2 Chapter I: Phraseology as a branch of linguistics in literary works

Summary of the Chapter
One of the most characteristic features of the writer is, as we said above, his figurative language which plays an important role in literary works and their perception among the readership. It draws the author‘s experience and clarifies his intent in a fairly pleasant and artistic way. Figurative language is so effective since it helps readers visualize what the author is telling in an imaginative fashion. In other words, whenever one meets a figurative tool while reading a literary piece, he is more likely to imagine the concept being described and then fully understands the author‘s intended meaning. But, it is very important that the translators would be able to understand the connotative meaning which would be hidden in the content and find simile, and an appropriate metaphor which could substitute the original or the ST.
In the novel figures of speech have been found that are categorized as personification. Thus, we conclude that the most dominant used tool in the novel The Old Man and the Sea is personification. Personification in the novel is illustrated when the old man talks about a jellyfish, turtles, birds, and most importantly, the marlin and sharks, as if they were people; the old man gives them thought processes, even personalities.
Details of examples of misunderstanding of the original, inaccurate lexical choices, complex transformation and figurative language are fully discussed. They are viewed as examples of the extent to which the translators attempt to reach an approximate rendering of the original.


Conclusion
Phraseological units which have word synonyms: to make up one`s mind to decide to haul down colours to surrender. According to the degree of idiomatic city phraseological units can be classified into three big groups: phraseological fusions, phraseological unities, and phraseological collocations. Phraseological fusions are completely non-motivated word-groups, as mad as a hatter utterly mad; white elephant an expensive but useless thing. Phraseological unities are partially non-motivated as their meaning can usually be perceived through the metaphoric meaning of the whole phraseological unit, e.g. to bend the knee to submit to a stronger force, to obey submissively, to wash one`s dirty linen in public to discuss or make public one`s quarrels. Phraseological collocations are not only motivated but contain one component used in its direct meaning, while the other is used metaphorically e.g. to meet the requirements, to attain success.
The word "phraseology" for instance, has very different meanings in this country and in Great Britain or the United States. In Uzbek linguistic literary the term has come to be used for the whole ensemble of expressions where the meaning of one element is dependent on the other, irrespective of the structure and properties of the unit with other authors it denotes only such set expression which, as distinguished from idioms do not possess expressiveness or emotional coloring and also vice versa: only those that are imaginative, expressive and emotional.
N.N.Amosova overcomes the subjective ness of the two last mentioned approaches when she insists on the term being applicable only to what she calls fixed text units, i.e. units in which it is impossible to substitute any of the components without changing the meaning not only of the whole units but also of the elements that remain intact. O.S. Ahmanova has repeatedly insisted on the semantic integrity of such phrases prevailing over the structural separateness of their elements.
A.V. Kunin lays stress on the structural separateness of the elements in phraseological units, on the change of meaning in the whole as compared with the elements taken separately and on a certain minimum stability .All these authors use the same word "phraseology" to denote the branch of linguistics studying the word group they have to mind. Continued intelligent devotion to the problem of phraseology of such scholars as N.N.Amosova, A.V.Kunin and many-many others has turned phraseology into a full-fledged linguistic discipline; we include it into this course of lexicology only because so far this is where it belongs according to the curriculum. In English and American linguistics, the situation is very different. No special branch of study exists and the term "phraseology" is a stylistic device one, meaning mode of expression, peculiarities of diction, i.e. choice and arrangement of words and phrases characteristic of some author or literary work. The word "idiom" is even more polysemantic.
Literary translation is a covertly regulated process marked by a number of complications: the personal nature of texts under translation (authorship); unspecified target audience; interlingual and/or intercultural inequality; and some others. Intuitive strategies recognized in literary translation practices include observer strategy, helper-strategy and enlightener-strategy as attempts to deal with the complications. Systemic structuring of such complications in their interdependence with the informational features of the text may help to work out a useful theoretical model for identifying a reasonable translation strategy.
As a final word, it should be noted that although much will be lost (untranslated) in the process of literary translation and despite the fact that except for few cases, the translations of literary works of other languages cannot reach the level of the original in terms of aesthetic reproduction and transfer of the meaning, literary translation needs to be attempted, for – with regard to the number of prestigious languages which most have at least few great literary works – it is impossible to read all the literary works of other nations in the original language. Therefore, there remains no other way, but to resort to the translations of the great literary works. In other words, literary translation is the only possible means through which one can read and enjoy literary works of other nations. However, it needs to be reminded again that literary translation does reduce the flavor of the original. Hence, despite the fact that a translation of a literary work will not have the same effect on the target audience as the original had on the original readers – particularly when rhyme is involved – for instance in poems, there are some solutions through which a literary translator can decrease the gap – and not fully filling it – between the original literary work and its translation(s) into other languages. One such solution is trying to convey as far as the poetic norms of the target language allow the music and the flavor of the original in the translated text. Another solution, is trying to as much as possible knowing the source culture and/or other works of the same author, through which the comprehension of the original becomes much easier and much accurate. Another is having full knowledge of the rhetoric figures and poetic images of the source and target languages. Last and foremost is having full mastery over the source and target languages (almost at the level of the native speakers).
If a translation is to be natural in the target language, it must be based on a correct interpretation. Therefore, certain linguistic skills as well as cultural knowledge are required on the part of the translator. The method adopted in this study is the comparison of the stylistic features of the English version of the novel and the Uzbek translations in order to find those aspects of style which had challenged the translators. The first step was the collection of a large number of examples of translation difficulties.
Thus, literary translation may be defined as a special type of bilingual revision of a literary text, which involves many kinds of processing, from comparative natural language processing to knowledge processing.

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