CENTRAL ASIAN JOURNAL OF ARTS AND DESIGN

VOLUME: 02 ISSUE: 12 | 2021

Available online at www.cajad.centralasianstudies.org

CENTRAL ASIAN JOURNAL OF

ARTS AND DESIGN
Journal homepage: http://cajad.centralasianstudies.org/index.php/CAJAD

Phraseological Units and their Cultural Features in the English Translations

of A. Kadyri's "Bygone Days” and “Scorpion from the Altar"

Kholmurodova Osiyo Iskandarovna

Master degree Student of English Literature department Foreign Language faculty Bukhara State
University

Annotation
ARTICLE INFO
This article analyses the English version-translation of
famous novels by Abdulla Kadyri “Bygone Days” and “Scorpion Article history:
Received 01 Nov 2021
from the Altar” as well as points out the phraseological units that Received in revised form 28 Nov
Accepted 30 Nov 2021
express the cultural features of the Uzbek nation in them. Available online 16 Dec 2021
Moreover, this paper mentions how literal translation is made from
language to language and what basis exists behind this process.
Keywords: Abdulla Kadyri,
bygone days, scorpion from
the Altar, phraseological
unit, culture, translation,
cultural features, phrases.
I. Introduction
Abdulla Kadyri is considered to be one of the primest Uzbek writers who was known for his works
written in 20-30s of the XXth century. Abdullah Kadyri knew the life of his people not by hearsay and
not from books, but absorbed its peculiarities through direct communication with people. This original
writer was formed at the turn of two centuries - a complex, contradictory, turbulent time, social,
political and moral upheavals. Of course, this time left a significant mark on his works and worldview,
which is also contradictory, not free from social and everyday prejudices.
In general, the path of literary searches of Abdulla Kadyri is marked by constant upsurge and
remarkable creative achievements. Among the works that he worked on, there are one of the famous
ones dedicated to expressing the hardworking spirit of the nation as well as real faces of the state -
“Bygone Days” and “Scorpion from the Altar”.
II. Literature review
The problems of translating literary texts are studied by a special linguistic science - the theory of
literary translation. In the modern theory of literary translation, there are three main trends:
 the main orientation is transferred from the original to the text of the translation;
 the evaluative approach is replaced by a descriptive one;

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 from the text as a unit of language, the theory goes to the function of translation as part of the
culture of the target language.
The modern theory of literary translation is based on a number of provisions, the main one of which is
that “with the formal non-transferability of a separate linguistic element of the original, its aesthetic
function can be reproduced in the system of the whole and on the basis of this whole, and that the
transfer of function during translation constantly requires changes in the formal the nature of the
element that is its bearer. "The basic principle of the theory of literary translation is as follows: you
need to “consider each sentence as a part of the whole, convey not only what it says, but also work on
creating an artistic image, general mood, characteristics of the atmosphere, characters, etc. and the
choice of a single word, and syntactic structure, and other elements."
III. Analysis
The very selection of the theory of literary translation as a separate scientific direction is possible on
the basis that the text of a literary work can be typologically opposed to all texts of a non-fiction
nature. An artistic text is called "a super phrasal unity, characterized by a common ideological and
thematic content and aesthetic impact on the reader - its main function." This function "is realized on
the basis of aestheticization by the author of the text of the reality he depicts with the help of artistic
techniques that are most adequately suited to create the desired emotional effect." However, fictional
text as a whole is multifunctional, since it also performs communicative and cognitive functions.
As Abdulla Kadyri himself said, "In order to become a real writer, one must comprehensively study
life, for this he must be familiar with every branch of life." Indeed, when the writer was preparing
"Days bygone", he sought to show his characters, comprehensively studying, analyzing the life,
actions, character and especially the social environment of people. As our President emphasizes,
“Writing is not a simple profession. God-given talent. This profession will not be taught or taught
anywhere. Both the school and the University of the Writer are one. And this is to live unanimously,
sympathetically with your people within your whole life, to serve faithfully, justly. "
Moving onto the part in which the analysis on the translation is done, it is important to point out how
difficult could have been for translators to find the alternatives for phraseological units of an Uzbek
language in an English language. Thus, this indicates that two cultures behind these languages do not
share the same mentality and cultural backgrounds. This issue is considered in the process of the
analysis. However, there may not always be an analogous phraseological unit in the target language, in
which case the translator will use one-word correspondence, descriptive translation, and tracing. When
the translating language does not have an equivalent stable turnover, or when it has, but the emotional
expressiveness and style labeling differ greatly from the original, one-word translation is utilized.
In addition, even with the compensatory possibilities of the context, there is some loss of
expressiveness and semantic shades in such correspondences. Descriptive translation may not affect
the translation's overall creative quality, but it will almost always result in partial stylistic losses.
Because tracing paper in the translated text will appear as an alien formation requiring special
interpretation, the technique of tracing in the translation of phraseological units connected with a word
is practically utilized only very seldom.
For instance, the author utilized the folk adage "kavshim ko'chada qolg'an emas" to explain the
qualities of Uzbek character, which means "to know one's worth" in semantic terms. Because this fixed
statement has no equivalent or parallel in any of the target languages, the tracing approach, i.e. the
literal translation method, was employed to translate this phraseological unit. The primary reason for
this is that the major word in the phraseological unit "kavshim - galoshes - galoshes" is fully national,
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64 CENTRAL ASIAN JOURNAL ARTS AND DESIGN (ISSN: 2660-6844).

giving the changeover an entirely national character. We can discuss one of the ways to use tracing
paper by using this phraseological unit as an example: verbatim translation of the text. Only if there is
no substitute expression in the destination language is this type of text transmission used. The
translators handled the problem by incorporating the phrases "proverb" and "proverb" because such a
translation style is sometimes confusing to a foreign language reader and generates misunderstanding.
For example, the heroine of the novel Uzbekaim understands at one point that the only way to keep her
son away from the "Margilan sorceress" is for her to marry Atabek a second time in Tashkent to a girl
she chooses herself. She first goes to talk to her husband, knowing if she can get his approval,
persuading Atabek won't take long. Here, the reader gets a better understanding of the protagonist's
personality. The reader gets a better understanding of the heroine's personality as she exposes herself
to be a very emotional, capricious woman who knows how to skillfully press on pity. Yusufbek-hajji is
at a lost, unable to endure his wife's perseverance. Uzbek-aim "qanot-quyruq bo'ldi, as though she
stretched her wings and tail" in response to her husband's uncertainty.
IV. Discussion
A descriptive translation of the phraseological unit was used to translate this phraseological turnover
into English. "Served to fan the flames of resolve" reveals to the reader that Yusufbek-hesitancy hajji's
simply adds to Uzbek-confidence. aim's It's worth noting that the descriptive translation is offered
metaphorically, which helps to preserve the phraseological color of the expression even after it's been
fully changed.
The analysis of this phraseological turnover reveals that descriptive translation can be used to
successfully transmit the material. The approach chosen is totally determined by the translator, as well
as the features of the translated material and the language into which it is being translated.
Last but not the least, the phraseological unit of “Bygone Days” by Abdullay Kadyri that is going to be
analyzed is in the following situation. Encouraged by her proposal's approval, Uzbek-aim sets out to
persuade her husband of the wisdom of her plan. When he marries in Tashkent, he will relax and
accept his parents' wishes - "suv quyg'andek tinar-qolar." Because it is created on the basis of a
comparative turnover utilizing the "dek" suffix, this term is a comparative phraseological unit. The
semantic link between phraseological unit and quiet, meek, meek is to be quiet, meek, gentle. A
phraseological analogy was employed in the English translation. As a result, the English lexicon does
not contain a full-fledged counterpart, but it does have a similar term in meaning. The Uzbek "suv
quyg'andek tinar-qolar" means "be silent as a lamb, humbler than dust." The translation totally
compensates for the original's semantic and phraseological qualities; the counterpart, like the original,
is formed on the basis of comparison, but it is structurally distinct. This example demonstrates a
different method of transferring text by employing a phraseological analogue, which, like the
equivalent, has the same meaning and phraseological color as the original but is structurally different.
Talking about the novel “Scorpion from the Altar”, we can point out some phraseological units that
have a huge cultural importance in our country. For example, in the language of the work, the writer
used expressions to describe the mood and feelings of the characters: his heart was on fire (yuragiga
oʻt yoqar edi), his lungs were mixed, his wings were fluttering, smoke was coming out of his mouth, his
eyes were not blinking (koʻzi qiymaydir), his heart was angry, and so on. We analyze this with the help
of some phrases: the phrase "his heart was on fire" expresses the semantics of "jealousy" and
figuratively describes the mood of the characters. Phrases are also characterized by the function of
giving a positive or negative assessment of an event or character.
“Bahodirkhan, who was sniffing, heard that the news had reached him.” In this part of the work,
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CENTRAL ASIAN JOURNAL ARTS AND DESIGN (ISSN: 2660-6844). 65

several authors use phrases with a specific occasional meaning: "sniffing" is an author's own phrase
meaning "careless", "thoughtless". In the process of applying phrases in new, individual variants, its
humorous or satirical nature becomes even more pronounced. Also, the lexeme "smoke (dud)" in the
phrase "smoke (dud) comes out of the mouth" is Persian for "smoke." The word is figuratively
synonymous with "bitterness," "anger," and is synonymous with "the fig tree has gone to heaven."
(literal translation).
V. Conclusion
In conclusion, the translating practice is proven to be one of the most difficult and complex ones.
Therefore, the job of a professional translator requires a lot of beforehand research of author’s cultural
background, social status and mentality in order to begin the project of translation. There are various
types of translation mentioned in the article by the means of phraseological units of Abdulla Kadyri’s
two most publicly accepted works. These phraseological units are believed to have a significant
importance showing the Uzbek culture as its most beautiful and colorful.
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(ISSN: 2660-6844). Hosting by Central Asian Studies. All rights reserved.

Copyright (c) 2021 Author (s). This is an open-access article distributed under the terms of Creative Commons Attribution License (CC BY).
To view a copy of this license, visit https://creativecommons.org/licenses/by/4.0/