languages
(ISSN
–
2771-2834)
VOLUME
03
ISSUE
05
Pages:
83-86
SJIF
I
MPACT
FACTOR
(2021:
5.
705
)
(2022:
5.
705
)
(2023:
6.
997
)
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
in which the indications of one thing or deed are
applied to other things.
Certain items are personified (personification,
prosopopeia) when they are compared to a small man
or living things and their characteristics.
A two-level artistic depiction technique known as
allegory (Greek: allegoria) is based on hiding real
people, events, and things behind particular artistic
pictures that are associated with the traits of the
concealed.
As in the proverb “The word speaks
- the
ruble will give”.
An oxymoron is a type of metaphor that is created by
pairing words with completely different meanings,
much like a pejorative comparison [2].
In general, there are several linguistic ways to
represent metaphor. The metaphor indicated by a
noun is better understood since it is most frequently
stated by a verb and its forms or by an adjective
(metaphorical epithet) [3].
The second major category of complex tropes is
metonymy, which contains figurative phrases in which
the name of one thing or phenomena is changed to fit
the description of another thing or phenomenon
connected to the first external or internal connections.
For instance, the metonymy in the phrase “the whole
theater applauded” is indicated by the word “theater”.
This phrase refers to the audience members present,
not the theater itself, hence the word is used
metaphorically rather than literally. The terms
“theater” and “audience” are also tightly intertwined,
serving as close partners by their own nature and not
only as a result of the metaphor. Metaphors are
frequently equated with metaphors or seen as a subset
of them. They should still be distinguishable, though.
The metonymy of location, time, space, and belonging
may be applied in this situation.
Metonymy itself is a form of which synecdoche,
periphrasis, exaggeration, and litota are variations.
One of the most popular forms of metonymy is
synecdoche, which is a figurative representation based
on a quantitative comparison of phenomena and
things; on the substitution of one item for the entirety
of another.
Periphrasis is a figurative term in which a description of
an object or phenomena is used in lieu of the object or
phenomenon's name (Greek: “description, retelling”).
For i
nstance, we may substitute “the author of the
poem “Eugene Onegin” for “A. Pushkin”.
Hyperbole, which means “exaggeration” in Greek, is a
figurative phrase that denotes an artistic exaggeration
of an object’s size, power, or significance. Hyperbole
may be
noticed in many clichés, such as “we haven't
seen each other in a hundred years”, “fast as
lightning”, etc.
Litota, on the other hand, allows for an aesthetic
reduction of characteristics, for instance, in contrast to
exaggeration. Contrary to common sense, hyperbole
and litota are always predicated on some sort of
nonsense.
A figurative term known as irony occurs when a word
or combination of words takes on a meaning that is in
opposition to its intended meaning. Sarcasm is a
devilish, caustic kind of irony.
The context, which is more or less near proximity to
other author remarks, allows for the ironic or sarcastic
intonation to be picked up on in each specific instance
Volume 03 Issue 05-2023
86
International Journal Of Literature And Languages
(ISSN
–
2771-2834)
VOLUME
03
ISSUE
05
Pages:
83-86
SJIF
I
MPACT
FACTOR
(2021:
5.
705
)
(2022:
5.
705
)
(2023:
6.
997
)
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
even when it is not explicitly stated. Occasionally,
antiphrasis (opposition) is used,
as in the phrase “this
Croesus” (in reference to the impoverished guy). Less
often used are expressions that take the shape of so-
called asteism, which is approbation, disguised as
censure.
Many stylistic figures contribute to the imagery,
expressiveness, and motifs of the creative story. To
increase the expressiveness of the utterance, these
tools
—
turns of phrase and syntactic constructions -
are deployed [2].
In order to increase and accentuate the expressiveness
of speech, a method known as inversion (Lat.
“permutation”, “inversion”) arranges the phrase's
constituent words in a special sequence that deviates
from the standard (direct) order of words in a
sentence.
When a phrase is parcelled, its substance is realized not
in one, but rather in two or more intonation-semantic
speech units that follow one another.
A multi-union, on the other hand, is an intended
increase in the number of unions in a phrase, generally
for the connection of homogeneous members. A non-
union is a stylistic figure that represents a non-union
connection of homogeneous members of a simple
sentence or sections of a complex sentence.
As a stylistic device, syntactic parallelism is defined as
the use of the same structure in subsequent sentences
or speech fragments.
It's important to take note of stylistic devices like
assonance and alliteration. They serve to repeat
vowels and consonants, respectively.
CONCLUSION
In conclusion we can make the following judgments on
the literary text after taking some theoretical elements
into account. The imagery that literary texts are known
for is what sets them apart from other forms of texts
on this magnitude. The expressive tools of language,
which are further subdivided into figurative tools
(tropes) and stylistic figures of speech, are the primary
tools for producing the imagery of speech. The biggest
challenges in translating are typically brought about by
the employment of certain figures of speech. This is
because they are original works and there aren't any
translation-language analogues for them.
REFERENCES
1.
Введенская Л.А., Павлова Л.Г. “Деловая
риторика”. Издательский центр “Март”, 2002г
2.
Никитина
С.
Е.,
Васильева
Н.
В.
Экспериментальный
системный
толковый
словарь стилистических терминов. М., 1996.
3.
Лосев А.Ф. Проблема художественного стиля.
Киев. 1994
