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INTERPRETATION OF STYLISTIC DEVICES FROM
ENGLISH INTO UZBEK LANGUAGES
Ismatilloyeva Sokina
Student of Samarkand State Institute of Foreign Languages
Abstract —
This article explores the art of interpreting stylistic devices, such as metaphors, similes, personification, and
alliteration from English to Uzbek. Interpreting stylistic devices from English into Uzbek languages presents a fascinating
challenge due to the intricacies of linguistic structures and cultural nuances. The process involves not only translating the literal
meanings but also capturing the poetic essence and artistic flair of the original text. Cultural sensitivity, creativity, and a deep
understanding of both languages are essential for a successful interpretation.
Keywords
— stylistic devices, metaphors, metonomy, irony, synecdoche, alliteration.
Аннотация
— В этой статье исследуется искусство интерпретации стилистических приемов, таких как метафоры,
сравнения, персонификация и аллитерация, с английского на узбекский язык. Перевод стилистических приемов с
английского на узбекский язык представляет собой увлекательную задачу из-за сложности лингвистических структур и
культурных нюансов. Этот процесс включает в себя не только перевод буквального значения, но и уловление поэтической
сути и художественного таланта оригинального текста. Культурная чувствительность, креативность и глубокое
понимание обоих языков необходимы.
Ключевые слова: стилистические приемы, метафоры, метономия, ирония, синекдоха, аллитераци
Ключевые слова
— стилистические приемы, метафоры, метономия, ирония, синекдоха, аллитерация.
Annotatsiya
— Ingliz tilidan oʻzbek tillariga stilistik vositalarni tarjima qilish til tuzilmalarining murakkabligi va madaniy farqlar
tufayli juda katta qiyinchilik tugʻdiradi. Ushbu maqolada ingliz tilidan oʻzbek tiliga metafora, oʻxshatish, va alliteratsiya kabi
stilistik vositalarni tarjima qilish sanʼati oʻrganiladi. Jarayon nafaqat so'zma-so'z ma'nolarini tarjima qilishni, balki asl matnning
she'riy mohiyatini va badiiy jo'shqinligini ham o'z ichiga oladi. Muvaffaqiyatli tarjima qilish uchun sezgirlik, ijodkorlik va har ikki
tilni chuqur tushunish zarur.
Kalit so‘zlar: stilistik vositalar, metafora, metonomiya, kinoya, sinekdoxa, alliteratsiya
Tayanch so’zlar —
stilistik vositalar, metafora, metonomiya, ironiya, sinekdoxa, alliteratsiya
1.
I
NTRODUCTION
Interpreting stylistic devices from English into Uzbek involves translating various literary techniques and figures of speech while
maintaining their intended impact and nuances in the target language. Stylistic devices include metaphors, similes, personification,
alliteration, hyperbole, and many more. To accurately interpret these devices into Uzbek, it's important to understand the cultural
context, idiomatic expressions, and linguistic nuances of both languages to convey the same effect and style in the translation.
Additionally, considering the poetic traditions and literary heritage of Uzbek language can enhance the quality and authenticity of
the interpretation.
2.
M
AIN PART
Translating stylistic devices from English into Uzbek can be a challenging task, as stylistic devices often carry cultural nuances and
specific meanings that may not directly translate between languages. Here are some tips to consider when translating stylistic
devices:
1. Understand the Context: Before translating a stylistic device, make sure you understand the context in which it is used. Consider
the tone, mood, and purpose of the stylistic device in the original text.
2. Find Equivalents: Look for equivalent stylistic devices in Uzbek that convey a similar meaning or effect. This may involve using
different literary techniques or figures of speech that are commonly used in Uzbek literature.
3. Adaptation: Sometimes a direct translation of a stylistic device may not work well in Uzbek. In such cases, it's important to
adapt the translation to preserve the intended effect while making it culturally relevant.
4. Maintain the Style: Pay attention to the overall style of the text and ensure that the translated stylistic devices fit seamlessly
within the context of the target language.
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5. Consult Native Speakers: If you're unsure about a particular translation, it can be helpful to consult with native speakers or
experts in Uzbek language and literature to get their input and feedback.
Generally, when translating imagery, the most important principle is that “the translation should give the same meaning as
the original and should produce the same emotional effect”. A metaphor can be universal [a 'glassy' stare], cultural [a 'beery' face],
or individual [a 'papery' check]. Arnold and others argue that there are six types of metaphor: dead, cliché, stock, adapted, recent,
and original.
Metaphors are figures of speech that establish a comparison between two seemingly unrelated subjects,
attributing qualities of one to the other to create a vivid and imaginative image in the mind of the reader or listener. Metaphors are
widely used in literature, poetry, everyday language, and various forms of communication to convey complex ideas, emotions, and
experiences in a more engaging and expressive manner.
For example, “He was a lion in the fight”. Metaphor may have two purposes. The first is cognitive i.e. referential purpose:
to describe a mental process or state, a concept, a person, an object, a quality or an action more comprehensively and concisely
than is possible in literal or physical language. The second is aesthetic i.e. pragmatic purpose: to appeal to the senses, to interest, to
clarify, to please, to delight, to surprise.
According to the ways of translating metaphors, Peter Newmark gives some suggestions: (1) in the TL remaking the same
picture, provided it has comparable frequency and currency in the appropriate TL register; (2) Remaking the SL image with known
another TL image, given it exists within the register; (3) Remaking the metaphor by simile; (4) keeping the metaphor and adding
something else (5) changing the metaphor to sense; (6) giving up the metaphor if it is too often used.
Here some examples are given:
- My mom has a heart of gold. – Mening oq ko’ngil yurakli onam bor.
- My hands were icicles because of cold weather. – Mening qo’llarim sovuq havo tufayli muzlab qoldi.
- Anna has a stony heart. – Annaning bag‘ri tosh.
- His heart is made of gold. – Uning tilladek sof ko’ngli bor.
Metonymy is a figure of speech in which one term is substituted with another term that is closely associated with it or
related in meaning. It involves replacing the name of something with a word or phrase that is related to or associated with it in
some way. Metonymy relies on contextual or conceptual links between the substituted term and the intended meaning to convey a
specific idea or evoke a particular image. The three strategies are translating a metaphor into a simile, translating a metaphor into
senses, and reproducing a metaphor using a similar metaphor. In William Shakespeare's play, “ears” represent the ability to listen.
“Friends, Romans, countrymen, lend me your ears;” [Gone with the Wind by Margaret Mitchell]. In this metonymy, Scarlett
O’Hara is referring to the government and citizens of Georgia.
Synecdoche is a figure of speech in which a part of something is used to represent the whole or vice versa; it involves
using a specific part of something to refer to the whole entity or using the whole to represent a part. It plays a crucial role in
simplifying complex ideas or emphasizing particular aspects of a subject by highlighting specific details. Synecdoche adds depth
and vividness to language, making it a powerful rhetorical device used in both literature and everyday communication.
1. “All hands on deck.”
In this expression, "hands" represent the crew members on a ship, using a part of the human div to refer to the entire
group of people working together.
2. “The kettle is boiling.”
Here, "kettle" refers to water boiling in the kettle, where the object as a whole is used to represent the action taking place.
3. “England won the World Cup In this statement, “England” refers
to the national soccer team, using the country's name to represent the team's victory in the World Cup.
4. “The suits on Wall Street voted for the new policy.”
In this example, "suits" represent the business executives or professionals in formal attire, using a term associated with clothing
to stand for the individuals themselves.
Synecdoche is a versatile literary device that enriches language by creating layers of meaning, enhancing imagery, and providing
emphasis in communication. It adds nuance and depth to expressions, making them more engaging and memorable for the
audience.
Conclusion. Translating stylistic devices, such as metonymy and synecdoche, from English into Uzbek requires careful
consideration of both linguistic and cultural aspects to ensure the intended meanings and rhetorical effects are preserved in the
target language. Effective translation of stylistic devices involves not only conveying the literal meaning but also capturing the
nuances, connotations, and symbolic associations inherent in these figures of speech. Translators need to be sensitive to the cultural
context of both languages to choose appropriate equivalents that maintain the stylistic impact of the original text. They may
employ various strategies such as literal translation, cultural equivalence, explanation, substitution, paraphrasing, and adaptation to
convey the stylistic devices effectively in the target language.
Maintaining the essence of stylistic devices during translation is essential for retaining the richness and artistry of the
original text. By understanding the subtleties of these rhetorical devices and employing translation techniques that respect the
nuances of both languages, translators can ensure that the intended effects of metonymy, synecdoche, and other stylistic devices are
RAQAMLI TEXNOLOGIYALAR DAVRIDA TARJIMASHUNOSLIK VA LINGVISTIKA: ZAMONAVIY YONDASHUVLAR TADQIQI” nomli ilmiy
maqolalar to‘plami May – 2024
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successfully conveyed to the target audience in Uzbek while maintaining the integrity and creativity of the source text. The matter
includes the conclusion to the perception of translation of stylistic devices and expressive means into foreign language through the
distinction of both language units, linguistic, extra-linguistic and stylistic aspects. The main criteria, the term of equivalence in
translation is regarded as a specific, multi-functional approach which has been chosen in transmission of stylistic units as proper
equivalent, sub-equivalent and non-equivalent or descriptive-neutral method of conveying the perception of stylistic devices into
translating language. For those situations, the translator plays the most important role to convey the adequate translation,
recognizing interlingual differences. [3]
3.
C
ONCLUSION
Born and raised in Ohio, William Dean Howells was an effective advocate of a new realistic mode of fiction writing. At the start,
Howells conceived of realism as truthful portrayal of ordinary facets of life--with some limitations; he preferred comedy to
tragedy, and he tended to be reticent to the point of prudishness. The formula was displayed at its best in Their Wedding
Journey (1872), A Modern Instance (1882), and The Rise of Silas Lapham (1885). Howells preferred novels he wrote after he
encountered Tolstoy's writings and was persuaded by them, as he said, to "set art forever below humanity." In such later novels
as Annie Kilburn (1888) and A Hazard of New Fortunes (1890), he chose characters not only because they were commonplace but
also because the stories he told about them were commentaries upon society, government, and economics.
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