Toshkent viloyati chirchiq davlat pedagogika instituti

III BOB BO’YICHA XULOSALAR
Frazeologik birliklarni tarjima qilishda ular asosida mujassamlashgan obrazning barhayot yoki siyqaligini oydinlashtirishning ham tarjima tilida asl nusxadagi lisoniy birliklarga mazmun va uslub jihatlaridan mos til vositalarini tanlashda ahamiyati katta.
Asliyat va tarjima o‘rtasidagi qarama – qarshiliklar nafaqat ular orasidagi vaqtlar farqi tufayli kuchayib boradi balki ikki madaniyat – asliyat tegishli bo‘lgan jo‘natuvchi madaniyati va tarjima kirib boradigan qabul qiluvchi madaniyati sababli ham kuchayadi. Tarjima jarayonida kommunikativ va matn darajasida ikki madaniy sistemaning to‘qnashuvi o‘z o‘rniga ega. Ikki madaniy sistemani qayta kodlashda ular o‘rtasidagi o‘zaro aloqa adabiy kommunikasiyada hal qiluvchi faktor sanaladi, buning natijasida qaysi madaniyatga tegishlilik nuqtai nazaridan yakuniy matnda ikkilanganlik elementi bo‘ladi. paydo bo‘ladigan to‘qnashuv madaniy tendensiyalar qo‘shilishini yuzaga keltiradi. Matn stilistik qurilishidan ko‘rinib turadigan bu hodisa, uni biz semiotik termin, ikki matn – kreolizasiyasi - asliyat va tarjima matni bilan ifodalaymiz. Yakuniy matn, shunday qilib ikki struktura kombinasiyasini ifodalaydi. Tarjima matni mavzuiy va stilistik munosabatda ikki madaniyatning o‘zaro kesishishi bilan xarakterlanadi.
Har bir tarjima oz yoki ko‘p darajada ikki madaniy qobiq o‘rtasidagi qarama – qarshilikni aks ettiradi. Bu qarama – qarshilikni tarjimonchilik kommunikasiyasi doirasida biz “tarjimadagi kengliklararo faktor” atamasi bilan nomladik. Tarjimonning vazifasi – kengliklararo faktorni tekislashdan iborat. To‘g‘ri, tarjimon hamma vaqt ham bu masalani muvaffaqiyatli yecha olmaydi. Qachon tarjimada kengliklararo farq keskin bo‘lsa, bu munosabatlarni qabul qiluvchi xuddi asliyat madaniyatidan o‘zish, masalan ekzatizmdek qabul qiladi. Bunday munosabatlar nafaqat madaniyatlarning bir-biridan tarixiy, ijtimoiy, psixologik va geografik jihatdan juda yiroqligidan, balki hududiy bir-biriga yaqin, ammo madaniyatlari o‘rtasida aloqa an'analari bo‘lmagan davlatlarda ham yuzaga keladi.

XULOSA
Ranglar belgisi rang haqida ma'lumotlarning tilda aks etishi hisoblanadi. Shunga ko‘ra, ularning tadqiqi inson ongida ko‘rish idroki va ranglar davomiyligini tashkil etish xususiyatlari haqida tasavvur hosil qiladi. Bundan tashqari, rang moddiy va g‘oyaviy belgi hamda hodisalarni keng doirada ifodalay olishi, assosiativ ma'nolarining boyligi bilan o‘ziga xosdir. Ta'kidlash joizki, ranglarning psixologik jihatdan ahamiyatini aniqlash uchun turli tajribalar amalga oshirilgan bo‘lib, natijada, asosiy ranglar tizimi yaratilgan.
Rang hodisasi turli: fizika, psixologiya, tilshunoslik, tibbiyot, etnologiya, madaniyatshunoslik, falsafa, estetika va boshqa ilm sohalarida o‘rganish ob'ekti hisoblangan. Bu ko‘pjihatlilik “rang” tushunchasining murakkabligi, ko‘p tomonlama ekanligini aks ettiradi. Bunday sharoitda rangning turli jihatlarini tadqiq qilish maqsadga muvofiq.
Ranglar belgisi rang haqida ma'lumotlarning tilda aks etishi hisoblanadi. Shunga ko‘ra, ularning tadqiqi inson ongida ko‘rish idroki va ranglar davomiyligini tashkil etish xususiyatlari haqida tasavvur hosil qiladi. Bundan tashqari, rang moddiy va g‘oyaviy belgi hamda hodisalarni keng doirada ifodalay olishi, assosiativ ma'nolarining boyligi bilan o‘ziga xosdir. Ta'kidlash joizki, ranglarning psixologik jihatdan ahamiyatini aniqlash uchun turli tajribalar amalga oshirilgan bo‘lib, natijada, asosiy ranglar tizimi yaratilgan.
Rang bilan bog‘liq yo‘nalishga xos tadqiqotlarda tizimli-tarkibiy usullardan uzoqlashish va ranglar tavsifining semantik xususiyatlarini fenomenologik va eydetik idrok etish bosqichiga o‘tish kuzatiladi. Olam manzarasini anglashda ranglarning roli haqidagi psixologik tadqiqotlar bir qator amaliy izlanishlarning yuzaga kelishiga sabab bo‘ldi.
Rangni ifodalovchi leksik birliklarning qadimiyligi, aksariyat til tizimlarida rang tavsiflarining rivojlangan tizimi mavjudligi, ularga xos semantik tarkibning murakkabligi inson idrokida rangning muhim bo‘lganligini tasdiqlaydi.
Ranglarni ifodalovchi birliklardan badiiy asar yaratishda keng foydalanish uning rang-barangligi va badiiylik salohiyatini oshiradi. Shuningdek, kitobxon tasavvurini boyitib, asar mazmunini anglashga yordam beradi.
Ingliz tili leksikasida ham o‘zbek tili singari uyatdan yoki hayajondan qizarish kabi ma'nolari keltirilgan. Demak, ingliz va o‘zbek tillarida qizil rang o‘zining denotativ ma'nosidan tashqari 1) asabiylashmoq; 2) uyalmoq; 3) hayajonlanmoq kabi konnotativ ma'nolarni ham ifodalaydi.
Ingliz va o‘zbek tillarida ko‘k leksemasining ma'nosi muqobil bo‘lolmas ekan. Shuningdek, ingliz tilidagi blue rang ekvivalentining semantik tuzilishida farq mavjud: o‘zbek tilidagi zangor va rus tilidagi goluboy. Ular tuzilishiga ko‘ra yasama va ko‘k rang ma'nosini beradi, lekin asosiy rang hisoblanadi. Rus va o‘zbek tillarida moviy va ko‘k rang alohida asosiy rang hisoblansa-da, ingliz tilida blue ikkala rang ma'nosini ham o‘zida mujassamlashtirgan.
Xulosa qilganda, ingliz va o‘zbek tillari tizimida rang ifodalovchi leksika so‘z birikmasi tuzilishining tarkibiy qismlaridan birini aks ettiradi va tilning umumiy tarkibidan oson hisoblanadi hamda alohida maqomi bilan uning har bir elementidan muayyan ierarxik tizimni hosil qiladi.
SUMMARY
This paper is devoted to the study of linguocultural aspects of phraseological units which present colors in both English and Uzbek languages and the ways of expressing meanings related to colors in different cultures.
Object and subject. The object of research is a system of color lexemes in English and Uzbek. The structure and semantic-linguistic structure of the basic components of color in English and Uzbek were determined on the subject of research
Aim amd tasks. It consists of studying the semantic and functional features of phraseological units in the process of communication in English, comparing phraseological units with color components in English and Uzbek, searching for their similarities and differences and analyzing them in works of art. To achieve this goal, the following tasks have been identified:
- Study of phraseological units in linguistics;
- To study phraseological units and their differences from other linguistic units;
- To study the linguocultural features of phraseological units with a color component;
- To reveal the linguistic features of phraseological units with color components;
- To find the equivalence of phraseological units with color components in the work of art;
- Expression in speech of phraseological units with a color component;
- Analysis of translation problems of phraseological units with color components and their recommendations;
1^st chapter. In linguistics, the field of phraseology is one of the fields that does not have a long history. It has been studied in the context of lexicology for many years before it became a separate discipline. Although much research has been done in the field of phraseology to date, it still has many facets that have yet to be explored. One is to distinguish phraseological units from other units that are not ready for speech, and the other is that one of the controversial problems of phraseology is to understand it in a narrow and broad sense. In the narrow sense, they include only figurative units that do not have idioms, phrases, or sentence structures, and in the broad sense, they include proverbs, sayings, and stable combinations that are readily included in folklore discourse. In this chapter, we have focused on the problem of understanding phraseology in a broad sense, which is one of the most controversial issues. We have studied the study and classification of phraseological units, their linguistic and cultural features, and the differences between phraseological units and other linguistic units.
2^nd chapter. Color vocabulary reflects not only the qualities of the general language system (center, off-center), but also the specific features of microsystems and their quantity. In other words, in the language system, color expressions are one of the most important components of the lexical layer.
Color expression is a universal feature of different structural languages ​​(vocabulary, structural structure, functional adjectives) and word formation, attachment, propensity for ambiguity, frequency of different groups of color-expressing lexicons, their stylistic specificity, the author himself reflects national characteristics related to specific styles. Thus, the English language basically uses basic colors that can choose from many colors and shades that correspond to any character in the color range.
3^rd chapter. In the translation of phraseological units, it is also important to clarify the existence or subjugation of the image based on them in the selection of language tools that are semantically and stylistically appropriate to the original linguistic units in the target language.
The contradictions between the original and the translation are exacerbated not only by the time difference between them, but also by the two cultures - the sending culture to which the original belongs and the receiving culture to which the translation enters. In the process of translation, the clash of two cultural systems at the communicative and textual levels takes place. In the re-coding of two cultural systems, the interrelationships between them are a decisive factor in literary communication, resulting in an element of ambiguity in the final text in terms of which culture they belong to. the resulting conflict creates a mix of cultural tendencies. This phenomenon is reflected in the stylistic structure of the text, which we express in semiotic terms, two texts - creolization - the original and the translated text. The final text thus represents a combination of the two structures. The text of the translation is characterized by the intersection of two cultures in thematic and stylistic relations.
A color symbol is a representation of color information in a language. Accordingly, their study provides insight into the properties of visual perception in the human mind and the organization of color continuity. In addition, color is characterized by a rich range of associative meanings, as well as the ability to express a wide range of material and ideological signs and events. It should be noted that various experiments have been conducted to determine the psychological significance of colors, resulting in the creation of a basic color system.
The phenomenon of color is the object of study in various fields: physics, psychology, linguistics, medicine, ethnology, cultural studies, philosophy, aesthetics and others. This diversity reflects the complexity and versatility of the concept of "color". Under such conditions, it is expedient to study different aspects of color.
A color symbol is a representation of color information in a language. Accordingly, their study provides insight into the properties of visual perception in the human mind and the organization of color continuity. In addition, color is characterized by a rich range of associative meanings, as well as the ability to express a wide range of material and ideological signs and events. It should be noted that various experiments were conducted to determine the psychological significance of colors, resulting in the creation of a basic color system.
Color-specific research tends to move away from systemic-structural approaches and to move to the stage of phenomenological and eidetic perception of the semantic features of color description. Psychological research into the role of color in understanding the world has led to a number of practical studies.
The antiquity of the lexical units that represent color, the existence of an advanced system of color descriptions in most language systems, and the complexity of their semantic content confirm the importance of color in human perception.
Extensive use of color-representing units in the creation of a work of art enhances its diversity and artistic potential. It also enriches the reader’s imagination and helps them understand the content of the work.
The English lexicon, like the Uzbek language, has such meanings as blushing with shame or excitement. This means that in English and Uzbek, red, in addition to its denotative meaning, is 1) nervous; 2) to be ashamed; 3) also expresses connotative meanings such as excitement.
The meaning of the blue lexeme in English and Uzbek is not an alternative. There is also a difference in the semantic structure of the English equivalent of blue: blue in Uzbek and blue in Russian. They are artificial in color and blue, but they are the main color. Although blue and blue are the main colors in Russian and Uzbek, blue has the same meaning in English.
In summary, in the English and Uzbek language systems, color vocabulary is one of the components of a phrase structure and is considered easier than the general structure of the language and, with its individual status, forms a specific hierarchical system from each of its elements.