Жамият ва инновациялар –
Общество и инновации –
Society and innovations
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Methods of teaching prose translation
Mehrinoz MAMUROVA
1
Khushnuda SAMIGOVA
2
Uzbekistan State World Languages University
ARTICLE INFO
ABSTRACT
Article history:
Received April 2021
Received in revised form
20 April 2021
Accepted 15 May 2021
Available online
25 June 2021
Translation is one of the most important forms of interethnic
communication. But its creative nature, its art of reproduction,
does not change. The scope and development of translation
depends on the level of enlightenment of each nation and, in turn,
has an effective impact on the social thinking of the nation.
Translation is not only a bridge of friendship in the history of
mankind, but also a broad path to culture and enlightenment.
Translation is a difficult but interesting art. What a pleasure it is
to translate a work of art created in a language that is foreign to
us into our own language, to create an artistic idea. This article
describes methods of translation of prose, and translation
theory.
2181-1415/© 2021 in Science LLC.
This is an open access article under the Attribution 4.0 International
(CC BY 4.0) license (https://creativecommons.org/licenses/by/4.0/deed.ru)
Keywords:
fiction,
interpretation,
original,
source text,
translated text,
parallel texts,
translation unit,
historical and literary
context.
Nasriy tarjimani o‘qitish metodlari
ANNOTATSIYA
Kalit so‘zlar:
badiiy adabiyot,
talqin,
original,
asl matn,
tarjima qilingan matn,
parallel matnlar,
tarjima birligi,
tarixiy va adabiy kontekst.
Tarjima millatlararo aloqaning muhim shakllaridan biridir.
Ammo uning ijodiy xarakteri, qayta yaratish sanʼati oʻzgarmaydi.
Tarjimaning ko‘lami va rivojlanishi har bir millatning ma’rifiy
darajasiga bog‘liq va o‘z navbatida millatning ijtimoiy
tafakkuriga samarali ta’sir qiladi. Tarjima nafaqat insoniyat
tarixidagi do‘stlik ko‘prigi, balki keng madaniyat va ma’rifat yo‘li
hamdir. Tarjima qiyin, ammo qiziqarli san’atdir. Biz uchun
begona tilda yaratilgan badiiy asarni o‘z tilimizga tarjima qilish,
badiiy g‘oya yaratish naqadar zavqlidir. Ushbu maqolada nasrni
tarjima qilish usullari va tarjima nazariyasi tasvirlangan.
1
Master’s degree student, Uzbekistan State World Languages University, Tashkent, Uzbekistan.
E-mail: mehrinozazamat.2109@gmail.com.
2
Assistant professor, Department of Applied Sciences, Uzbekistan State World Languages University, Tashkent,
Uzbekistan.
E-mail: kabsam@yandex.ru
Жамият ва инновациялар – Общество и инновации – Society and innovations
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107
Методы обучения переводу прозы
АННОТАЦИЯ
Ключевые слова:
художественная
литература,
интерпретация,
оригинал,
исходный текст,
переведенный текст,
параллельные тексты,
единица перевода,
историко-литературный
контекст.
Перевод – одна из важнейших форм межнационального
общения. Но его творческая природа, его искусство
воспроизведения не меняется. Объем и развитие перевода
зависит от уровня просвещенности каждой нации и, в свою
очередь, оказывает эффективное влияние на социальное
мышление нации. Перевод – это не только мост дружбы в
истории человечества, но и широкий путь к культуре и
просвещению. Перевод – искусство сложное, но интересное.
Какое удовольствие переводить произведение искусства,
созданное на чужом для нас языке, на наш родной язык,
создавать художественную идею. В статье описаны методы
перевода прозы и теория перевода.
Among the many complex problems that modern linguistics studies, an important
place is occupied by the study of linguistic aspects of interlingual speech activity, which is
called “translation” or “translation activity” [1].
Studying translation as a special type of speech communication, translation theory is not
limited to the analysis of its linguistic mechanism. After all, translation is not only the interaction of
languages, but also the interaction of cultures. The translation reflects both the situation of the
generation of the original text and the situation of the translation. It will hardly be possible to
adequately describe the translation process without taking into account the fact that it is carried out
not by an idealized construct, but by a person whose value and psychological orientation inevitably
affects the final result [3]. We are interested in this work, first of all, the consideration of the
translation process in terms of a pragmatic one, that is, interlanguage transformation or
transformation of a text in one language into a text in another language. The original text is not
“transformed”, on the basis of it another text is created, which differs from the original text in terms
of expression, that is, in form, but equivalent to it in terms of content, that is, coinciding with it in
meaning. Based on this, we can say that “translation is the process of transforming a speech work
in one language into a speech work in another language while maintaining an unchanged content
plan, that is, meaning” [1].
It is necessary to note one more question that arises in connection with the above definition
of translation equivalence as based on the preservation of an unchanged content plan, that is,
meaning. At the same time, it is taken into account that language units are characterized by a two-
dimensionality, the presence of both form and meaning. In this case, the decisive role for translation
is played by the fact that different languages contain units that differ in terms of expression, that is,
in form, but coincide in terms of content, that is, in meaning.
If we replace the English brother with the Uzbek “aka”, then the process of translation takes
place here, since these words, which differ in terms of expression, that is, in form, are the same or
equivalent in terms of content, that is, in meaning. Most often, the minimum text (speech work) is a
sentence, therefore the translation process is usually carried out within one sentence, and the
sentence, as a rule, eliminates the discrepancy between units of different languages in terms of
content. So, when translating, not only is the English word brother replaced by the Uzbek “aka” or
the English lives by the Uzbek “yashamiq”, but the entire English sentence “My brother lives in
London” is replaced by the Uzbek sentence “Mening akam Londonda yashaydi”, which differs from
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the original English sentence in terms of expression, that is, form, but equivalent to it in terms of
content, that is, coinciding with it in meaning[4].
The main problem that the translator encounters when transferring referential meanings
expressed in the source text is the discrepancy between the range of meanings inherent in units of
two languages, because there are no two different languagesin which semantic units - morphemes,
words, stable phrases – would coincide completely in the entire scope of its referential meanings.
L.S. Barkhudarov[1] reduces the types of semantic correspondences between the lexical units of
two languages to three main ones:
1) full correspondence;
2) partial compliance;
3) lack of correspondence.
Considering these three cases separately, L.S. Barkhudarov emphasizes that for the theory
and practice of translation, the last two cases (partial correspondence and complete lack of
correspondence) are of particular interest and difficulty. Of course, the translation of vocabulary
that does not have correspondences in the target language is a certain difficulty, but this difficulty is
completely surmountable. Any language can in principle express any concept; the absence in the
vocabulary of the language of a special designation for any concept in the form of a word or a stable
phrase does not mean that it is impossible to express this concept by means of this language. At the
same time, the main goal of translation is always to achieve adequacy. Adequate or equivalent
translation is a translation that is carried out at a level necessary and sufficient to convey an
unchanging plan of content while observing the corresponding plan of expression, i.e. norms of the
translating language [2].
The main task of the translator in achieving adequacy [5] is to skillfully perform various
translation transformations, so that the translation text as accurately as possible conveys all the
information contained in the original text, while observing the relevant norms of the translating
language.
Lexical transformations are used in translation in the event that a non-standard linguistic
unit at the word level occurs in the source text, for example, any proper name inherent in the
original linguistic culture and absent in the translating language; term in a particular professional
field; words denoting objects, phenomena and concepts that are characteristic of the original
culture or for the traditional naming of elements of a third culture, but which are absent or have a
different structural and functional ordering in the translating culture.
The peculiarity of literary translation, considered in this work, is that literary translation
belongs to the category of complex concepts associated with the creative solution of the problems
of intercultural and inter literary mediation. In the case of literary translation, the translator is
required not only to understand the original meaning, but also to be able to reproduce it in another
language, that is, in essence, to create foreign language conditions in which a similar artistic function
of a linguistic sign is manifested.
The first objective condition for the translation of a literary text is that the translator
reproduces not only and not so much the linguistic signs that make up this text, but their individual
and aggregate artistic functions. This requires an understanding of the meaning, that is, the system
of images of a literary text in its unity with the ways of expression, which is the second necessary
condition for literary translation.
Since, due to linguistic and cultural differences, it is impossible to accurately convey all the
artistic features of the original, some of the artistic information is lost. However, the figurative
movement of the main idea of the poetic work and the main method of its reproduction should
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remain unchanged. Reproduction of the complex semantics of a word, its figurative basis, taking
into account all semantic, figurative and sound connections is not always a feasible task. The
obstacle is the difference in the semantic structure of the word: different degrees of breadth of
semantics, differences in the stylistic characteristics of the word, in the possibility of combining with
other words, sharp differences in the morphological structure of the word. With regard to the
translation of an English literary work into Uzbek and, in particular, to the transfer of pragmatic
aspects, a significant role is played by the great polysemanticity of English words.
This work examines the pragmatic aspects of translating fictional prose from English into
Uzbek. Pragmatics first of all takes into consideration those aspects of the language that take into
account the human factor, draws attention to the functional aspect of linguistic means, to their
contextual conditioning, to linguistic communication in terms of the mutual influence of
communicants in the process of communication. At the same time, there is no strict distinction
between semantics and pragmatics, since only the aspect of the study of the same linguistic
phenomena differs: if only expressions and their designata are analyzed, then this study belongs to
the sphere of semantics, if the study takes into account the influence of a person using the language,
then it belongs to the field of pragmatics.
In particular, within the framework of pragmatics, the theory of speech acts is highlighted.
In this case, a speech act means a certain minimum unit of speech activity. The subject of a speech
act - the speaker makes an utterance, as a rule, calculated on the perception of it by the addressee -
the listener. The statement acts simultaneously both as a product of a speech act and as an
instrument for achieving a certain goal. Depending on the circumstances or on the conditions in
which the speech act is performed, he can either achieve the set goal and thereby be successful, or
not achieve it.
Illocutionary acts differ in a number of ways. The most essential of these features are:
purpose; the direction of the correspondence between expression and reality; the inner state of the
speaker; features of the propositional content of a speech act; connection of a speech act with extra-
linguistic establishments or institutions. Taking into account such parameters, the whole set of
illocutionary acts is divided into five main classes – representations, directives, commissions,
expressives and declarations.
This classification does not give a division of the set into disjoint groups, and there are speech
acts that have characteristics characteristic of different illocutionary classes, but for practical
purposes in most cases they are suitable. In this case, there is an interlanguage transformation or
transformation of a text in one language into a text in another language. The original text is not
"transformed", on the basis of it another text is created, which differs from the original text in terms
of expression, that is, in form, but equivalent to it in terms of content, that is, coinciding with it in
meaning.
REFERENCES:
1. Barkhudarov L.S. Language and translation. – M., 1975.
2. Schweitzer A.D. Translation theory: Status, problems, aspects – M., 1988.
3. Salomov G‘. Fundamentals of translation theory. Tashkent, 1983.
4. Sulaymonova D.A., Khamnova F.R. Poetry and translation. Samarkand, 2009.
5. Barkhudarov L.S., Shteling D.A. English grammar. – M., 1973.
