Tashkent state uzbek language and literature university named after alisher navoiy

CHAPTER III
Linguo cultural problems faced by interpreters
3.1. Types of culturally-marked words
3.2. problems faced when interpreting culturally-marked words.
3.3. Comprtession and Generalization as strategies to effectively interpret texts with cuilture-bound words
It is known that each language it occurs that there wre some words which cannot be translated directly.in translation theory and practice it is named as culturally marked words. Stylistic devices of expressiveness should be investigated wider and detailed, because they created much humorous effect and used in humorous texts more. The use of the following stylistic devices is confirmed during the investigation: epithet, irony, metaphor, metonymy, personification, jargonizes, zeugma, litotes, oxymoron, amphibole, antithesis, pun, hyperbole, sarcasm, periphrases. The following stylistic devices are used more than others in humorous texts: metaphor, metonymy, hyperbole, pun, irony, personification and oxymoron. These devices are prevalent and more interesting in humour, pragmatic aspect and translation of humorous texts. Humorous texts are created on the basis of these stylistic devices of expressiveness. According to extend of research paper we tried to analyze active stylistic devices metaphor, metonymy and hyperbole used in Uzbek and English language humorous texts. We know that emotional-subjective evaluating; determining linguo-stylistic elements are one of the main problems of literary speech stylistics. This problem is very important in analyzing humorous texts, because emotional effect is considered very important aspect in this genre. Stylistic devices are used more in not only Uzbek and English nations’ but also all nations’ humorous texts and it is very important in creating humour. Usually the function of ridiculous is considered differential feature among stylistic devices. Stylistic devices; Uzbek language; English language; metaphor; metonymy; hyperbole; translation; active; source language; target language. Mostly in formal speeches are less to be translated with difficult. Especially if they are done in prestigious stage of the world organizations.
Many researchers made research works on stylistic devices, humor, humorous texts, the role of stylistic device in causing laughter. Every scientist mentioned different view on the role of stylistic devices in causing laugher. According to Vinogradov, pun or play with homonyms have denotative and connotative meanings is one of most styles of cause laughter [12, p. 7]. Galperin mentioned that the most stylistic device of cause laughter is author’s occasional word created by masterly combining different words by writer [3, p. 86]. Arnold considered the function of humour is specific feature of polysemy and homonymy [10, p. 103]. Chairo purposed alogism is the main style of comic [1, p. 58]. Crystal suggested whole “cascade” of stylistic devices in creating comic effect: pun, syntactic homonymy, alogism, and author’s neologisms [2, p. 25]. Nash mentioned that there is more potential off humour in ambiguity, though pun explained with context or situation in which is figuring itself [5, p. 241]. Norrik guessed every stylisticdevice fill all functions, but one of others may be more dominant [6, p. 124]. By analyzing all scientists’ opinions about stylistic devices which are used active in creating humorous texts we support Norrik’s guess in this case. We also think that all stylistic devices are used active in cause laughter, creating humorous texts. And now we investigate stylistic devices metaphor, metonymy, hyperbole which used active in Uzbek and English humorous texts in this research.


II. Metonymy Metonymy is also stylistic device which used active in Uzbek and English humorous texts. Use the name of an object, element, action to the name of another object, element, and action on the basis of internal and external dependence; metonymy occurred by transference the name of an object, element, action to another object, element, and action on the base of such using. Metonymy is very important in creating new meanings of a word [14, p. 54]. So, metonymy is one occurences cause to create new meaning by transference the name of every object to another object. We review the cause laughter by transference the name on the basis of internecine dependence among objects, things in the follow. We may see cause laughter by metonymy in Uzbek national joker Xojiboy Tojiboyev’s jokes: Original version: Ўзбекнинг ўзи қизиқ. “Ҳожибой ака, фалончининг ошида кўринмадиз?” – дейди. Мен гўштманми ошда кўринадиган...” Uzbek people’s words are interesting. “Xojiboy aka(Aka is a type of addressing form), you were not seen in pilov (Palov is Uzbek national dish. It is prepared in weddings in the morning, on Thursday and Sunday at home. Wedding pilav is eaten by thousands of people who came restaurant in the morning) in the morning. Am I meat which is seen in pilav…” [8, p. 113]. Metonymy is used by figurative meaning of phrases express the meaning “you were not seen in pilav-you didn’t participate in ceremony” in this text. However, there is the second meaning of this sentence and it exists in case of relating to the word “pilav”. Here it is not paid attention to the metonymical figurative meaning of the phrase “you were not seen in pilav”. So, the phrase “were not seen in pilav” expresses the notion that “somebody didn’t participate in ceremony or wedding” in metonymical figurative meaning and indicates communicative function of the sentence, it expresses the notion “not seen in pilav” in primary meaning and causes laughter. Pay attention to the next humorous text in which laughter is caused by metonymy, Original version: Халқимиз орасида яна шундай қизиқ гап бор. “Тўрт киши самоварда ўтириб, маза қилиб ош едик” дейишади. Самоварда-я? … Куйиб қолиш мумкинку! Тўрт киши қандай сиғди экан? Тўғри, ўтириш мумкин, шунда ҳам фақат бир киши. Агар қасам ичган бўлса... (Ҳожибой Тожибоев) This is English version of the following text translated by word for word translation: There is interesting sentence among Uzbek people. They say four people had pilav with enjoy sitting on the samovar (Samovar is big iron metal to boil the water. This term is also used for the place in which people come with fiends and eat only pilav in Uzbekistan. It differs from café or restaurant). How do they sit on samovar?... They may scald! How do four people sit on a samovar? It is right that human being may sit but only one person. If he took a vow… Transference metonymic meaning created by calling the name of an object with the place of it caused laugher. In this case samovar is used a place not iron kettle according to the place in which it placed on the basis of metonymy. So, samovar means the place in the process of speech. However, speaker attracts listener’s attention to the primary meaning of this phrase not figurative meaning of the phrase “to sit on samovar” by metonymy objective. As a result, one understands “to place on samovar” and cause laughter. People use metonymy more to create humour in English humorous texts. Describing character or situation may be metonymic in examples of one of two women who lost their memory because of they are old, but the second one also cannot remember it: we see sclerosis given in the sentence “How soon do you need to know?” in which expressed by hyperbole of decreasing or vanish of memory. One day two elderly ladies had been friends for many decades. Over the years they had shared all kinds of activities and adventures. Lately, their activities had been limited to meeting a few times a week to play cards. One day they were playing cards when one looked at the other and said, "Now don't get mad at me.... I know we've been friends for a long time, but I just can't remember your name. I've thought and thought, but I can't recall it. Please tell me what your name is." Her friend glared at her. For at least three minutes she just looked at her. Finally, she said "How soon do you need to know?"
III. Hyperbole Hyperbole is also used in Uzbek and English humorous texts. According to the Explanatory dictionary of Linguistic terms hyperbole means describing an object, situation, features, conditions of processes by overcharg-ing [14, p. 32]. Imagination created by describing an object, thing and the element related to it causes laughter in speaker or listener’s imagination in humorous texts. Hyperbole means to aggrandize, to exaggerate, pursuing and there are two views of it. An object and its element is very exaggerated in the first view and is made so diminution. The peculiar feature of hyperbole is information expressed in speech have hyperbolic image doesn’t correspond to objective reality. Consequently, this correspondence causes laughter. Hyperbole comes into existence on the basis of simile. Comparing meanings, situations, objects in simile may be imaged and simile is based on primary meanings. The element of the object is described intensified very much in hyperbole. Writers hint at describing person’s portrait and his/her character feature by hyperbolic simile in humorous texts, by this process the laugher causes. Causing laughter by hyperbole is used in lof (It is a type of Uzbek national folklore and means overstatement, exaggeration) in Uzbek humorous texts. The word lof means incorrect, too exaggerated sentence, faithful sentence, hyperbole. Lof is a type of Uzbek national folklore created on the basis of hyperbole and is presented as a type of satire and humour. So, it is related to askiya (It is a type of Uzbek national folklore and verbal humour of Uzbek people. It is based on witting by word play) genre from the point of its subject, composition and the style of presenting and it is a type of epic works [11, p. 6]. In particular, lof are presented in dialogical form, speakers create humour by double hyperbolic image with the reference to an object. In this case peculiar style of witting made on the result of expressed hyperbolic meaning of the word used by the second speaker more than hyperbolic meaning of the word used by the first speaker cause laughter. Original version: Бир лофчи иккинчи лофчига ўғлини мақтади: - Менинг ўғлим уч ёш бўлишига қарамай, бўйи чунонам ўсиб кетдики, юлдузларни қўли билан ушлаб текширяпти. Иккинчи лофчи деди: - Ўғлингиз юлдузларни текшираётганда бошига бирор нарса тегмасмикан? Биринчи лофчи булутни айтаётган бўлса керак деб ўйлади ва жавоб берди: - Ҳа. Шунда иккинчи лофчи деди: - Ўша теккан нарса ўғлим кийган тўннинг пеши бўлади. In English translation of the original version: A lof-maker boasted of his son to another lof-maker. - Although my son is three years old he is very tall and he is checking the stars catching with his hands. The second lof-maker said: - When your son is checking the stars does something touch your son? The first lof-maker thought he is speaking about clouds and said: - Yes. Then the second lof-maker said: The touched thing is the lower part of my son’s coat. Hyperbole was created on the basis of the element of height of the word “son” in this text. Hyperbole is inflamed by words “height” and “star” in first speaker and words “coat” and “lower part” by the second speaker. So, hyperbole in the speech of the second speaker caused laughter. Hyperbole is one of stylistic devices which have great importance in English humorous texts. Hyperbole is used to show critical estimate in the following humorous text: Once Margaret Thatcher died, and a few days later the Devil dragged her by the hair to the pearly gates. God asked him: - “What do you think you’re doing? I don’t want her”. - “Oh, come on, do me a favour,” replied the Devil, “I’ve only had her three days and she’s already closed down four furnaces!” The English showed their attitude to politician former prime minister Margaret Thatcher who closed furnaces although she was sent to Hades, so the Devil make a request to God remove her to his place as a humour. Margaret Thatcher makes problem for the Devil, this is hyperbole. Here hyperbole was created on the basis of the words “Hades”, “fire”, “close”, “the Devil”. In real, anybody cannot close down Hades furnaces. Pay attention to the next English humorous in which hyperbole is used: A woman needed to buy her mother a birthday present. She didn’t know what to buy her mother. She only had one day to buy her mother something. So she went out window shopping. Soon enough, she walked by a pet store window. She thought to herself, “What a lovely idea for a present! My mother is so lonely and she needs a pet.” The woman went into the store and saw many wonderful animals. Puppy dogs, fluffy cats, gold fish, cute mice. But the woman didn’t think these were special enough. She asked the manager if he had a pet that was really special. The manager thought for a moment and replied, “Yes, but it costs a lot of money. $5,000” “I have a parrot that can speak 7 languages, Chinese, English, French, Korean, German, Russian and even Hindi!” The woman said, “Perfect” and bought the bird. She sent it by special delivery to her mother, so she would get it the next day. The next evening after work, the woman called her mother. She asked, “How do you like your birthday present.” Her mother replied, “Thank you, IT’S DELICIOUS!” Laughter caused on the basis of “a parrot which can speak” in this humorous text. Hyperbole is used in this text. Hyperbole is created by the phrase “have a parrot that can speak 7 languages, Chinese, English, French, Korean, German, Russian and even Hindi!”.
Describing the parrot so intelligent, the price of it is 5000 $ and woman’s mother cooked and ate parrot not informing this cause laughter for reader and listener of this text. As a conclusion, I can say that stylistic devices metaphor, metonymy, hyperbole are used active in Uzbek and English folklore, though, these nations’ humorous texts. The role of every stylistic device is greater in creating humor. According to investigation this paper not above-mentioned stylistic devices but others, such as pun, irony, oxymoron, personification, and allusion are used active in humorous texts. Speaker’s speech expresses negative emotional attitude to the object in humorous texts created with metaphor. Speech implicit meaning of metaphors is basis of laugh and it is formed in style of witting with specific pun. Laugh is caused by metonymy on the basis of mutual relation between speaker and listener in the process of speech. In particular, presupposition on the basis of hyperbole causes laugh in humorous texts. We should pay attention to these peculiarities of stylistic devices when we investigate humor and humorous texts from the aspect of linguistics, folklore, translation of humor and others.
To what extent their grammatical meaning and grammatical functions are preserved in translation has been observed. The question of the commonalities and differences between the spiritual groups of the English and Uzbek particles and the effect of the different features on the translation is studied. Uzbek affixes, English alternatives of word-form particles have been identified. The fact that their features are reflected in the translation is proved by examples Key words: particles, grammatical meaning, grammatical function, sentence, word, phrase, compound sentence, simple sentence, translation, adequacy. Introduction. Particles draw special attention in the translation process as one of the tools that complicate the semantic structure of the sentence and lead to linguistic presupposition. It can be observed that the storage and transfer of particles vary in translation. Defining the principles of expressing them in translation is one of the urgent problems. The main part. In the expression of particles in translation, the originality can be easily achieved by substituting the existing particles in one language for its similar grammatical function and grammatical meaning particles in another language. In particular, the Uzbek -ку, ҳам, -у (-ю), -да, -оқ, -ёқ, -ки (-ким) amplified-emphasis particles [7, 434] in English, which perform the same grammatical function, even, yet , still, all, just, simply, never, but, only, quite, too, very, even, in fact, in contrast to the so-called “Emphatic or intensifying particles” [2, 281] can be expressed. For example, the excerpt from the novel "Columbia City was not so far away, even once she was in Chicago" from the English-American writer Theodore Dreiser's novel "Sister Carrie" [3, 2] is in fact only one (even) amplification, in the Uzbek translation, three (ҳаттоки, ҳам, -ку) amplifiedemphasis particles were used at once: "It's hard to even come home from Chicago, - he said. The town of Columbia is not far away" [4, 5]. As a result, in addition to the originality, the meaning in the Uzbek translation has been further strengthened. It is known that in the Uzbek language there are additional particles (-ми, -чи, -a, -я, -ку, -да, -оқ, -ѐқ, гина, etc.), and when they are added to a word, phrase, sentence, they have an additional meaning. If a word or phrase with an additional load is omitted during the translation process, the particles on it will also be dropped. For example, “Гуля буларнинг орасида нима қилади, гаштакка тўплаб ўтиришдан мақсади нима ѐки битта-яримтасининг юзида ой кўрганми – шунисига ҳайрон эди Фарҳод” [1, 114]. (In translation: “He wondered what Gulya was doing among them, why she had gathered them all together, or if she was expecting something from them” [7, 109]. In this sentence, -ми was added to the phrase юзида ой кўрганми (whether he saw the moon on the face) of the question-and-wonder particles, but since this phrase was omitted in the translation, the particle added to it was also dropped. While particles are repeated and added to pairs of words, adding additional meaning to their meaning, it is natural that if such words are omitted during the translation process, the particles they contain will also drop. For example: “Тўғри, онамда озроқ арман қони аралаш, лекин отам, бобою бобокалонларим қип-қизил эроний бўлган. Агар ишонмасангиз, насабномамизни келтириб кўрсатишим мумкин!” [1, 118]. (“Admittedly, my mother had some mixed Armenian blood, but my father and all my forefathers were pure Iranians. If you don’t believe it, I can show you our genealogy!”) [7, 113]. It formed a coherent passage in the sentence – the words отам, бобою бобокалонларим (my father, grandfather and great-grandfather) were connected by an English and an conjunction, but the pair of words бобою бобокалонларим (my great grandparents), who were connected by a particle is expressed in translation by a simple word meaning all my forefathers: But my father and all my forefathers. It should be noted that due to the lack of additional particles in English, the word particles are translated into Uzbek either by additional or word particles: “Suppose she should never hear anything more of him? This fine arrangement of chambers would not last long!” [3, 191]. – Бутунлай дом-дараксиз кетса-чи? Унда манави шинам хоналарни тарк этишга тўғри келадику! [4, 250]. The original never is alternated amplified-emphasis particles in the Uzbek translation is "- kу!". In Uzbek, -ку particle is a amplified-emphasis particles, but sometimes it is used in speech to form a question. At the same time, this particle conveys the meaning of interrogation. In English, this particle corresponds to a just particle of content. This opportunity was used in the translation. The content of his interrogation has also been preserved. For example: “– Эй ўртоқлар, нимага мум тишлаб ўтирибсизлар? – Акобиров сизларни майна қиляпти-ку?! Бориб турган миллатчи бу! Мана, ўзларинг ҳам кўрдиларинг...” [1, 137]. (“Hey, candidates! Look, why are you just keeping quiet when (Akobirov’s making fun of you? He’s a real nationalist! You’ve all just seen it for yourselves…”) [7, 131]. It is observed that the content of the questionnaire, which represents the questionnaire particles in Uzbek, is given in English with a questioning tone. "Why does this woman behave like an aristocrat?" Although the -чи interrogative particle is not actually used in this sentence, its place is noticeable. Therefore, the English translation of the sentence is given in the form of a direct interrogative sentence, with a question mark at the end. Although the particles are sometimes omitted in the translation process because they do not have the same meaning as modal words, exclamations, and rhymes, they may not detract from the main content: “Одам дегани бу лўлихонада қандай кун кечирар экан-а? Яна тағин манови хотиннинг ўзини киборона чоғлаб жикиллашини! Бу-ку майли, аъмолидин кўрсин, баттар бўлсин, аммо Вика, Викторияси шу уйда қоладими бу кеча? Бу исқирт хонадон, ундан-да исқирт кимсалар орасида унга нима бор? Наҳотки шулардан бунѐд бўлган у?” [1, 156]. (“How can they live here?”). “And what has it got to do with Vika? “Will she be spending the night here today?” [7, 147].
In fact, the modal part of the sentence "Бу-ку майли" consists of a preposition (бу), particle (-ку), a modal word (майли), which does not have a noun in the translation process, so it is easy to give them up and omitted. But this complex compound sentence, which is in fact a combination of four simple sentences, is given in translation in the form of two simple sentences. This makes it clear that in the process of translation not only words that do not have a noun meaning can be omitted, but that sentences given in the form of a complex compound sentence are in fact simplified in translation. The original text reads, "Бу исқирт хонадон, ундан-да исқирт кимсалар орасида унга нима бор?" the pronoun (у + н + дан), which led to the consonant of the exit in the sentence, was supplemented by an amplified-emphasis particle. In the Uzbek language, the word наҳотки is considered as a reinforcement. It often contains the meaning of interrogation. Therefore, in his English translation, using a question mark, it is indicated that the sentence has the following meaning according to the purpose of expression: “What will she do in this grimy place among these untidy people? Is she really their granddaughter? ” [7, 147]. “Йўқ, ижобий милиса экан. Сени кўриб юмшади. Лекин кинода ўйнамоқчи! – Вой, ростданми? Шу-я?! – Ҳа, нима қипти? Шунчаси ўйнаяпти-ку!” [1, 160]. (“No, he was a good policeman. He relaxed as soon as he caught sight of you. But he’s going to play in a film!” – “Really? That officer?” – “Yes. Why shouldn’t he?” [7, 151]. Apparently, in the dialogic text quoted, “Вой, ростданми? Шу-я?!” part of the translation is “Really? That officer?” translated in the style. At the same time, it is observed that the pronoun "вой", which does not have a noun meaning, is dropped, and then the pronoun "шу", which has no other noun meaning, but only as a sign, is realized by a definite noun. At the top of the dialogue, the Uzbek dialect of the militia, including the name of a police officer, is translated as "policeman," meaning "полициячи," meaning "Нима у қилолмайдими?" translated in the style. From this it becomes clear once again that in the process of translation one particle can be brought in place of another particle. In the Uzbek language, it is often the case that фақат, ҳатто (ки), наҳот (ки) particles appear at the beginning of a sentence. In English, even amplified-emphasis particle is often used at the beginning of a sentence: “Ана, етти ѐт бир милиса ҳам тушунди-ку! Бир кўнгилга фақат биттаси сиғади деганлари бекор экан, Зуҳра, мана, сенинг ѐнингга бугина ҳам сиғди-ку, бағрингни кенг қил, хотин дейди" [1, 161]. (“Even a traffic officer, a stranger, could understand him. It is not true that one heart can be the place for one love only. Zuhra, look, this woman could be placed next to you in my heart, so be tolerant, please, my wife” [7, 152]). Based on this example, there is evidence that in English, even - amplified-emphasis particles can come at the beginning of a sentence. Ҳатто - the amplified-emphasis particles is given in English with the same meaning and even word in the function. But the place and function of the particles, which is still attached to the word -ям, may be almost imperceptible: However, the word ҳали is still added to the additional word -ям, may be almost imperceptible the word ҳам: "Акобировдан олган мактубингдаги сўнгги жумлаларни эслаб, шу тобда кўнглинг алланечук ҳазин тортди, кўзларингга ҳатто ѐш келиб кетди: “Акангиздан ҳалиям ранжиб юргандирсиз?" [1, 185]. (“Remembering the last lines of Akobirov’s letter, you felt sad, tears even came to your eyes: “Are you still upset with me?” [7, 173]). Sometimes, in the process of translating into English, the Uzbek accent is also given with the word modal, which confirms the accent: "I went to see him at his residence several times, too". It can be said that in the process of translation, it is often observed that due to the fact that the compound sentence is given in the form of a simple sentence, the particles in original context that actually exist are dropped. This can be clearly proved by the following example: “Касалхонада ѐтиб чиқдингу пича ўзингга келгандек бўлдинг” [1, 179] is translated as “You had hospital treatment” [7, 168]. More precisely, the structure of the sentence has changed when this particle is taken from the structure of this connected compound sentence, which is actually formed by quoting the -у, as an attachment conjunction. In the phrase "У касалхонада даволанди" based on this change, the meaning would have been more clearly understood if the phrase "ўзига келмоқ" was given only with the word "тузалди" rather than "даволанди". It can be seen that in the translation process, a single particle in the original can be represented by several such particles in the translation language. More precisely, it is observed in translation practice that a particle is given by several particles equal to its meaning. In Uzbek, the suffixes -у, -ю, -да are usually used to reinforce and emphasize ideas, and sometimes to connect words and sentences. Therefore, it can be observed that they are present when the English suffix “and” is translated into Uzbek: “Arranged her clothing for the night and went to bed” [3, 12] - "Шунда туриб ечинди-да, кийимларини яхшилаб тахлаб қўйиб, ўринга кирди" [4, 20]. Although the accent is sometimes not used in the English text, it is used when translated into Uzbek and expresses the meaning of interrogation in addition to its meaning: "Ah," thought Carrie, with mournful misgivings, "what is it I have lost?" [3, 73] – Мен ҳеч нима йўқотганим йўқ-ку? дерди Керри ҳам ичида ваҳимага тушиб" [4, 96]. Although in most cases the particle is not involved in the original, there are instances of its use in translation. Not even one, but several types of particles can be used in several places: “In the light of the way they would look on her getting money without work, the taking of it now seemed dreadful” [3, 53] in the Uzbek translation of the passage at once in four places "Керрининг ўзи ҳам жон-жон деб уларнинг баҳридан ўтган бўларди-я, аммо уйига қайтиб кетишга сира ҳам тоби йўқ эди-да” [4, 73]. The following cited particles ҳам, -да represents the reinforcement-emphasis, and -я particle represents the interrogation-surprise. In general, adding non-existent particles or translating original non-existent particles is one of the most common situations: “They would be expecting her to go home this week” [3, 56]. In this text, it is clear that there are no ахир and -ку in original context, but in the Uzbek translation they are: "Ахир опаси билан поччаси мана шу ҳафтада қайтиб кетишини кутиб туришибди-ку" [4, 77] There are also cases where the original particle is dropped. For example: “An old acquaintance of mine that I ran into just as I was coming up from the station,” Drouet explained. "She used to be quite a beauty" [3, 85]. " – О, у эски танишим билан вокзалдан келаѐтиб учрашиб қолувдим! – Друэ шоша-пиша тушунтира кетди. – Бир вақтлар ѐмон эмасди" [4, 116]. The original "just" amplified-emphasis particles has been dropped in the Uzbek translation. The task of expressing the emotion he has to perform is assigned to the emotional urge “o”. The formation of emotional sentences through questioning in Uzbek is one of the most common cases, which is also preserved in the process of translation into English: "Fine stepper, wasn't she?" [3, 81]. "– Бирам чиройли юраркан-а!" [4, 109]. Apparently, the English interrogative sentence was translated into Uzbek in the form of an emotional sentence with the participation of the “-a” interrogative particle. In the process of translating emotional sentences constructed in English into Uzbek, it was found that expressive sentences with interrogative sentences are expressed in the form of emotional sentences, the exclamation point is replaced, or it is accompanied by a question mark [5]. In short, a comparative study of the grammatical, functional and stylistic features of the two peoples who speak different structural languages - English and Uzbek, auxiliary words in speech - expands the existing opportunities in linguistics to enrich scientific conclusions about particles and their translation.
One of the most important tasks of modern linguistics is the comparative study of language systems. The main attraction here is the comparison of phrases that serve as primary categories. Although theoretically this issue has been studied, there are few practical comparisons in the context of the modern synchronous position of two or more specific languages. The numerical category has been developed extensively in linguistics. The scientific works of A.B. Suprun [1], V.I. Arinstein [2], Sh.Shoabdurakhmonov, M.Askarova, A.Khojiev, I.Rasulov, X. Doniyorov [3] are extensively used to cover this issue. At the same time, the publications of S.A. Jabotinskaya [4], S.A. Shvachko [5], J.B. Boronov [6]., E.M. Fayzullaeva [7]are widely involved in research. The purpose of the article is to highlight the relevance of comparative-typological study of various language systems, including the comparative study of English and Uzbek languages, and the teaching of English in the Uzbek audience. They consist of ways to show the categorical semantics of numbers in the two languages being compared, to reveal the similarities and differences in the classification of the numbers, and to represent the numbers in other languages. An attempt is also made to reveal the approximate numerical value used in English and the sum of its meanings. The theoretical significance of the work is very important in comparative-typological study of the Uzbek and English languages. In English, however, the opposite is true - in such compounds the noun requires a plural form: three quards. Here is a typological difference between the distribution of two markers in one category, namely the plural morpheme in Uzbek and the number mutually rejecting each other [10]. The count shows the total number of subjects. In this case, the form in the Uzbek language is envisaged without affixes. Such numbers are used in numerical words. The numbers can be used to denote the number of units and the number of distributions. There are no differences between the numbers two and three, and two and three numbers, that is, the numbers, represent the exact number of objects. The meaning of number and distribution is an additional sign of these meanings. Compare the following examples: The Chairman slaughtered one calf and one sheep (S. Ahmad). If we add the affix – ―ta‖ in the above example to the number of unchecked numbers, we can see that the exact meaning does not change. Therefore, it is advisable to study the numbers labeled in the numbers. Analysis of the actual material shows that the numbers are used anologically in comparable languages. In English, the use of marking and unmarked numeric forms can be used to express numerical numbers in Uzbek, for example: You must have two good horses and a cart. Bir arava-yu ikkita yaxshi ot kerak. (E. L.Voinich) . The syntactic meanings of the numbers are as follows: а) in the prepositive combination with the detector; b) with the attribution and predicate function of the sentence; c) Substance is easily transferred to another lexicogrammatical classification of words, that is, the function of the sentence changes; d) The Uzbek language was later used as a condition, the consensus quickly becomes paradigmatic, and so on. Count numbers are used in their original way, for example: ―The house has been standing here for thirty years‖ - ―Uy bu yerda o’ttiz yildan beri turibdi‖. In this example, counting causes no problems with the translation. Let's take the following statement in Uzbek: Mening do’stim uchinchi xonada o’tiribdi. In the first glance, the word ―uchinchi‖ in this sentence is English‖, We have to translate as following: ―Му friend is standing in the third room‖. But when using the house, books, trams, lessons, etc., the numbers are used and put before the noun. In Uzbek, this number is given. In summary, the correct translation of the sentence above is as follows: My friend is sitting room No.3 Compare: Flat six – oltinchi xonada, Bus (number) forty one - 41-avtobus. In such cases, the word (number) may be dropped. Here is another example: Uchinchi betdagi mashqni toping. This statement is based on the above analysis: ―Open the exercise on page 10‖. However, there are also translations that sometimes lead to misunderstandings: ―Open the exercise on page 10‖. Consider another aspect. If the names of people are used with a number, the inscription uses the Roman number after the person's name, but the number is read as a number.: One of the kings of England was Henry V (Henry the fifth). This is not a problem in translation because it is available in English and Uzbek: One of the kings of England was Henry V (Henry the Fifth). Sequence number means ―other‖, ―next‖, ―this time‖ except the order number of the second - second subject. Example: After that Muqaddas didn't go to this house again (O.Yakubov). The sequences, which are linked by time-specific words, indicate the exact time (form). The ordinal numbers are approximately the approximate predictors of the sequence of the subject using about. Sequential numbers can be combined with nouns, numbers, verbs, repetitive expressions, auxiliary verbs, and in English with an articulation. Like quality, order plays a key determinant in number sentences. When making nouns, they perform the same syntactic tasks that nouns do. The analysis in factual materials shows that in both languages, the order is a separate number of numbers, that is, a numerical order that expresses a finite number, rather than an abstract number, but a sequence of subjects. Order numbers denote the order or location of the item, hence its nature. Consider the following situation.: ― Beshinchi aprelda biz kinoga boramiz‖. We’ll go to the cinema on the five April. Now compare with the correct option: We’ll go to the cinema on the fifth of April. Chronological dates are self-written or read, compare: May 1st, 1998 – May the first, ninety-eight. 2nd September, 1984 - The second of September, nineteen eight four. Mening yaqin do’stim 1974 chi yilda tavallud topgan. An inexperienced translator can translate it as follows: My My close friend was born in the 1974.
Now let's compare the right option: My close friend was born in 1974. When it comes to the translation of numbers, there are no numbers in English. In the Uzbek language there are such numbers, which are made in morphological and syntactic ways. For example, yigirmatacha, beshtacha, ikkiuchta and so on. In English, you can use the word ―about‖ before the number, or ―or‖ suffix between two numbers to indicate the approximate numbers. For example, about five, two or three. Now consider the following: ―Mening 100tacha kitobim bor‖ – Incorrect translation: I have one hundered books. It should actually be in line with the above rule: I have about a hundered books. Here is another example: Bu yerda yuz qopcha bor. Incorrect version: There are hundred of bags of flour. The correct translation: There are about a hundred bags of flour. We will give another example to better understand: Mening ixtiyorimda 10 minutcha vaqt bor. Note the translation: I have about a ten minute at my disposal. In this translation, the article ―a‖ is used before the noun, in the translation with ambiguity ―a‖ - it gives a lot of vocabulary and is a misuse. The original translation does not contain this article: I have about ten minutes at my disposal. DISCUSSIONS These assumptions just mentioned were just a drop from the ocean. If you look closely, you can see that the Uzbek and English numbers have both ―similarity‖ and ―differences‖. Of course, as noted, the morphological structure of numbers also varies. Understanding this difference can now be a bit difficult for those who are learning English. But students whose specialty is English should remember these rules. However, Uzbek students do not use the "and" tie, which is used in two or more compound numbers, but in English this link is used. For example, ―bir yuz bir‖ in Uzbek (101) – one hundred and one in English. In Uzbek, there are three types of numbers: count, decimal, and cumulative [11] In English, however, there are two types: the cumulative number is not in English. We know that there are 2 categories in the numbers in the Uzbek language, namely pieces (one, two) and assumption (ten, twenty).
There are differences in the numbers and order in English and Uzbek that some of most students are not aware of them. For example: Men 10chi xonadanman - I am in room ten. Some students translate this statement as follows: ―I am in the tenth‖. Also, there are many examples, for instance, Petr bir – Peter the first, but sometimes they mistakenly translate as Peter one. Such cases are very common during the translation of the questionnaire. English-language numbers are very difficult for Uzbek students, because the Uzbek decimal numbers are very different. For example: 3,05 – three point (оu) five. However, in Uzbek it is read as three out of five hundred. Each number is read separately in English. The comma is read as ―point‖, and in Uzbek it is taken as a whole, and not every number is read separately. Because of these difficulties, Uzbek students make mistakes when speaking English. Now, when we look at the numbers, as we said earlier, this species is not in English. Several words are made with the addition of ―ov‖, ―ala‖ suffixes, but is used in conjunction with some constructs in English.The number category in the comparative languages is a two-member opposition system - singularity and plurality.English Uzbekn House – houses Uy-uylar Woman – women Xotin-xotinlar Room – rooms Xona-xonalar.
Metaphor is the most common of the figures of speech. Unlike simile, metaphor (from the Greek language: meaning "transfer") is language that directly compares seemingly unrelated subjects. It is a figure of speech that compares two or more things not using like or as. In the simplest case, this takes the form [1]. Metaphors, N. Fedorova points out [3], may be based upon very different types of similarity, for instance, the similarity of shape: head of a cabbage, the teeth of a saw. This similarity of shape may be supported by a similarity of function. The transferred meaning is easily recognised from the context: The Head of the school, the key to a mystery. The similarity may be supported also by position: foot of a page/of a mountain, or behaviour and function: bookworm, wirepuller. In Uzbek stylistics we find the following classification of metaphors. For example, according to I. Arnold [2], metaphors can be divided into “tradision metafora” (traditional metaphor) and “ijodiy metafora” (“creative metaphor”). Sh. Shomakhsudov uses other terms- “tildagi metafora” (“language metaphor”) and “badiiy metafora” (“literary metaphor”). In my opinion it is one and the same classification given in different terms. Here are some examples of trite metaphors in the Uzbek language: ayriliq o’ti, ishq o’tida yonmoq, ilm o’chog’i.
The following can serve as an example of a genuine metaphor in the Uzbek stylistics: “Mana bugun sizlar hayot ostonasiga qadam qo’ymoqdasilar”. In this example “hayot ostonasi” (the threshold of life”) is used as genuine metaphor. Comparing structural classification of metaphor in the English and Uzbek stylistics it is worth mentioning that Uzbek scientists define and understand prolonged metaphors differently. As to simple metaphor, its definition coincides in both languages. According to the Uzbek stylists simple metaphor is expressed by one word. So in this case the definitions given by Uzbek and English stylists coincide. For example: Bir ikkita savollar tashlagan edi, qiyib tashladim”. The verb “qiyib tashladim” which can be translated as “to cut” can be changed as “to cope with something perfectly”. As to prolonged metaphor it should be noted that the definition given by Uzbek stylistics does not coincide with the one suggested by English scientists. If according to the definition given in English stylistics prolonged metaphor consists of several simple images that complete each other and strengthen one image, such Uzbek scientists as R. Kongurov, A.Sh. Shomakhsudov [4] consider that prolonged metaphor consists several words. In other words, in structural Uzbek stylistics classification of metaphors depends only on quantity of words. 28 For example, A.Sh. Shomakhsudov in his work “Uzbek tili stilistikasi” gives such examples prolonged metaphoirs: oq oltin- cotton, po’lat qush-airplane, qora oltin-oil. It is interesting to note than the term “metaphor” has been accepted by the Uzbek stylistics comparatively recently. There was another term “majoz” was used in this concern. But it should be noted that metaphor mostly coincides with “istiora” that is considered to be one type of “majoz” and presupposes comparison between two things which possess similar features. There is another type of metaphor which is called metaphorical epithet. This phenomenon is widely spread in both languages. For instance, in the English language we may come across such expressions as gold hand, stony heart. In the Uzbek literature it is one of the most frequently used types of metaphor as it is peculiar to the Uzbek language to use metaphor in the attributive form, especially, when it deals with the description of people appearance. For example: Qaldirg’och qoshini yana chimirdi Suhbat ochar edi ilm-fandan In this case expression “qaldirg’och qoshi” (swallow eyebrow) is considered to be metaphorical epithet as the first component of it, in its essence, is a simple metaphor. In conclusion it would be of interest to show the results of the interaction between the dictionary and contextual meanings. The constant use of a metaphor gradually leads to the breaking up of the primary meaning. The metaphoric use of the word begins to affect the dictionary meaning, adding to it fresh connotations or shades of meaning. But this influence, however strong it may be, will never reach the degree where the dictionary meaning entirely disappears. If it did, we should have no stylistic device.
Culture is the characteristics and knowledge of a particular group of people, encompassing religion, language, social habits, cuisine, music and arts. Equivalent-lacking words signify notions lacking in the target language and culture. They are sometimes called untranslatable words or ‘unfindable’ words. 12 Sometimes equivalent-lacking words are associated with culture-bound words, the Russian equivalent being реалии or culturally loaded words. However, the term of culture-bound word is of narrower meaning than the term of equivalent-lacking word. A culture-bound word names an object peculiar to this or that ethnic culture. Equivalent-lacking words include, along with culture-bound words, neologisms, i.e., newly coined forms, dialect words, slang, taboo-words, foreign (third language) terms, proper names, misspellings, archaisms, etc. [1] Equivalent-lacking words also include proverbs, idioms and phraseologisms. Sometimes it may be difficult to find a suitable equivalent in another language. Words which are connected with culture are called culture-bound words. Culture-bound words are generally rendered in the borrowing language through transcription, transliteration, and calque translation. What is most important in translating culture-bound words is the receptor’s perception and reaction. A translator should be aware of the receptor’s potential problems and, taking into account the receptor’s background knowledge, choose the best means of translation. Before translating, it is necessary to check whether a loan word exists in the target language, whether its meaning corresponds to that of the source language word, and what its phonetic and graphic form is (care should be taken for the different spellings of a source language word and the loan word.[2] MATERAILS AND METHODS “The coziness and beauty of an art house depends on the accuracy and precision of the building design, the elegance of the decorations, the skill of the architect and the skill of the builders. But what material it is made of, the quality of the building material is also very important. In literary translation, on the other hand, the place of the basic “building material” - the word, which is the first and most necessary element of translation - is immense. All the problems of translating from one language into another - the 13 creation of art, the creation of style, the reflection of the national color - are closely connected with the word.” [3] Translation is the transmittal of written text from one language into another. We can add to our opinion that in addition to translating the author's work, the translator must do a great deal of additional work - a careful study of the traditions of that nation, their relationship to each other, the author's work, all scientific and literary sources. Otherwise, it is natural for the translator to make similar errors as above. The purpose of translation is to recreate an existing work of art in another language. In this case, the translator recreates the artistic means of another language in his own language. After all, translation has been a means of getting acquainted with the national spirituality, which is still alien, and absorbing it into one's own inner world. In the personality of the translator (in the form of a creative writer) the cultures of the two nations are harmonized [4]. What interests the translator is to present of the same new, yet undiscovered world of national national to his reader. In the personality of the translator (in the form of a creative writer) the cultures of the two cultures are harmonized. “National value is a concept used to show the universal, socio-moral, cultural, spiritual significance of certain events in reality. Everything that is important to human and humanity, such as freedom, peace, justice, enlightenment, truth, goodness and spiritual wealth, and so on, is a value. Although value in this sense is not applied to the value of things and objects, it is a philosophical category used to express the social significance of the value of objects, events, processes, situations, qualities, requirements, etc. This category represents not only the value of the object, but also its social significance, philosophical and axiological content, value for society and human. [5] 14 In this sense, value is not applied to the quality of things and objects, but is a philosophical category used to express the social significance of values, events, processes, situations, qualities, demand procedures, etc. This category represents not only the value of the object, but also its philosophical-axiological content of social significance, value for society and human.