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Methods of transference stylistic units to the target
language in literary texts
Shukhrat MULADJANOV
Samarkand State Institute of Foreign Languages
ARTICLE INFO
ABSTRACT
Article history:
Received November 2023
Received in revised form
15 December 2023
Accepted 25 December 2023
Available online
15 February 2024
This paper focuses on the stylistic approach to literary texts
in their original language, evaluated through unique
grammatical structures inherent to each language unit.
Morphological and syntactical analyses contribute to the
formation of logical steps in stylistic units. Word order, a key
category in lexicology, plays a crucial role in the creation of
stylistic units, influencing the use of stylistic devices and
expressive means.
2181-
1415/©
2023 in Science LLC.
DOI:
https://doi.org/10.47689/2181-1415-vol4-iss11/S-pp284-291
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:
stylistic approaches,
extra-linguistics,
culture-specific words,
national color,
phraseological words,
linguacultural words,
socio-linguistic approach.
Badiiy matnlardagi uslubiy vositalarni tarjima qilish
usullari
ANNOTATSIYA
Kalit so‘zlar
:
uslubiy yondashuv,
ekstra-lingvistika,
madaniyatga xos so‘zlar,
milliy bo‘yoqdorlik,
frazeologik so‘zlar,
lingvomadaniy so‘zlar,
sotsio-lingvistik yondashuv.
Ushbu maqola asliyatdagi badiiy matnning stilistik
yondashuviga bag‘ishlangan bo‘lib, bu har bir til birliklariga xos
grammatik qurilishi holatiga tegishli bo‘lishi mumkin.
Shunga
ko‘ra, morfologik va sintaktik birikmalar stilistik birliklarning
mantiqiy izchilligini shakllantirishga yordam beradi. So‘z tartibi
ham stilistik vositalarni yaratishda asosiy kategoriya bo‘lib
xizmat qiladi, u leksikologiya fani sohasida o‘rganiladi, natijada
stilistik va ifoda vositalarini yetkazishda o‘z aksini topishi
mumkin.
1
Teacher, Department of Translation Theory and Practice, Samarkand State Institute of Foreign Languages.
E-mail: shoxa55@mail.ru
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Способы
переноса
стилистических
единиц
на
переводимый язык в художественных текстах
АННОТАЦИЯ
Ключевые слова:
стилистические подходы,
экстра
-
лингвистика,
слова культуры,
национальный колорит,
фразеологические слова,
лингва
-
культурологические
слова,
социолингвистические
подходы
.
Статья фокусируется на стилистическом подходе к
переводу художественных текстов, акцентируя внимание
на значимости грамматических конструкций, характерных
для
каждого
языка.
Авторы
подчеркивают,
что
морфологические
и
синтаксические
особенности
исходного языка играют ключевую роль в формировании
логической структуры стилистических элементов в
переводе. Особое внимание уделяется порядку слов,
который рассматривается как основная категория,
влияющая на создание стилистических единиц в
переводимом
тексте.
Авторы
исследуют,
как
лексикологические аспекты языка
влияют на передачу
стилистических приемов, что является ключевым для
понимания и сохранения уникальных особенностей
оригинального текста в переводе.
INTRODUCTION
As it was regarded to the abovementioned essence, each stylistic unit in origin
language is collaborated along with the disciplines, such as lingua-culturology,
phraseology and socio-linguistics that identify the meanings and the semantic role of any
stylistic devices and expressive means. Closely connected stylistic units with those
disciplines may obtain the certain methods of translation to the target language in a way
of conveying the exact meaning and perception of it in translating language. Mainly, the
translator pays attention to the linguistic and extra-linguistic patterns of both languages,
in order to establish the perfect understandings in target language. The way of
translation which the translator chooses can refer the specific translation method that
may facilitate the process of transmission from one language to another.
MATERIALS AND METHODS
In literary text, the stylistic devices and expressive means rendered in culture
specific words in origin language may contribute through the lexical and grammatical
transformations according to the linguistic structures of two languages. We need to
mention the theory of famous Russian theoretician Y.V. Breus for this conception, as
“Diminishing the expressiveness of the source text in translating language may connect
with particular usages of language units, that the words and grammatical constructions
are more highly applicable in both languages” [3, p56]. In other cases, the descriptive
method of translation will assist the translators to preserve the national color of origin by
giving it the descriptive information. The readers in target language can know these
culture-bounded words and imagine the situation about them. Any lexical and
grammatical omission, addition, substitution in target language evaluates the adaptation
of linguistic norms.
The style in its turn can contribute the special features in the prose, creating the
colorfulness, brightness and emotive essence to the utterances. Eventually, the stylistic
devices and expressive means in the context intensify intentionally some structures and
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semantic property of a language. “Expressive means and stylistic devices are
polyfunctional, that is-one and the same expressive means or stylistic model may be used
for different stylistic purposes” [9, p20]. The phraseological units can be the example for
this view. Most of the stylistic units are relevant with the phraseological units in the
context or rather called the phraseology that carries the stylistic patterns. One may argue
for conceiving the phraseological collocations are bounded in a root of stylistic devices or
the stylistic units that contributed the inclusion of phraseological units. But, as in
linguistic aspect each of cases can be studied in its own field of study, according to their
semantic meaning. Thus, the phraseological units are to be learnt in a discipline of
phraseology, whereby the meaning and structure play a great role to determine the
usages of idioms, phraseological words and proverbs. However, the stylistic devices and
expressive means have some diversities with the phraseological according to their
meaning and structure in the context, have direct relationship between each other. Such
kind of interrelation between them can be established in a parallel or simultaneous usage
of both units. Those identities are found in the word constructions which refer the
phraseological units that followed by stylistic devices. So, at this situation the cognitive
and psycholinguistic approaches deliver the similarity between these two units. As Anita
Naciscione mentioned, “A cognitive approach to stylistic analysis of phraseological units
in discourse is a transdisciplinary search. It calls for new close links with fringe
disciplines, such as psycholinguistics and cognitive linguistics”. [7, p2]. The translational
process conveys those similarity and distinctions that facilitates the concepts between
two disciplines. “The main difficulties in translating these phraseological units that no
dictionaries can provide all usage opportunities of these units within context” [1, p110].
In this case, the main challenge lays on the translators to convey them from one language
to another, preserving the semantic meaning and structural form. But there are some
issues which translators always face to solve them, it includes the preservation of
functional meanings of phraseological words or the forms of stylistic units. Though the
phraseological units deal with extra-linguistic approaches of the certain language and
they formed according to the situation of the communication.
Accordingly, stylistic devices and expressive means collaborate to convey the
lexical, stylistic, linguistic and extra-linguistic approaches which built in phraseological
units of source language. “Considering the phraseological units in translation, the
translator must obtain not only the knowledge of both languages, but should analyze the
stylistic and culture-historical aspects of source text comparatively with the
opportunities of translating language and culture” [4, p22].
Indeed, the stylistic devices and expressive means of source text refer to author’s
style, involves the linguistic and extra-linguistic features of utterances, though the
phraseological units are obtained through the situational act of communication of a
certain nation, non-relevantly to the context itself, peculiar only to source language
representatives to understand them. In order to convey the meaning the translator uses
the equivalency method, that identifies the whole phraseological words and preserves
the stylistic patterns in the context.
Socio-linguistic approaches of stylistics are basically relevant to the social
communication of native speakers. Such kind of words and word combinations might be
understood by local people, whereby used in their own dialect. Mostly, this kind of words
followed by indirect meaning in a usage, instead of its own lexical meaning. “Dialectal
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variation in relation to what part of the country people come from is probably the most
well-
known kind of language variation” [8, p81]. The translator cannot directly deliver
the information to the recipients as it may lead to confusion. Thus, the translator uses the
equivalency method along with the lexical or grammatical transformations in order to
preserve the meaning and convey the information about the situation.
RESULTS AND DISCUSSIONS
The main objection of source text components translating into target language
should confirm the preservation of compound meanings of both literary texts, in source
language and target language. The stylistic devices and expressive means in this role have
to be taken into the consideration of semantic value. Thus, to find out an equivalence in
target language consider as a main purpose of translator. Furthermore, in some cases, in
order to preserve the whole content semantic value, the stylistic devices in source text
can be transmitted by sub-
equivalence or replaced by target language readers’ familiar
words neutralized in the content.
Thus, the equivalence method plays a significant role to contribute the source
language’s linguistic and stylistic aspects into target language through evaluating the
meaning according to the content. Overall “equivalency is the semantic similarity
between source text and target text, it has the role of catalysator in the process of
translation” [2, p57]. It has to mention that through this method of translation, the
process may involve the diverse perception in both languages. But there are some
similarities where the elements and structures in source material would be fully
preserved in translating language. It can be identified by comparison of two languages.
“The functionality of equivalency is different from other points of view, as the conception
of equivalency determines out of comparison source and target text, for the functionality
of equivalency comes out from comparison of external lingual reaction of these texts” [6,
p19]. So, the concept evaluates the extra-linguistic factors of two languages, which
focused to define the concrete attitude towards the conveying the exact semantics of
translating resources, avoiding any ambiguities of word combinations or set expressions
that rendered the stylistic units of a language within context. Eventually, the created
work and literature, the style used by author may influence the whole value of this
conception, which the translation process precedes to adopt this theory in practice as per
language organizing. As per M. Tolan “Looking at the technique or craft of writing,
language in literature examines the way which language is organized to create literary
effect and meaning” [10, p13]. Accordingly, writing style may contribute the overall
linguistic and extra-linguistic patterns in the content. The translator renders the meaning
into target language through the equivalency methods which are specific for contribution
of linguistic and stylistic units. So, we consider them through the comparison of two
languages.
For example:
“
Dadam bilan oyim:
–
Oyog
‘ing olti, qo‘ling yetti
bo‘lib qoldiyov!
- deb kulishib
qoldilar
”
[17, p5].
In English:
“
-You are hurrying like
you have six legs and seven hands
.
–
laughed my parents
”
[
author’s translation
].
“
Quyushqoni
ham
o‘rnida, egar
ham
yaxshi qo‘ngan, qorinbog’i
ham
jips, yugan
ham
to‘ralarnikidek!
”
[17, p6].
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“
The crupper
was
perfect. The saddle
was
firm. The girth
was
tight. And the bridle
was
as proper as officials
”
[
author’s translation
].
“
O‘sha kuni terdik.
Uyat o‘limdan qattiq
.... El qatori terdim
”
[16, p18].
“
That day we picked cotton, because
shame is worse than death
”
[
author’s
translation].
“Ba’zan egatlar ichida tarvuz, qovun palaklari chiqib qolardi. Albatta, bitta
-ikkita
burishgan, tirishgan tuynak bo‘lardi. Ammo uni yorib yesangiz,
mazasi... tilni yoradi
”
[16, p18].
“
Sometimes we saw melon and water-melon lashes in the furrows. Of course, there
were one or two green, wrinkled fruits, but if you broke and ate
it would crack your
tongue
”
[
author’s translation
].
Here one can observe that the used stylistic devices and expressive means in the
source content is fully preserved their form and meaning into target language,
considering that they have complete correspondence in translating language.
Consequently, the same hyperbole, repetition, paradox and metonymy which have been
used in the source context can be found and widely classified in English. For the such
kind of equivalence translation we come cross with V.N.
Komissarov’s theory of
translation, in which it states: “the fifth type of equivalency method supposes for the
preservation of stylistic characteristics of source units during translation” [5, p83]. It
denotes, that it is compulsory to preserve any stylistic units within context in target
language, if this language has the same linguistic and stylistic patterns in the language
barriers. The same procedures might be overviewed in translation of literary context
from English into Uzbek.
For example:
“
Her
heart was divided
between
concern
for her sister,
and resentment
against all
others
”
[15, p167].
“
Uning qalbi opasiga nisbatan
tashvish
va boshqalarga qarshi
g’azabga to‘lgan
edi
”
[
author’s translation
].
“
Today
we love
what tomorrow
we hate;
today
we seek
what tomorrow
we shun
”
[14, p201].
“
Bugun
suyukli
bo‘lgan narsa, ertaga
yoqimsiz
bo‘lishi,
izlanayotgan
narsa
yo‘qotilishi
mumkin
”
[
author’s translation
].
“
How do I know
what God himself judges in this particular case?
”
[14, p220].
“
Xususan, bu holatda Olloh hukmini
qayerdan ham biladi kishi?
” [author’s
translation].
“
Malone
laughed a horse-laugh
”
[13, p17].
“
Malon
ot hurkish kulimsirab qo‘ydi
”
[
author’s translation
].
“
“Forward” was the device stamped upon his soul; but
poverty curbed him
”
[13, p28].
“
Faqat “olg’a” degan so‘z uning qalbida muhrlangan edi; ammo
qashshoqlik bunga
yo‘l qo‘ymas edi
”
[
author’s translation
].
“
A man
almost without sympathy, ungentle, prejudiced, and rigid;
but a man
true to
principle- honorable, sagacious, and sincere
”
[13, p36].
“
O‘z navbatida deyarli hamdardliksiz, qo‘pol, gap uqtirmas
inson
bo‘lishiga
qaramasdan, tamoyillarga sodiq, sharafli, bilimli va samimiy
shaxs
ham edi
”
[
author’s
translation].
“
It was
curious laugh
; distinct, formal, mirthless
”
[12, p163].
“
Bu
qiziqqon kulgi
edi; o‘ziga xos, jiddiy, vahimalarsiz
”
[
author’s translation
].
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“The text has two main interconnected text
-forming functions: the impact function
and aesthetic” [11, p24]. While the translator deals with the translation to the target
language he or she must follow the exact preservation of these functions, in order to
convey the perception to the target language recipients. It is important to highlight that
the literary texts are rich in aesthetic features, which contribute the emotions and
impressiveness to readers. Accordingly, stylistic meaning carries these peculiarities to
fulfill the masterpiece work in literary art. Thus, evaluating this meaning to the
translating language is highly connected with the equivalence in translation. But it is
needful to resume that some of stylistic units in source context do not have their proper
equivalence, of course, in order to keep these devices and set expressions in target
language, usage of transformational equivalence or rather called sub-equivalence can be
solution for the specific units, consequently, following the linguistic and extra-linguistic
norms of both languages. The following examples can be overviewed for the way of
comparativeness.
For example:
“
To‘nimning etaklarini yig’ishtirib, qashqachamning choviga bir
-ikki qamchi bergan
edim, jonivor
shataloq otib ketdi
”
[17, p6].
“
I put in order the hem of my robe, then I whipped the colt one, two times, and the
steed
loped forward as fast as wind
”
[
author’s translation
].
“
Arava keldi
. Esonboy akani aravaga yotqizdilar
”
[17, p6].
“
Brother Esonboy was laid on the
first aid cart
”
[
author’s translation
].
In both examples, that are given in Uzbek language, there are distinguishes
between the set expressions used in source material and target text. The first example
expressed the exaggerated meaning through the dialectal use of expressive means, the
target language developed this device by resemblance of natural objects. Here,
linguistically and stylistically adopted units in target context render the semantics from
origin content. The next sentence is expressed by personification in source units, as it is
developed through metaphor in target language. The type of equivalence where the
translator adopts the source material in translating language as per linguistic purposes
and transmits the stylistic units and their meaning appropriately, that is peculiar in
target language what devices or set expressions are relevant with origin one. Such kind of
examples might be seen in translation from English into Uzbek.
For example:
“
These gentlemen are in the
bloom of the youth
”
[13, p4].
“
Bu janoblar
yoshlikning ayni gullagan davrida
”
[
author’s translation
].
“
Malone may stay behind and take care of the mill: what is the matter with him? His
eyes seem starting out of his head
”
[13, p34].
“
Malon o‘z o‘rnida qolib tegirmonga qarab turishi mumkin. Ammo unga nima bo‘ldi?
Go‘yo ko‘zlari chaqchaygandek ko‘rinardi
”
[author’s translation].
“
Miss Mary-a
well
-looked,
well
-meant on the whole,
well
-dispositioned girl- wore
her complacency with some state, though without harshness
”
[13, p110].
“
Xonim Meri
ko‘rkam, odobli, muloyim
bo‘lsa ham, turli vaziyatlarda
o‘zboshimchalik bilan ish tutardi
”
[
author’s translation
].
“
Four hands
were immediately
laid upon me
, and I was born upstairs
”
[12, p13].
“
Meni darhol
to‘rt qollab
yuqoriga
ko‘tarib qo‘yishdi
”
[
author’s translation
].
“
In five minutes more
the cloud of bewilderment
dissolved: I knew quite well that I
was in my own bed, and that the red glare was the nursery fire
”
[12, p24].
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“
Yana besh daqiqadan so‘ng
hayratlanish hissi meni tark etdi.
Men o‘zimning
to‘shagimda ekanligimni va bolalar bog’chasidagi gulxandan taralayotgan nurni endilikda
tushunib yetdim
”
[own transl].
As we mentioned above there are some set expressions which are closely
interconnected with the extra-linguistic approaches of a language, where it occurs in a
base of several cultural and social aspects of a certain nation in a time, place and
behaviour. Of course, in order to convey the perception of these extra-linguistic units into
target language is one of the most important task of each translator, while he or she deals
especially with the translation of literary work.
Conclusion
Basically, it is important to highlight that the literary text is fully organized and
created work by the side of author, essentially developed through the national coloring
and mentality of a specific nationality describing their inner and outer overlook, social
behavior, culture, history throughout the years, particularly accomplished in a certain
style, that been used within context. Every literary work, which has been created in a
particular language may involve that language’s linguistic and extra
-linguistic
peculiarities, as it calculated the main option for comparing any translation products
between source language and target language. For the given chapter above, which is
included the interrelation of stylistic devices and expressive means with other sciences’
units, that is modified through the linguistic colloboration in target language can be
regarded as the solution of translational process of literary work. In this paper intended
to demonstrate the specification and direct relationship of stylistic units with other
linguistics’ branch, such as linguaculturology, phraseology and socio
-linguistics both in
source and target context. It is also directed for analyzing the differentiation and
similarity between these units linguistically and stylistically. We may conclude that in
any linguacultural, phraseological and socio-lingual patterns can be explored the stylistic
aspects of a language, evaluated and established through linguistic reflection, while it is
essential for creating any literary work in a specific language.
It is necessary to say the conveying of lingua-stylistic units to the target language
demands a lot of challenge and skill from translator. In this situation being awareness
about both languages’ linguistic and stylistic peculiarities is deeply relevant for the
percieving of meaning in target language, as it is one of the main tasks of translation
theory itself. In this chapter we aimed to show the methods of translation of such kind
linguistic and stylistic norms, as recognizing their specification in each language.
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