Currently, a number of scientific studies are underway to translate the masterpieces of Uzbek literature into foreign languages and samples of foreign literature into the Uzbek language, and to the scientific study of translated works. Within the framework of this topic, the study of the problem of the choice of words in literary translation is of current importance. When it comes to translations made between the Uzbek and Turkish languages belonging to the same language family, which are spoken by peoples who have a common culture, common customs and traditions, the situation often changes. It should also be recognized that the translation between these two languages has not only its advantages, but also a kind of complexity. The scientific problem posed in this article will be considered on the example of Turkish translations of the work of the famous Uzbek writer Utkur Khashimov. When choosing the topic of this study, it is taken into account that currently there are not enough scientific works devoted to urgent issues of literary translation from Uzbek into Turkish, and much remains to be done at the behest of the time. Particular attention is paid to the importance of studying the problem of word choice and stable phrases in literary translation, the role and place of bilingual dictionaries in the translation process, and the problems of transmitting “false equivalents”. The article also attempts to elucidate serious questions about the fact that a word in a literary translation from Uzbek into Turkish and the context is a means of literary interpretation of the text, and translators often encounter problems when translating the title of works. Despite the fact that the Uzbek and Turkish languages, which form the basis of this study, belong to the same language family, that most lexical and phraseological units are fundamentally different in their etymology in these languages, it requires a special approach from translators. The conclusions made during the research are confirmed by the theoretical conclusions of famous translation scholars.
This article is an overview of issues related to literary translation, which tells about the history of the study of literary translation, its formation as a science, and talks about its education. It provides information on the history of the industry, scientists who have contributed to the development of the industry. The article reflects scientific views on literary translation, which can be viewed not only from translation, but also from linguistic anguish of view as an object of research. Indeed, the features of the use of metaphor, metonymy, lexicostylistic examples and phraseological units in the original literary text and the methods of their translation, the strategies for translating these linguistic units and the translation technology based on the comparison of two different translations are closely related to linguistics. ¬ We can say that literary translation as a complex direction is a very interesting science that has a sufficient base of scientists for different approaches to it, views, scientific conclusions. From a linguistic point of view, the study of its various aspects is the same object of study, as well as its aspects of speech, communicative, psychological, etymological, cultural, philosophical, religious. Its classification features can also be considered as the focus of scientists, an object of study for various scientific studies. In this sense, in the article to the classification of literary translation are also analyzed. We can also see that its classification features have been at the center of attention of scientists and as an object of study of various scientific studies. Reflecting on classifications or attempts made in European and Uzbek translation studies, the author defines various approaches to disclosing aspects of translation and the need to enrich its classification characteristics.
Subject of research: literary dialogue as a verbalizor of linguistic personality
Aim of research: to define the model of linguistic personality, proceeding from its cognitive and discourse peculiarities in literary dialogues.
Methods of research: descriptive, stylistic, communicative-pragmatic analysis, method of cognitive modeling, method of parameterization, method of inference, cross-cultural analysis.
The results obtained and their novelty: 1) the model of linguistic personality consisting of its semantic, stylistic, linguocognitive, linguocultural levels, has been defined; 2) semantic, stylistic and pragmatic peculiarities of linguistic personality promoting the cognitive principles of foregrounding in literary discourse have been studied; 3) the cognitive model of linguistic personality based on the correlation of language and mental activities has been discussed; 4) the analysis of linguocultural level of linguistic personality reflecting the peculiarities of cultural concepts and national-cultural specificity, has been done.
Practical value: the material of the research can be used in teaching theoretical and practical courses on Text linguistics, Cognitive Linguistics, Stylistics, Linguocultural Studies, in writing research works, textbooks and manuals.
Degree of embed: the results of the research have been applied in the course of teaching the following disciplines: “Text Interpretation”, “Stylistics”, “Comparative Stylistics” “Cognitive Linguistics” in the higher educational establishments.
Sphere of usage: General Linguistics, Stylistics, Cognitive Linguistics, Text Interpretation, Linguoculturology, Gender Linguistics.
The article deals with one of the most urgent and disputable problems in the field of literature - the concept of artistic psychology and the history of this issue. The questions of the introduction of the analysis of artistic psychology in literary criticism, the first studies in this area, the theoretical views of Russian and Uzbek literary critics, as well as the attitude to the terminology of artistic psychology and psychological analysis are considered. It also analyzes the analytical, dynamic and typological principles of artistic psychology and their role in the separation of literary types and genres, in particular, the features and development of the genre of psychological storytelling in modern Arabic and Uzbek literature. The literature of every nation has its own stage of development. In addition, when we study the stages of development of the literature of each country, we can observe to some extent the influence of the literature of other near and relatively distant countries at each stage. The links and interaction of Uzbek literature with Arabic literature have a long history, and these literary ties continue to this day. If our ancestors from ancient times were familiar with the world famous work of Arabic literature "One Thousand and One Nights", then with the works of the great Uzbek thinkers and encyclopedists who lived in the early Middle Ages and the Middle Ages and wrote most of their scientific and literary works in Arabic in the genres prose and poetry have made significant contributions to the development of genres of Arabic literature. This is also reflected in the commonality of Islamic culture, religious traditions, Eastern philosophy, lifestyle as well as the works and ideas of European modernists who influenced the literature of the two peoples. These common features are important for a comparative study of the similarities in the literature of two peoples, the evolution of literary genres, the commonality of the subject and idea. Common themes in modern Arabic and Uzbek literature, the similarity of plots and images, the similarity of the literary style require a comparative typological and comparative historical study of the traditions of oriental literature and literary processes. In the late twentieth and early twenty-first centuries, artistic psychology and psychological storytelling in Arabic and Uzbek literature were ahead of other genres in their development. First of all, such psychological stories vividly describe the problems of modern society and complex aspects of human destiny.
This article explores the deep philosophical content of the "Persian Letters" by Charles Louis Montesquieu, one of the first representatives of the French Enlightenment, in which the Persian view allows a two-sided approach, which means that the reflection of the realities of the French is uniquely repeated in the Persians.Montesquieu's Persian view of the political system in which a person lives, and vice versa, remote observation of society's attitude towards a person is analyzed through the genre of a parable, decentralized
observation, characteristic view, humorous critical views. The article deals with the problem of cultural barriers as a communicative activity of
representatives of two different cultural associations, emphasizing the importance of cultural factors in the translation process and the translation of cultures, not languages, according to the cultural and ethnographic concept of translation. In the text of the translation, the
specificity of the interaction of language and culture is reflected in the diversity of the “worldview”. One of the main criteria for literary translation is the preservation of the individual style of the author of the work. From the point of view of translation standards, it is natural that the translator has difficulty in understanding a fragment of a literary text. From this point of view, it is difficult to achieve an adequate translation without a reflective understanding of the content of the original in the translation of a philosophical work that differs in style and period of writing. The importance of observing the functional and
methodological norms of the content of the text in order to achieve the adequacy of the stylistic figures used in the work to the target language is investigated.
Мазкур мақола 18-19 асрларда рус лисоний жамиятида француз сўзлар ва нутқий формулалар мавжуд бўлган рус бадиий асарлардаги матнлар келтирган. Бундай француз ўзлашмалар рус бадиий матнлардаги структур-семантик хусусиятлари таҳлил қилинди
Most of Adyla Yakubov's works have been translated into several languages of the world, including Turkish, as selected works of Uzbek literature. To date, the translations of some of the author's works have been studied from a scientific point of view, and the scientific study of the works is of current importance. As for the translations between the Uzbek and Turkish languages, which belong to the same language family, customs and national traditions are close to each other, the situation is changing significantly. It is no secret that apart from the advantages of translating between these two languages, there are some inconveniences and difficulties. The scientific problem posed in this article, devoted to the study of the issue of recreating portrait characteristics in literary translation between two closely related languages, will be considered on the example of the translation into Turkish of the novel "Address of Justice" by the outstanding Uzbek writer, master of literary word Adyl Yakubov. When choosing a research topic, it was taken into account that there are almost no scientific studies on topical issues of literary translation from Uzbek into Turkish in recent years, which, according to the requirements of the time, a colossal work has to be done in this direction. Determination of how portrait characteristics are recreated in translation will allow drawing informed conclusions about the quality, artistic value and aspects of the translator's skill. We hope that the conclusions drawn in this article will provide methodological support for future practical translation work.
During the last century a great deal of work has been done in the study of the poem Yusuf Has Hajib's "Kutadgu Bilig", which was the first Turkic manuscript. In Uzbekistan, Professor Kayum Karimov did some research on translating this work in Uzbek and presented it in a language that is understandable to readers. On the other hand, this poem has been translated into several languages of the world, and much more has been done. However, there are some disadvantages in conveying its essence. These shortcomings can be seen in the fact that translations in different languages are lost in translation, with some artifacts being lost. This article compares the artistic content of the box knowledge with comparative analysis in foreign languages. Working on a scientific article, three versions were analyzed and studied. Their bytes were compared. As a result, every translation has some differences. But we can see the similarity between the translations, especially in translations by May and Ivanov. Because, separately, Walter May has translated this work from a Russian translation by Ivanov. Given that both of the above translations are translated in partnerships, we can see that they have some artwork in place. This is evident in the translation by Robert Denkoff. The main reason was that Denkoff translated this work in prose. Illustrated by specific bytes of the work, it provides a comprehensive comparison of the artistic tools used, including illustrations and epithets, in translations from four books to three different languages. Finally, it became clear that the shortcomings of some translators had a profound effect on the translation of the work without affecting the translation.
Object of the research: the process of training teachers of the Russian language and literature for higher schools.
Purpose of the work: scientific grounding and elaborating the effective methodology for developing philology students’ professional Russian speech based on learning fictions.
Methods of the research: general philosophy method, sociology and
pedagogy method, comparative method, experimental method, math and statistic method.
The obtained results and their novelty: The necessity of using interdisciplinary links between methodology of teaching the Russian language and literature and subjects on specialty has been grounded; step by step system of teaching professional speech based on functional and stylistic and interdisciplinary orientation of didactic materials has been worked out; the causes of speech interference appeared in bilingual students’ speech while they deal with fictions have been cleared; new typology of academic language tasks for developing skills aimed at production of oral and written speech has been collaborated; methodology of teaching philology students’ professional speech based on the materials of fictions has been created and grounded scientifically and theoretically; pedagogical technologies for developing professional speech skills, principles of their construction, organization and applying have been created; special teaching complex has been organized for realization of created methodology.
Practical value: theoretical and practical materials may be used for creating new programs, textbooks, manuals and in practice of teaching theoretical and practical disciplines such as the Russian language and literature, the Uzbek language, and foreign languages.
Degree of embed and economic effectiveness: implementation into academic process of two course books and three manuals created by the researcher gave positive results.
Field of application: the system of higher education, the institutes of professional development.
The word serves a meaning. A word can have different meanings than its original meaning. The first of these meanings is the original lexical meaning, the rest are figurative or additional meanings. This condition occurs in all languages. The figurative meaning of the word serves to increase the attractiveness and effectiveness of speech, to illuminate the essence of events, to give it an artistic harmony, and is realized in more literary texts, works of art. The lexemes that characterize the subject are widely used in speech, especially in the literary text, and serve to pass on to future generations the rich heritage of the people, information about their social life. Colors play an active role in creating the artistic landscape of the world. Color adjectives in Pashto also have semantic semantic meaning. Among the adjectives that express color, the most significant are the transitions or loss of meaning in the adjectives نیپس (white) and روت (black), which are reflected in more literary texts and works of art. In addition to the figurative meanings of the white and black adjectives denoting color, the article analyzes the lexical-semantic analysis of the occurrence of these adjectives in word combinations, compound words and fixed compounds. The article describes the active participation of white and black qualities in the creation of famous horses, such as land, sea, mountain, road, as well as the fact that these qualities are used in the creation of verbs. In the concluding section, the figures show the occurrence of the adjectives white and black in figurative senses and their participation in compound words and phraseological combinations.
This article is devoted to the issues of philological comparison with the original Indian epic Ramayana and the Ramayana created by Kambn in South India. It is known that Indian literature is rich in antiquities, and Indian literature is rich in masterpieces. The literature of the peoples of India, with its versatility and multilingualism, occupies a special place in world civilization. One of the examples of folklore, the epic Ramayana was later seen by the great poet Valmiki as a mature work that has been translated not only into the languages available in India, but also into the languages of the world. By the Middle Ages, translated works began to enter Tamil literature, including the translation of the Ramayana by the Tamil poet Kambn, which was created as an independent work enriched with new plots and episodes. This article focuses on the stages of development of Tamil literature and contains the results of two independent works, Valmiki's Ramayana and Kamb's Ramayana
This article is devoted to the scientific analysis of the work of Munajimbashi Darwish Ahmad "Sahaif ul-Akhbar", which tells a short history from the origin of mankind to the Middle Ages of Muslim and Turkic dynasties. The main goal of the study is to analyze the literature and sources of creativity of that time and today, as well as to show the scientific and practical significance of scientific work. Also, the main task was to assess the role of the source in illuminating medieval history, to assess the detail and sequence of events in this historical work. In the study of the study, historical-comparative analysis, research methods from a historical-chronological point of view were used. Covering the history of the early period of mankind and up to the Middle Ages, the work covers the history of the statehood of the Arab and Turkic dynasties that ruled the Middle East and Central Asia, which increases the value and value of the work. Judging by the value of the work, the part associated with the history of the statehood of the dynasties that ruled in the territories of our country has not been studied. Only parts of the history of Khorezm, translated by Muhammad Yusuf Bayani, have been studied, and it can be seen that no research has been carried out to summarize other opinions on this issue. The study of the work shows that most of the analytical work on this topic was done only in Turkey. Taking into account such factors, we believe that research on this work should be encouraged in our country. In a word, this scientific work can not only describe events from Adam to the reign of Mahmud IV, a representative of the Ottoman Turkic dynasty, but also serve as a historical source on the history of our country.
This article is devoted to translations and research into world languages of Liao Jai's works of miracles. They were written by the great Chinese storyteller Pu Songling, who wrote under the pseudonym Liao Jai, who laid the foundation for the development of the magic novella and the creator of a unique school of folklore writing. It examines some issues, in particular the translations of short stories and their publications. Three centuries ago, he created Liao Jai's "Stories of Miracles". According to some reports, Pu Songling wrote about 500 short stories. However, some of his stories have not reached us. Throughout his life, the writer collected stories about extraordinary events and magical things, as well as folk anecdotes. No Chinese writer would know so many different forms of stories other than Pu Songling. In Chinese literature, the term story refers to the processing of folk tales and legends, sometimes parables or anecdotes, and in some cases - ancient stories or short stories. As a result of research and observation during this writing, it became known that from the 18th century to the present, Liao Jai's Strange Miracle Stories has been translated into more than twenty languages. The translations were into English, French, German, Italian, Spanish, Danish, Czech, Greek, Polish, Hungarian, Russian, Irish, Latvian, Uzbek, Tajik, Kyrgyz, Russian, Ukrainian, Japanese, Korean, Vietnamese, Mongolian and other languages. In the course of this study, it was found that among the Chinese classical literature, there are very few works translated into such a number of languages. No historical work can detail the landscape of the past in as much detail as fiction. In this sense, Pu Songling's work is a reflection of the life of the Chinese people, an integral part of cultural heritage, a source of information that allows one to reflect on the life and uniqueness of different strata of Chinese society.
It is known that nationalism and original words are one of the important tasks in the translation of a historical work. Specific words are an integral part of the language of the work, with the help of which the author creates the image of the hero, describing the nationality of the people. They express the national flavor of a work of art, perform various stylistic functions, and help to accurately and accurately describe the nature of events and objects. That is why realities are aspects of literary-historical translation that torment the translator, complicate translation and often confuse him. There is also the assignment of personal names and nicknames when translating historical works into national words. In this article, we can see how The Journey of the famous Arab traveler Ibn Battuta provides detailed information on historical figures in the original Arabic language, as well as translations into Turkish and Uzbek languages, as well as the translation abilities of translators.
Currently, in the Republic of Uzbekistan there is a noticeable expansion of intercultural and inter-literary relations with foreign countries, as well as an increase in interest in fiction, which makes it necessary to pay close attention to translations of world literature into Uzbek and the best works of Uzbek literature into world languages. The translation of works of fiction is a very complex phenomenon, one of the main tasks of which is an adequate interpretation of the literary text. The translator must correctly translate the text from the original language, i.e. to convey both the meaning of the translated work and the image created by the writer, only then will the reader have a sense of adequate aesthetic perception of what he read. To translate correctly the conceptual and emotional content of a work, translation transformations help. According to Komissarov, translation transformations are formal-semantic in nature, transforming the form and meaning of the original units. That is, translation transformations are a translation method used in the translation of various original texts in cases where there is no correspondence in the translated language for a word from the original language or the existing word cannot be used in this context Our article discusses one of the important aspects of translation studies - lexical transformations. When working on them, such types of transformations as translation transcription and transliteration, tracing and lexical-semantic substitutions (which include concretization, generalization, modulation) will be considered. As a material for studying examples of lexical transformations, the work of the classic of Uzbek literature P. Kadyrov’s novel “Yulduzli tunlar. Bobur ”and its translations into Russian (done by Y. Surovtsev and published under the name“ Babur ”) and into Urdu (done by Manzur Salim and published under the name " ب ب ین لداظہیر "). It should be noted that the translations were made from Uzbek into Russian, and already from Russian into Urdu. The article considers and systematizes lexical transformations that occur during translation into multisystem languages.
This article deals with the experience of translating historical novels in translation studies. It is also devoted to current and important problems of the theory and practice of translation of historical novels in translation studies today. The process of translating historical novels in translation studies is explained on the basis of examples of educational, political, ideological and aesthetic significance. It says that the translation of historical novels into foreign languages is important in promoting the national values of the
people to the world. The article also discusses the role of the experience of world translation schools in the translation of historical novels in translation studies, as well as a comparative analysis of the specific methods of the Uzbek National School of translation studies and world translation schools. It is emphasized that the translation of historical novels, unlike works of other genres, is important as works of high artistic expression, which clearly show the history, values, spiritual world and national spirit of the people. The main condition for achieving adequacy in the translation of historical novels is the transfer of artistic originality of the original, its national characteristics and the ability to fully reflect the individual creative style of the author. It also considers the successes and shortcomings of direct or indirect translation from one language to another. Of course, in the direct translations of historical novels, special attention is paid to the fact that the mastery of the translator is the primary task in restoring the artistry of the work. Also, the genesis of translation of Uzbek historical
novels, methods of translation, especially the problem of style in translation into English and
the peculiarities of working on the translation of historical works are studied on a scientific
basis. In this regard, scientific and practical recommendations have been given today, taking
into account the experimental trends of the world schools of translation, to improve the mechanisms of action for the formation of professional competence in the practice of translating historical novels.
This article is devoted to the study of the special literary style of one of the prominent representatives of modern Syrian literature – the writer Zakaria Tamer. It analyzes the author’s story “Randa”, which clearly shows the compositional skills of Z. Tamer and the symbolic language used in the story. Although the “Randa”, created in the form of a “story inside a story”, resembles a fairy tale for children, in fact it is an extensive literary work of a talented writer that addresses important topics of society with simple sentences. Using the image of a little girl named Randa, the author creates a universal image of a woman and skillfully uses symbols to show her role in society, especially the fate of an Arab woman through thin lines.
Khaldun Taner is one of the most famous figures in Turkish literature of the 20th century. He made a great contribution to the development of modern Turkish drama and introduced it to the world. The author's works have been translated into Uzbek, Russian, English, German, Czech, Yugoslav, Kazakh, Azerbaijani and Georgian. The
article provides a general analysis of the translations of the playwright's works. Russian
and Uzbek translations of the stories "The Stork from Iznik" and "Four on a boat" are considered and compared with the original text, their spiritual closeness and stylistic commonality are emphasized in literary translation. Also, Russian and Uzbek translations of phraseological units in Taner's works are analyzed using examples.
The creative merit of Khaldun Taner lies not in depicting supernatural situations, events and people, but in depicting the lives of ordinary, small people. He changes the course of the story in such a way that the reader forgets the personality of the writer and plunges into the events. The writer places his wishes, opinions, decisions and criticism on the main characters of the story. Thus, the main characters of the story act as the narrator. Sometimes animals, sometimes symbols, sometimes objects give ideas to the work and reflect the personality of the writer. The translators who translated his works also took into account these features of the writer's style. As it turned out, the translators skillfully tried to preserve the spirit and nationality of the original work. The work "The Stork from Iznik" was translated into Uzbek by P. Kenzhaeva and into Russian by N. Pirverdyan with great skill and brought to the Uzbek and Russian readers. N. Golubeva skillfully translated the story "Four on a
Boat" into Russian.