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С. 142–151.
ON THE GRAMMATICAL COMPENSATION IN THE TRANSLATION OF
NATIONAL COLOR IN THE WORKS OF I. YUSUPOV
Shabatova D, Student of KSU
Scientific advisor: Atashova F
Annotation:
This article is devoted by making thorough use of the lexical richness of the
Karakalpak language, it would not be an exaggeration to say that I. Yusupov played a crucial role
in shaping the literary language of Karakalpak, which holds special significance for the entire
Karakalpak culture. In this regard, both his poetry and prose works are of particular importance.
Key words:
translation technique, grammatical compensation, literary translation, portray the
Karakalpak people, great heroes like Alpamys.
In the course of the research, it was observed that translators often prefer to convey units
that reflect national color in the original text through neutral lexis. However, the unique
characteristics of the work are conveyed through other methods. In most cases, they use the method
of grammatical compensation.
Grammatical compensation is a translation technique in which a part of the content lost
during the translation process is conveyed through other means in the translation text. It is not
necessary to transfer the unit in the form of the original language. National color and
expressiveness are often conveyed through various grammatical structures.
R.K. Rzaeva, in discussing issues related to literary translation, showed a tendency to apply
specific methods when translating I. Yusupov's works into English. For example, in "Tumaris,"
when translating the phrase "
Девушка, как солнце
!" the translator uses stable word structures
typical of heroes:
1.
The Sun’s daughter Tomiris, my queen!
Such compensation is appropriate because the phrase "
Девушка, как солнце
" in the original text
suggests a pleasant, heroic, and courageous image of a queen who never surrendered to her
enemies. Using this phrase, the translator creates a similar image, which can be considered orderly
and successful. Another example of compensation through word structures typical of I. Yusupov’s
works can be seen in the poem "Ana tilime-19" by the poet. The original line conveys that the
poet’s native language is ancient and rich with wisdom.
In Rzaeva’s translation, the following lines appear:
You are a perennial tree with leaves,
Grown from the old root each,
Your eloquence is without a hitch.
273
When Karakalpaks sing a song,
Like a happy nightingale,
From your treasury you give them
All the words, necessary and gay.
The poet here uses a metaphor of the “
Высокое дерево”
tree to symbolize the country’s historical
roots, strong foundations, and aspirations for future development. Rzaeva, in her translation, also
describes the “
Высокое дерево”
as a "perennial tree" and emphasizes the notion of a lasting,
robust symbol of the country.
There are also many other instances where national imagery is preserved through similar
compensation in translation. For example, the translation of folk proverbs and expressions is
handled with care. In the example, "
С моей помощью делаешь всё правильно
" was translated
as:
Women made Khans do things
Your proverbs are coined
From the skimmed cream.
Another example from the translation of folk wisdom:
You always tell the truth
You speak with voice, so sound
You never lie and flatter loud
When whispering, speaking quietly
The ducks are scared of their calls are loud and mighty.
In this case, the proverb
"У каждого есть что-то своё"
was translated as
"Everyone has his
Achilles’s heel in one’s place
" to maintain the meaning and national character.[1.p115]
The use of grammatical compensation in the translation of I. Yusupov’s works allows the translator
to preserve the essence of the original text while making it accessible to the target language
audience. [4]
Such lines can often be found in literature. To provide another example from a story in popular
folklore: "In one of the Karakalpak villages, there was a man who was very skilled in speech. He
could convince anyone with his cleverness. This man’s reputation even reached the ears of the
khan, and the khan decided to visit him to see this wonder for himself. From afar, the man saw the
khan approaching, and as the khan reached the door, the man said, 'Even if you are the khan, you
still need to pay a visit and leave something behind.' The khan hesitated but then entered and gave
him something. The man, seeing the khan, said, 'Oh, khan, I didn’t realize it was you. Please, take
back what you’ve brought.'”
This piece of folklore illustrates the wisdom of the people and their ability to use speech skillfully,
as the poet presents it in the following way:
3.
“Through you, the khan is served
I test your wisdom, adorned with pearls
Women made Khans do things
Your proverbs are coined From the skimmed cream.”
By observing these lines, we see the skill of the poet. The poet also depicts the simple, honest, and
unpretentious nature of the people with lines such as:
4. “If you speak the truth, you speak plainly
If you are harsh, your voice will echo.
274
If you lie and deceive, you do not know
If you stutter, even the geese will mock you.”
These verses portray the Karakalpak people as having a clean heart and soul, loyal in friendship,
and unafraid to speak the truth. The poet emphasizes the qualities of the Karakalpak people with
lines that highlight their pure heart, loyalty, and willingness to give everything for their friends:
5. “Everyone has their own piece of land
You should not mock the people with your words.
In the name of friendship, be as strong as a warrior,
If the oxen pull, let them pull!”
The poet continues to describe the people with admiration, showcasing their sense of belonging
and their unbreakable will.
6.“The singer raised you as his prized horse Orators searched for you in the debate Heroes used
you in battle Berdakh wielded you like a weapon.”
The lines emphasize the valor and eloquence of the Karakalpak people. As we can see,
great heroes like Alpamys used their language to fight, and Berdakh used his eloquent speech as a
weapon, making it an essential part of his culture.
The translator compensates for the national color by using techniques such as alliteration, which,
although not very common in Karakalpak folklore, is frequently seen in English literature:
7.
“A man mourns a man”
The repetition of the [m] sound in this phrase creates a rhythm unique to oral traditions,
enhancing the emotional depth of the text.
The translator also uses archaic grammar forms in their translation:
8.
“Having come to this world, thee,
You gave a birth to me.”
In this case, the use of the archaic "thee" helps preserve the connotative meaning of the
original Karakalpak text.
Another interesting compensation technique is the use of transcription/transliteration:
9.
“Although it’s as black as a khumgan, near the hearth.”
Here, the word “dumshe,” (хвост) a traditional Karakalpak word for a pot used to boil
water, is transliterated as “khumgan,” preserving the national color and meaning.
The use of formulaic expressions is also an important element in these works:
10.
“The blood of my navel has spilled on the land,
The soil of my homeland!
If I betray you, may a raven peck out my eyes!”
[2.p.210]
These initial formulas convey deep national significance and introduce the heroes of the
work, forming an essential part of the folklore's rhythm and structure.
Thus, in the works of I. Yusupov, the toponymic terms are translated in a way that reflects
distinct features in the translators' work. These differences are evident in terms of structure and
meaning, as demonstrated by examples. In the works of the poet I. Yusupov, the translation of the
terms that highlight the national color of the Karakalpak people from Karakalpak into English was
categorized into thematic groups, reflecting their distinct features.
275
References
1.Бархударов Л.С. Язык и перевод (Вопросы общей и частной теории перевода). М.,
«Междунар. отношения», 1975. 240 с
2. Беклемешова Н.Н.
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Карданова К. С. Грамматические аспекты перевода др. - М. : Издат.
Центр «Академия», 2010. - 240 с. - библиогр. : С. 231-233
3.Виноградов В.С. Язык и переводовведение. Общие и лексические вопросы. М;ИОСО
РАО, 2001 -314 с.
3. Комиссаров В.Н. Современное переводоведение. учеб. пособие. // Теория перевода
(лингвистические аспекты); Учеб. для ин-тов и фак. иностр. яз. – М.: Издательство «ЭТС»,
2002. – С. 69.
4. Юсупов И. “Беглигиңди бузба сен”.Косықлар топламы.Карақалпақстан баспасы 1995 ж.
5.Юсупов И. “Бахыт лирикасы” Косықлар топламы.Карақалпақстан баспасы 1995 ж-
Самарканд.
6.Федоров А.В. Основы общей теории перевода (лингвистические проблемы). – М.:
Филология три, 2002. – 415 с.;
ETHNOLINGUISTIC STUDY OF UZBEK PROVERBS (AN EMPHASIS ON HAT
TERMINOLOGY)
Shermamatova Zarina, Student of Denau Institute of Entrepreneurship and Pedagogy.
Scientific advisor: Makhsumov Rustam Makhamadiyevich
Annotation:
This study examines the ethnolinguistic features of lexical units related to the names
of headgear found in Uzbek proverbs. The study confirms the strong connection of these lexical
units with the lifestyle, historical and cultural memory, and national thinking of the people. During
the analysis, the metaphorical and symbolic meanings of proverbs are revealed semantically and
functionally. In addition, the significance of the names of headgear in the socio-cultural context
and their participation in oral tradition are determined. The origin of the views on headgear
reflected in proverbs is studied on the basis of various historical sources, anthropological studies,
and folklore materials. The results of the study provide new theoretical perspectives for Uzbek
linguistics and ethnolinguistics.
Key words
: Ethnolinguistic, regional identity, cultural conventions, festive events, connection to
heritage, spirituality, cultural dynasties.
Uzbekistan is characterized by its diverse ethnic groups and historical influences, resulting
in a rich tapestry of linguistic traditions. Uzbek proverbs serve as a lens through which one can
view the collective consciousness of its people, offering insights into their beliefs, values, and
customs. Among the various themes present in Uzbek proverbs, the names and symbolism
associated with hats occupy a significant position. In Uzbek culture, hats transcend their role as
mere clothing items; they are imbued with profound social significance and are frequently linked
to identity, status, and tradition.
Hats have historically played a vital role in Uzbek attire, fulfilling both practical and symbolic
functions. Different types of hats are worn for various occasions, signifying social status, regional
identity, and adherence to cultural conventions. Notable examples include:
