Употребление метафор в переводе с английского на узбекский язык

МИРЗО УЛУҒБЕК НОМИДАГИ

ЎЗБЕКИСТОН  МИЛЛИЙ УНИВЕРСИТЕТИ

 

ХОРИЖИЙ ФИЛОЛОГИЯ ФАКУЛЬТЕТИ

 

Инглиз тили фонетикаси ва грамматикаси кафедраси

 

 

Мавзу:  Инглиз тилига ўзбек тилига таржимада метафоралар

 

 

КУРС           ИШИ

 

 

       Бажарди:                                                  Тўйчиев Аброр                                                              

        III курс талабаси

 

       Илмий раҳбар:                                         Жураева.И.А

                                                                         кат.ўқит.

                                                                        

 

 

 

 

 

 

 

ТОШКЕНТ 2012

NATIONAL UNIVERSITY OF UZBEKISTAN

named after MIRZO ULUGBEK

 

FACULTY OF FOREIGN PHILOLOGY

 

Department of English phonetics and grammar

 

Theme:  Metaphors in literature translated from

English into Uzbek

 

 

COURSE PAPER

 

 

      

 

        Submitted by:                                      To’ychiyev Abror

                                                                      III kurs talabasi

   

      Scientific advisor:                                 Jurayeva.I.A

                                                                      Senior teacher                                   

                                                               

 

 

 

 

 

TOSHKENT 2012

НАЦИОНАЛЬНЫЙ  УНИВЕРСИТЕТ УЗБЕКИСТАНА 

имени МИРЗО УЛУГБЕКА

 

ФАКУЛЬТЕТ ЗАРУБЕЖНОЙ ФИЛОЛОГИИ

 

Кафедра фонетики и грамматики английского  языка

 

 

 

Тема: Употребление метафор в переводе с английского

 на узбекский  язык

 

 

КУРСОВАЯ  РАБОТА

 

 Выполныл:                                                     Тўйчиев Аброр

                                                                         3-курс талабаси

 

 Научный  руководитель  :                              Жураева.И.А

                                                                     

 

 

 

 

 

 

 

ТОШКЕНТ 2012

Сontent

Introduction……………………………………………………………………3

Chapter I.   General classification of metaphors and theirtranslation from

                    English into Uzbek

1. Theoretical background to ancient history of metaphors……..……….6
2. Metaphor as foundation to modern linguistic science development and  their classification…….…………………………………….…………...…11
3. Metaphors and their classification as a theoretical and practical basis………………………………………………………………………….15
4. Ways of translating metaphors and problems inflicted in this process………………………………………………………………………12

Chapter II. Analysis of metaphors in literary translationfrom English   

             into Uzbek................................................................................

            2.1. Analysis of metaphors in literature translated from English by

                means of Russian…………………..……………………………….……………….20

           2.2. Solutions to problems of metaphor translation in literature originally

                translated from English into Uzbek…..…………….………………..24

2.3. Equivalence and adequacy in literature translated from

       English into Uzbek....................................……........29

Conclusion…………………………………………………………………….......36

Резюме……….…………………………………...………………………………38

The list of the used literature…………………………..................................40

 

 

 

 

 

 

Introduction

Literary translation is a form of intercultural communication raising the problems which aren’t at the verbal level and to which solution of the problems is still ending in sort of a compromise due to plenty of problems. Providing mutual communication through literature, translation is deemed to be a bridge between two nationalities at the same time enabling them to get to know each other, being a source of peaceful relationships. Respectively taking into consideration all the basic encumbrances of the translation process, translation of metaphors has been chosen as the main idea topic of this course work. The point is that being quite complicated to understand even for native speakers, metaphors can make the translation process absolutely difficult as quite often they don’t have any equivalents in the target language.¹

The actuality o this course paper is that being relevant to national and individual stylistic emotional colouring, metaphors in translation have rarely been investigated. Besides both ways of translation such as Russian version-based and origin-based literary resources have been chosen to analyze the metaphors in.

The aim and functions of the course paper

- to classify the metaphors in theory and use

- to define the cases and methods utilized to translate them

- identify which methods are appropriate

- encertain problems connected with metaphor translation

- to offer personal solutions to relevant problems

Novelty of the course work is reflected in the analysis of metaphors which is oriented to literary translated from English into Uzbek both by means of Russian and originally.

Practical value of the course work can be implied in appropriacy to use it during the classes such as stylistics, lexicology, translation theory and etc.

Methods used in the research are component and context analysis, statistical, comparison, definition, typological, translation and etc.

The course paper in structure contains introduction part, giving the main idea, two chapters, conclusion and list of used literature.

In the introductory part, methods of research, actuality, object have been established obviously.

In the first chapter metaphors, their classification, practical use and the methods of their translation have been analyized at the end of which personal theoretical and practical approach to their translation has been offered.

In the second chapter, the methods analyzed in the first one will be defined practically as well as perosonal confirmations to the solutions offered.

In the conclusion final results of experiments and analysis have been cited.

In the list of used literature, the books, manuals, fictions and dictionaries used during the research have been shown in alphabetical order as well as the web-sites of which new information relating to it has been acquired.

 

 

 

 

 

 

 

 

 

Chapter I General classification of metaphors and their

translation from English into Uzbek

      1.1. Theoretical background to ancient history of metaphors

A metaphor is a literary figure of speech that uses an image, story or tangible thing to represent a less tangible thing or some intangible quality or idea; e.g., "Her eyes were glistening jewels." Metaphor may also be used for any rhetorical figures of speechthat achieve their effects via association, comparison or resemblance. In this broader sense, antithesis, hyperbole, metonymy andsimile would all be considered types of metaphor. Aristotle used both this sense and the regular, current sense above.^] With metaphor, unlike analogy, specific interpretations are not given explicitly.

Metaphors are comparisons that show how two things that are not alike in most ways are similar in one important way. A metaphor is more forceful (active) than an analogy, because metaphor asserts two things are the same, whereas analogy implies a difference; other rhetorical comparative figures of speech, such as metonymy, parable, simile and synecdoche, are species of metaphor distinguished by how the comparison is communicated. The metaphor category also contains these specialised types:

allegory: An extended metaphor wherein a story illustrates an important attribute of the subject.

• catachresis: A mixed metaphor used by design and accident (a rhetorical fault).
• parable: An extended metaphor narrated as an anecdote illustrating and teaching a moral lesson, such as Aesop's fables.

Metaphors are created for the purpose of insightful close reading, usually for the purpose of better internal visualization and comparison to another concept from which one can draw his or her own conclusion. A 'dead metaphor' may appear transparent upon first glance. However, dead metaphors are the most common of all usages because of common cultural or origin specific universal meaning. "I just can't shake it" is an example of a universal metaphor that, because of its contextual reference has an established implied message. Interpretation of metaphorical speaking is 'in the eyes of the beholder.' Is the reader insightful enough to recognize a metaphor? Metaphorically speaking, "we should remove our blinders."

Common types

• A dead metaphor is one in which the sense of a transferred image is absent. Examples: "to grasp a concept" and "to gather what you've understood" use physical action as a metaphor for understanding. Most people do not visualize the action — dead metaphors normally go unnoticed. Some people distinguish between a dead metaphor and a cliché. Others use "dead metaphor" to denote both.
• An extended metaphor (conceit) establishes a principal subject (comparison) and subsidiary subjects (comparisons). The As You Like It quotation is a good example, the world is described as a stage, and then men and women are subsidiary subjects further described in the same context.
• A mixed metaphor is one that leaps from one identification to a second identification inconsistent with the first. "I smell a rat  but I'll nip him in the bud" -- Irish politician Boyle Roche. This form is often used as a parody of metaphor itself: "If we can hit that bullseye then the rest of the dominoes will fall like a house of cards... Checkmate." -- Futurama character Zapp Brannigan.
• Per Hans Blumenberg’s metaphorology, absolute metaphor denotes a figure or a concept that cannot be reduced to, or replaced with solely conceptual thought and language. Absolute metaphors, e.g. “light” (for “truth”) and “seafaring” (for “human existence”) – have distinctive meanings (unlike the literal meanings), and, thereby, function as orientations in the world, and as theoretic questions, such as presenting the world as a whole. Because they exist at the pre-predicative level, express and structure pragmatic and theoretical views of Man and the World.

Use outside rhetoric

The term metaphor is also used for the following terms that are not a part of rhetoric:

• A cognitive metaphor is the association of object to an experience outside the object's environment.
• A conceptual metaphor is an underlying association that is systematic in both language and thought.
• A root metaphor is the underlying worldview that shapes an individual's understanding of a situation.
• A therapeutic metaphor is an experience that allows one to learn about more than just that experience.
• A nonlinguistic metaphor is an association between two nonlinguistic realms of experience.
• A visual metaphor provides a frame or window on experience. Metaphors can also be implied and extended throughout pieces of literature.

History in literature and language

Metaphor is present in the oldest written Sumerian language narrative, the Epic hof Gilgamesh:

Beloved friend, swift stallion, wild deer, / leopard ranging in the wilderness — / Enkidu, my friend, swift stallion, wild deer, / leopard ranging in the wilderness — / together we crossed the mountains, together / we slaughtered the Bull of Heaven, we killed / Humbaba, who guarded the Cedar Forest — / O Enkidu, what is this sleep that has seized you, / that has darkened your face and stopped your breath?— (Trans. Mitchell, 2004)

In this example, the friend is compared to a stallion, a wild deer, and a leopard to indicate that the speaker sees traits from these animals in his friend (A comparison between two or more unlike objects). The death of Enkidu is described as a sleep, as something that seizes, as something that darkens one's face, and as something that stops one's breath. This description is a mixed metaphor, and is also an example of metonymy, another type of metaphor, because the characteristics of death are used to refer to death itself.

The idea of metaphor can be traced back to Aristotle who, in his “Poetics” (around 335 BC), defines “metaphor” as follows: “Metaphor is the application of a strange term either transferred from the genus and applied to the species or from the species and applied to the genus, or from one species to another or else by analogy.”  For the sake of clarity and comprehension it might additionally be useful to quote the following two alternative translations: “Metaphor is the application of an alien name by transference either from genus to species, or from species to genus, or from species to species, or by analogy, that is, proportion.” Or, as Halliwell puts it in his translation: “Metaphor is the application of a word that belongs to another thing: either from genus to species, species to genus, species to species, or by analogy.”

Therefore, the key aspect of a metaphor is a specific transference of a word from one context into another. With regard to the four kinds of metaphors which Aristotle distincts against each other the last one (transference by analogy) is the most eminent one so that all important theories on metaphor have a reference to this characterization.

The Greek plays of Sophocles, Aeschylus, and Euripides, among others, were almost invariably allegorical, showing the tragedy of the protagonists, either to caution the audience metaphorically about temptation, or to lambast famous individuals of the day by inferring similarities with the caricatures in the play.

Even when they are not intentional, they can be drawn between most writing or language and other topics. In this way it can be seen that any theme in literature is a metaphor, using the story to convey information about human perception of the theme in question.

In historical linguistics

In historical onomasiology or, more generally, in historical linguistics, metaphor is defined as semantic change based on similarity, i.e. a similarity in form or function between the original concept named by a word and the target concept named by this word.

ex. mouse: small, gray rodent → small, gray, mouse-shaped computer device.

Some recent linguistic theories view language as by its nature all metaphorical; or that language in essence is metaphorical.

Historical theories of metaphor

Metaphor as style in speech and writing

Viewed as an aspect of speech and writing, metaphor qualifies as style, in particular, style characterized by a type of analogy. An expression (word, phrase) that by implication suggests the likeness of one entity to another entity gives style to an item of speech or writing, whether the entities consist of objects, events, ideas, activities, attributes, or almost anything expressible in language. For example, in the first sentence of this paragraph, the word "viewed" serves as a metaphor for "thought of", implying analogy of the process of seeing and the thought process. The phrase, "viewed as an aspect of", projects the properties of seeing (vision) something from a particular perspective onto thinking about something from a particular perspective, that "something" in this case referring to "metaphor" and that "perspective" in this case referring to the characteristics of speech and writing. 

As a characteristic of speech and writing, metaphors can serve the poetic imagination, enablingWilliam Shakespeare, in his play "As You Like It", to compare the world to a stage and its human inhabitants players entering and exiting upon that stage; enabling Sylvia Plath, in her poem "Cut", to compare the blood issuing from her cut thumb to the running of a million soldiers, "redcoats, everyone"; and, enabling Robert Frost, in "The Road Not Taken", to compare one's life to a journey.

Viewed also as an aspect of speech, metaphor can serve as a device for persuading the listener or reader of the speaker or writer's argument or thesis, the so-called rhetorical metaphor.

Metaphors have been in the centre of attention for many centuries, a huge  number of literary works in Greek and Roman mythology have been read with pleasure for the amount and literary beauty of the metaphors. Every poem or a prose used to be appreciated according to meaning, amount and emotional colouring of metaphors.

They originated due to games of words played by wise people, schoolchildren and even started to be considered as an art. Art of metaphor utilization came into existence at the time when poets or writers gathering and sitting together for discussion utilized shifting meanings for games of hiding the words. Then it started to be used for description of nature, external appearance of human and even to express internal monologue of heroes in the literature. First it was never utilized in prose as it played essential role only in poetry. Currently compared to history metaphors have been studied as science of linguistics and their analysis plays vital role in understanding not only literature of foreign language, but also those written in native language as they are mostly utilized from the point of view of the writers or another individual.

 

1.2. Metaphor as foundation to modern linguistic

science development and their classification

Metaphor being quite ancient weapon in literary and linguistic science has been considered to be foundational to our modern conceptual system

Cognitive linguists emphasize that metaphors serve to facilitate the understanding of one conceptual domain, typically an abstract one like 'life' or 'theories' or 'ideas', through expressions that relate to another, more familiar conceptual domain, typically a more concrete one like 'journey' or 'buildings' or 'food'. Food for thought: we devour a book of raw facts, try to digest them, stew over them, let them simmer on the back-burner, regurgitate them in discussions, cook up explanations, hoping they do not seem half-baked. Theories as buildings: we establish a foundation for them, a framework,support them with strong arguments, buttressing them with facts, hoping they will stand. Life as journey: some of us travel hopefully, others seem to have no direction, many lose their way.

A convenient short-hand way to capture this view is to imagine a thing its features exaggerated or hidden. It was Lakoff & Johnson (1980, 1999) who greatly contributed to establishing the importance of conceptual metaphor as a framework for thinking in language. In recent years many scholars have investigated the original ways in which writers use novel metaphors and question the fundamental frameworks of thinking implicit in conceptual metaphors.