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THE CULTURE PROBLEMS IN THE TRANSLATION OF TEXTS
Fozilov M.M.
Fozilov Mirvokhid Mirsultanovich - Teacher, ENGLISH LANGUAGE AND LITERATURE DEPARTMENT, PHILOLOGY FACULTY, GULISTANSTATE UNIVERSITY, GULISTAN, REPUBLIC OF UZBEKISTAN
Abstract: the problem that most people face today is referred to culture. Exactly to the process that converts culture barriers into understandable phase. In this article author gives some major preferences to deal with the certain problem of translation. He reinforces his view point by citing some bright examples on accordance of the issues related to culture barriers. For this he uses English jokes where it is natural to meet set expressions and the work of art named White fang with its comparative translation. Keywords: word game, ironic, wordplay, translator, convey, challenge.
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The problem of translating a word game is one of the most interesting moments in an artistic translation - this is when the translated text has a humorous or ironic background. You need to have special skill to manage to keep the wordplay that the author means. Predominantly the play of words is based on the polysemy of the word. Sometimes it happens that the values of the played word in the original and the translation coincide, allowing to preserve the meaning and principle of the play of words. The problem is that language coincidences in the play of words are extremely rare [1, 183]. In this case, this game of words is allowed to be missed, or to compensate for it by defeating some other word. Or to do the way most translators do - put your note with a note of "play on words."An excellent example of translation skills is the translation of one of the classic English jokes: A person comes to a funeral and asks one of the guests: "Am I late?" He is answered: " Not you sir. She is not you, sir. The wordplay in this case is based on the meaning of the word late, which can be translated as late, and as the deceased. In order to solve this problem, the translator, whose name has not reached us, decided to replace not one word, but the whole sentence. Here's what happened: - It's all over?" Not for you, sir." For her. The interpreter masterfully coped with the task, being able not only to translate the joke itself, but also retaining its humor, which is the highest skill in the translation business. The need to take cultural differences into account is one of the indicators of the skill of an interpreter. The translator of artistic texts should not only skillfully master a foreign language, he must also be an expert in the culture of the country in whose language the original text was written. It is difficult to translate the texts of another era, or culture without adequate knowledge. For example, consider the popular ways of describing women's beauty in different cultures. Unlike western countries, where a camel, being a symbol of unpretentiousness, endurance and trade, also personifies some bad habits ("spitting like a camel"), in Arab countries the camel is a symbol of beauty, so comparing a charming, pretty girl with a camel meets as often as comparing a beauty with a swan or a birch tree in Russian literature. Thus, praise in the Arab culture in the hands of an inexperienced translator can turn
into an indecent insult in Russian. Further analysis of the peculiarities of the translation of literary texts leads to the conclusion that, in addition to the above problems, there are also a number of other difficulties that make it difficult to translate the text.
For example, let's take the translation of the dialogues. Translation of the dialogues differs from the translation of the main text by the fact that when translating them, the translator should take into account not only the author's style, but also be able to capture and convey the features and character of the heroes participating in them, the nature of their mutual relations. In addition, dialogs also sometimes carry additional information, which, due to differences in cultures and languages, can not be transmitted. A vivid example is the accent of heroes. Consider a part of the dialogue, also taken from the book "White Fang". Dialogue takes place between Weedon Scott and the man working for him - Matt."/ tell you yes, an 'broke to harness. Look close there. D'ye see them marks across the chest? ""You're right, Matt. He was a sled-dog before Beauty Smith got hold of him. ""An 'there's not much reason against his bein' a sled-dog again." [6. P. 200]. Here is how this dialogue looks in N. Volzhina's translation:"/'m telling you - tried it. He went in a harness. You look closer. He has worn out places on his chest ""That's right, Matt! Before he got to the Handsome Smith, he went in harness. ""Why should he not be riding in a harness with us?" [4. 134].The meaning of the dialogue itself was conveyed correctly. However, some of the information was lost during the translation. Matt says with a special accent, which was lost during the translation. A superficial analysis of this emphasis allows us to establish that Matt is a resident of the United States of America, as well as abbreviations for words of this type are inherent in the inhabitants of the southern and western states. The presence of the same accent allows us to assume that Matt, most likely, is a man of little education. You can try to point out the emphasis by introducing into the Matte's replica of the word parasites, some archaisms or jargon, however, some of the information will still be lost. The artistic translation of works is a long and time-consuming process, which is a kind of challenge for any translator, since it requires not only an exceptional level of knowledge of the two languages, but also their culture. At the same time, for various reasons, it is not always possible to convey all the information that the original carries in it. During the research, the main problems of the translation of the literary text were identified, which were consisted in the difficulties of translating idioms, puns and expressive phrases reflecting the national mentality.
References
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