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24SCIENTIFIC PROGRESS VOLUME 3 I ISSUE 1 I 2022
ISSN: 2181-1601
PROBLEMS OF RENDERING OXYMORON IN THE PROCESS OF
LITERARY TRANSLATION
Vazira Yuldosheva
O'zbekiston Milliy universiteti Qiyosiy tilshunoslik va tarjimashunoslik 1-kurs
magistranti
ABSTRACT
The article examines oxymoronic combinations based on the lexical antonymy of components. It is concluded that oxymoric combinations selectively reflect reality, their purpose is to express emotions and assessments in relation to what is called.
Keywords: antonym, antithesis, oxymoron, literary text, turn of speech.
The last decades have demonstrated the interest of linguists in the problem of studying the role of discourse in actualizing the meaning of complex signs of various lengths - from a tropical construction to a sentence or a text. Consideration of the compositional semantics of stylistic devices and, in particular, tropes in the space of artistic discourse helps to identify both the general patterns of the organization of the conceptual system, as well as its socio-cultural features. Paths, primarily metaphor, comparison, paradox, oxymoron, are based on one of the basic mental operations -comparison. In the literary text, they are among the leading means of creating an individual author's linguistic picture of the world.
An oxymoron is a stylistic figure of artistic speech that combines definitions or concepts that are opposite in meaning, as a result of which a new semantic quality arises.
In fiction, writers use phrases that act as figurative and expressive, amplifying means of speech. They are called shapes. Aristotle, Cicero, Quintilian and other representatives of ancient rhetoric wrote about the essence of figures, their significance in the theory of rhetoric and poetics.
There are many figures of speech, among which we will indicate the following as the most significant and common:
• anaphora
• epiphora
• zeugma
• gradation
Consider what an oxymoron is. This literary term is of Greek origin. The word oxymoron literally means "witty-stupid." Let's give a more precise definition of this stylistic figure of artistic speech.
Oxymoron is a turn of speech, consisting in a combination of sharply contrasting, internally contradictory signs in the definition of a phenomenon.
For example, let's call these phrases an oxymoron:
• bitter joy;
• ringing silence;
• loud silence;
• hot Ice;
• sweet pain;
• true lies;
• long moment;
• original copy.
The above examples combine definitions or properties of phenomena that are opposite in meaning, resulting in a new semantic quality that helps to create an expressive artistic image.
Oxymoron, like antithesis, is built on opposites, but in the composition of this stylistic figure they are not opposed, but merged into a single whole. Opposites create a new image and reflect the contradictory nature of the phenomena of life. Although such definitions of the phenomena of reality are paradoxical in their essence, they, figuratively speaking, peacefully "coexist" together, creating a vivid expressive image that the artist of the word wants to convey to his readers.
Due to the specifically manifested dual principle, the oxymoron must be simultaneously analyzed from the point of view of linguistic matter, which is under the constant influence of the system and history of a particular language; and from the point of view of an ideal construct, when the concept is abstracted from linguistic matter and acts as a constant, independent of it.
This, in turn, determines the originality of the implementation of the oxymoric meaning. It is carried out simultaneously due to a two-pronged opposition based, first, on rigid causal relationships, where A and not-A are constantly antithetical, mutually exclusive, and on the conceptual content of words and concepts, which does not take into account various types of layering: psychological, emotional or contextual plan. Secondly, on the already existing metacultural poetic tradition of comprehending words and concepts, when the meaning is "determined by all the richness of the moments existing in the mind" and takes into account the secondary sensory tone of words and concepts as value elements of consciousness.
In addition, it is necessary to distinguish between oxymoron and oxymoron, i.e. firstly, the way of realizing the principle of compatibility of the incongruous as living and active, revealing in a phenomenon a fundamentally new, non-predictable and non-decoded meaning.
Secondly, the ability of concepts to enter, create, maintain and develop relations of opposition, contradictions, while creating a single integral phenomenon, irreducible to borderline phenomena (for example, catachresis, metaphor, irony, paradox).
Thirdly, the ability to detect, reveal and realize the possibility of combining the incompatible, while simultaneously clarifying the borderline, non-fusion of interacting phenomena.
Fourth, the ability to evoke semantic tension in the perceiving consciousness, due to the non-normality of the combined. Semantic tension can unfold (develop) in the range from a deliberate semantic challenge, "working" on actively, dynamically contradictory concepts and aimed at a demonstrative, manifested violation of norms, to a subtle but essential sensual tone of a word and concept. In this case, the colliding contradictions lose their relevance and implementation activity in relation to the normative system, but leave the threat of normative uncertainty.
This largely determines the ambiguity and historical conditioning of the nature of the inconsistency that underlies the oxymoron. The opposition and contradiction that organize the oxymoron are investigated from the point of view of logical and philosophical systems with a dominant on the latter. With this aspect of consideration in the oxymoron, it is not so much the formal side of the implementation of incompatibilities that stands out, but the emphasis on clarifying the essential characteristics of the contradiction, its development and concrete historical content. This is primarily due to the specificity of the attitude of a certain cultural era to the actual idea of opposition and contradiction, as well as to the concepts that depend on them: polarity, dualism, irony, paradox, absurdity, anomaly. As a result, a contradiction in an oxymoron can be realized not only as a permanent one, based on the linguistic whole, but also as an occasional one, the dominant of which is the aesthetic whole.
Due to the fact that the oxymoron as a trope "works" on the basis of changes occurring in thought, and not in a word, the oxymoron meaning is fully realized not only at the level of synchronicity, but also at the level of diachrony. Moreover, this approach tries to take into account the specifics of the artistic consciousness of the era, the author's style, which in turn allows, on the one hand, to get as close as possible to the essence of oxymoron, without tearing it out of the generative historical and cultural context, and on the other hand, to avoid its modernization and superficial interpretation ... Authentic understanding of the essence of oxymoron poses the problem of its background or generic semantics, understood as a manifestation of the primary artistic and aesthetic consciousness that creates it. The urgency of this problem is due to
the impossibility of defining the essence of expression as oxymoron without taking into account the specifics of the cultural tradition that generates it : an oxymoron subtly reacts not only to changes in basic norms, but also to their nuances; he "works" on living phenomena and processes that are not yet frozen. The diachronic approach is
based, first of all, on the diachronic range of oxymoronism, which activates and clarifies the diachronic mobility of the semantics of words and concepts.
The definition of the generic background of an oxymoron as a viable active phenomenon is associated with the clarification, if possible, of the codes of all eras of cultural and artistic consciousness that participated in the creation of the oxymoronic meaning, as well as the specifics of their interaction in a specific verbal poetic image.
Oxymoron is a stylistic device based on the fact that in the process of use some adjectives and adverbs can lose their basic meaning and act only in emotional amplification, in such phrases two logically mutually exclusive concepts are combined , for example: proud humility, a pleasantly ugly face, awfully nice , terribly sorry, dreadfully tired.
For satirical or comic effect, an oxymoron is often used, in which words from different stylistic layers are mixed. Thus, in Don Juan, a young man in love, suffering from seasickness, accompanies rhetorical appeals to his beloved with cries for help and curses: Julia, my love! (For God's sake let me have a glass of liquor, you rascal Pedro, quicker).
So, the quality of the translation of the original depends on how accurately the translator is able to convey the meaning of expressive-stylistic techniques .
Unlike classical linguistic semantics, which separates the concepts of form (signifier) and meaning (signified) as components of a sign, the cognitive approach is based on the fact that the meaning of a text is formed in the minds of native speakers. Based on the thesis of cognitive linguistics that the conceptual picture of the world is reflected in the linguistic picture, the cultural aspects of the conceptual picture of the world are revealed and explored using semantic analysis of the functioning and interpretation in the discourse of linguistic forms of different levels, including language tropes, with which the oxymoron is traditionally associated .
The problem of forming the meaning of an oxymoron combination in artistic discourse is associated with the principle of compositionality and requires special consideration within the framework of the cognitive approach. To represent the full semantic volume of this path, it seems insufficient to carry out its "in-text" analysis, even with knowledge of the mechanisms of meaning formation in tropical speech. Adequate interpretation of oxymoric combinations is possible only in discourse, taking into account linguistic and extralinguistic factors (cultural, social, psychological, pragmatic).
The meaningful plan of oxymoric combinations, namely the inclusion of socio-cultural components in them, was also of great interest from a linguistic and cultural point of view. Observation of oxymorons as carriers of background information of a linguistic and cultural plan, i.e. in the aspect of their expression of the so-called sociocultural component, it made it possible to present an oxymoron as an element of
SCIENTIFIC PROGRESS VOLUME 3 I ISSUE 1 I 2022 _ISSN: 2181-1601
the verbal-figurative structure of a literary text in the projection both on the previous literary tradition and on the foreign-cultural English-language picture of the world. To identify a culturologically significant component in the semantic structure of oxymoric combinations with sociocultural incompatibility, the study used elements of linguocultural analysis.
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