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FEATURES OF TRANSLATING UNITS OF EMOTIVE
VOCABULARY FROM ENGLISH INTO UZBEK
(BASED ON THE TV SERIES
“THE CROWN”)
Bobonazarova Gulnoza
Student of master’s degree, UzSWLU
In emotiology, it is customary to distinguish between language units that
objectify emotions through:
designations or naming
– all lexemes that name emotional concepts,
meaning their emotive potential (slang, affectives, words with expressive coloring or
having emotional connotation);
expressions in speech
– lexemes and phraseological units that describe
various accompanying sensations and manifestations of emotions.
In this article, we will consider the use of lexical units of these groups in speech
using the example of dialogues from the TV series
“Crown”.
It should be noted that the emotive component of the statement is not a single
language unit (word), which causes certain difficulties with the classification of some
examples.
As well as in linguistics, in psychology and philosophy there have been a large
number of attempts to form a classification of feelings, but none of these
systematizations has gained popularity and has not been used as a universal tool for
subsequent research. The difficulty of forming such a classification lies in the fact that
often the same feeling is marked by different words, and one or another language
definition can only be an indication of the level of saturation of a feeling that previously
had its own name in the language (for example, joy-delight-euphoria). Here, in
addition, it should be noted the ongoing controversy regarding the universality / non-
universality of emotions. With a huge degree of certainty, it is possible to note that
the so-called basic feelings (psychological processes based in the perception of
society by a person, for example, fear) are considered universal. But there are also
socialized (in a different terminology
– moral or aesthetic) feelings, which are a
culturally conditioned product. Likewise, both Uzbek and foreign adherents of the
discrete model of the emotional sphere of a person name a different number of basic
feelings
– from two to ten, but almost without exception they rank fear, joy, anger and
sadness among them.
When translating the euphemisms of characters
’ emotions, the translator can
use various transformations and their combinations, including partial replacement of
the image while maintaining the emotional connotation (No sooner does someone in
the family
pop their clogs
...; With him gone, there is a great danger that Eisenhower
will
take it upon himself to run the show
.
–
Agar u buni qilmasa, Eyzenxauer shouni
o'zi boshqarishga qaror qilishi xavfi bor
; Let the younger generation
have a go
now
.
– Yosh avlod ega bo'lsin; But don't go mad
[about the coronation].
–
Lekin uzoqqa
bormang
; There's just been
a slight wrinkle
.
–
Kichkina janjal bor edi
; Nodiv
gives
a fig
about my happiness.
–
Hech kim mening baxtimga qiziqmaydi
), as well as a
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direct message of the euphemistic concept (He felt I
had enough on my plate
as it
was.
–
U menda allaqachon muammo bor deb o
‘yladi
;
People of no consequence
.
–
To
‘liq bo‘sh odamlar
;
But you deserve to put your feet up
.
–
Lekin siz dam olishga
loyiqsiz
;
But also something closer to home
.
–
Lekin shaxsiy narsalar ham
). There
are also rare cases of complete coincidence of euphemisms: That turns sister against
sister and
splits the Royal house down the middle
.
–
Keyin opa opaga qarshi chiqadi
va bu qirollik uyini ikkiga bo
‘ladi.
In this translation, the majority of euphemized and metaphorized emotional
concepts should be translated, first of all, with the preservation of the connotative
meaning, which implies the replacement of the realities and forms of expression of
this information while maintaining the tone and register of speech. This is explained
by the universality of many metaphorical concepts as a mechanism for the formation
of emotional and evaluative nominations, but by the difference in the realities that
accompany them. Often the origin of euphemisms in another language is not clear to
us, since we are not familiar with the language environment and culture that led to
the emergence of this idiom or euphemism. However, often in different languages
the same concepts are euphemized using different means and have different cultural
histories.
In translation, there are also neologisms used by characters to show their
emotions
. For example: “Sit around and wait for you while you’re
Queening
? - Bu
yerda o‘tirib
, shoh bo‘lganingizni
kutayapsizmi?" In this case, the translator used the
formation of a similar form of a word from an already existing one using suffixes that
imply the speaker's arrogance.
“Translation is intended to guarantee such mediated bilingual communication,
which, according to its own potential, would be as close as possible to ordinary,
monolingual communication”. For the subtitle translator, this task is complicated by
the lack of artistry as such: all metaphors, comparisons, and forms of artistic
expression of thought are reduced to a minimum, leaving the pure speech of the
characters, which requires special attention, taking into account their social and
emotional status, the effect of cinema, speech register and a significant number of
nuances, forms of expression of emotions, the realities of the person in them and
other things.
REFERENCES:
1.
Павловская А.В. Особенности национального характера, или за что
англичане любят очереди // Вокруг света. – № 6. – 2003.
2.
Солонович Т.Ф.
Коммуникативное
поведение
англичан
в
прагмалингвистическом освещение: материалы II Международной научно-
практической конференции, посвященный 75-летию БГЭУ, Минск, 1-2 февраля
2008.