CC BY
46history, for example, through representation of themes of the house, family life, women's and children's experiences; 3) instead of temporary narrative sequence of events emotional sequence is realized; 4) one of the main themes is the theme of the house and family.
Speaking about contribution of the writer to the development of the essay genre, we can note not only the criterion of subjectivity, the inclusion of moments of perception and reflection, but most importantly - the fact that Wolfe is the first writer who spoke about women's problems through the prism of personal experience, and shared it with the general social experience of women. It was Virginia Woolf who first claimed the right of women to write freely, the right to free creativity. So, the three essays by Virginia Woolf, which most vividly trace the social views and feminist ideas of the writer - "A Room of One's Own", "Women's Professions" and "Three Guineas"; each of them to some extent influenced the ideology of the feminist movement. Although Wolfe was not among the members of the movement during its greatest activity, namely from the 1930s, she still continued to defend women's rights in her own way: in her diary she wrote "my struggle is to think and write" [3, p. 22]. Today, Virginia Wolfe is considered to be one of the most prominent European theorists of feminism, pacifism and socialism of the 20th century.
References
1. Buikema R. Virginia Woolfs Postcolonial Feminism. Utrecht: Utrecht University, 2012. 73 p.
2. Correia M.P.F. Virginia Woolfs Three Guineas: The Past, The Present and into The Future. Porto: University of Porto, 2013. 107 p.
3. Halifova M. The Development of Feminism in English Literature of the 19th and 20th centuries. Olomouc: Palacky University, 2016. 43 p.
4. Woolf V. The Common Reader. Collection of Essays. London: Horagth Press, 1925. 86 p.
5. Woolf V. The Decay of Essay Writing. London: Hogarth Press, 1905. 49 p.
PRESERVING MODALITY IN TRANSLATION OF "THE MOON AND SIXPENCE" BY S. MAUGHAM Turdikulova B.T.1, Khayrullaeva M.B.2
'Turdikulova Barno Toirkulovna - English teacher;
2Khayrullaeva Makhbuba Bakhodirovna — Student, INTERFACULTY DEPARTMENT OF FOREIGN LANGUAGES, GULISTANSTATE UNIVERSITY, GULISTAN, REPUBLIC OF UZBEKISTAN
Abstract: the category of modality is one of the most difficult aspects in the translation offiction. This article is devoted to the problem of translation of words expressing modality in S. Maugham's novel "The Moon and Sixpence ".
Keywords: modality, modal-emotive meaning, semantic meaning.
The problem of translation of modality is characterized by the fact that there are no universal rules for translating modal components. The most detailed comments can be found precisely in research works analyzing the modality problem from the point of view of translation. Researchers often encounter insufficiently complete translation of the modal meaning in the translation of language [1, 530]. S. Maugham's works are excellent material for studying modal-emotive meanings. In the course of analyzing the texts of the original and translation, we faced the task of understanding how the modal-emotive meaning is realized in the context and whether it is possible to state the implementation of the category of emotiveness regardless of the meaning and function of the modal verb in the sentence. Let us consider some similar examples with the modal verb "can" / "could": 1) It was because the Member of Parliament found that he could not leave the House that I had been invited [2, 15]; 2) I don't see how anyone can be expected to tackle a case like this unless he knows all the details [2, 26]; 3) He could not do enough to show his gratitude for the whole-hearted devotion with which she had accepted the burden he laid on her [2, 78]. These sentences are translated as 1) Parlament a'zosining uyni tark eta olmasligini sababi mening u yerga taklif qilinganim edi [3, 255]; 2) Men shuni tushuna olmayman qanday qilib har qanday inson bunday hodisani yecha oladi agar u barcha tavfsilotni bilsa [3, 256]; 3) U o'zining tashakkurini butun vujudi bilan isxor etish uchun u mazkur kishining unga yuklagan vazifasini qabul qilishdan ortiq ish qila olmasdi [3, 256]. In the first
example, the meaning of the modal verb is "opportunity" (the negative form indicates the absence of possibility), however, firstly, here one can single out the polysemantic characteristic of modal verbs, which is manifested in the context. Secondly, the context also implies an irony of utterance: the narrator points to an accident that allowed him to attend dinner, and this accident was determined by the fact that a member of parliament himself found that he could not come. The verb "found" ("make sure, come to a conclusion, consider, believe, recognize") assumes that the very fact of the inability to come to dinner was subjective. In the second example, we find a similar phenomenon: a modal verb has the meaning of "ability", but the context expands its semantic meaning. The combination "don't see how" expresses the impossibility to understand, doubt, which also contextually affects the semantics of the modal verb: both the verb itself and the whole sentence have the meaning of assumption, introducing the plan of unreality as a secondary plan of the statement and, thus, gaining a modally-emotive meaning of doubt, and in the context of direct speech - suspicion, resentment or indignation. In the third example, the modal verb "could" in the meaning of "ability" is syntactically and semantically associated with the phrase "to show his gratitude": Strev is grateful that his wife has undertaken to take care of Strickland. Let us consider the most typical examples of the use of the modal verb "may" / "might" in "The Moon and Sixpence" by S. Maugham: 1) Mrs. Strickland might congratulate herself that her party was a success [2, 16]; 2) Conversion may come under many shapes, and it may be brought about in many ways [2, 41]; 3) Her good-breeding scarcely concealed her conviction that if you were not a soldier you might as well be a counter-jumper [2, 44]. The translation of these sentences into the Uzbek language are as following: 1) Xonim Striklend o'zini partiyasi muvaffaqiyatli bo'lganligi bilan tabriklashi mumkin [3, 256]; 2) O'zgarish turli shakllar ostida bo'lishi mumkin va u ko'p jihatdan amalga oshirilishi mumkin [3, 257]; 3) Uning yaxshi nasl-nasabini, agar siz askar bo'lmasangiz, siz ham qarshi hujumchi bo'lishingiz mumkin degan fikrini yashirgan edingiz [3, 257]. In the examples given below, it is noteworthy that the mood of the modal verb "may" plays a certain role in the formation of the emotive plan: the indicative mood in example No. 1 and example No. 2 creates an objective reality plan, where the author expresses a rational assumption, while in the example No. 3 assumption is expressed in the subjunctive mood and is interpreted semantically more broadly. The implementation of the modal-emotive meaning described here becomes possible in the subjunctive mood. Thus, in the case of researching with modal verbs in S. Maugham's novel "The Moon and Sixpence", the implementation of the modal-emotive meaning directly depends on the implementation of the category of reality and unreality, as well as on the lexical and semantic meaning of the modal verb in context. Realization of the modal-emotive meaning of modal verbs becomes more successful in the subjunctive mood and in the process of interaction with the semantic field of some stylistic units - for example, metaphors and irony.
References
1. BarminaE.A. Modal verbs as translational problem. // Studia Linguistica. 2011. No. 5. P. 530-537.
2. Maugham S. The Moon and Sixpence. NY: Macmillan, 2017.
3. Nasanbaeva E.R. The problem of modality in translation of fiction. // Bulletin of Chelyabinsk State University. 2011. No. 24. P. 255-257.
