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31очевидного диахронического пути, ведущего от одного к другому. Однако, хотя демонстративные и вопросительные местоимения исторически не связаны, они поразительно похожи. Они, как правило, кодируют одни и те же семантические признаки и обладают рядом морфосинтаксических свойств: оба типа выражений инициируют поиск информации, руководствуясь своими семантическими и синтаксическими особенностями. Кроме того, указательные и вопросительные местоимения имеют особый статус в языке. В функциональной лингвистике слова и морфемы обычно делятся на 2 основных типа: лексические выражения и грамматические маркеры. Поскольку демонстративные и вопросительные местоимения являются закрытыми классовыми элементами, которые часто используются с языковыми внутренними функциями, они обычно считаются грамматическими маркерами; однако они не выполняют обычные грамматические функции (т. е. внутренней функции языка): оба типа выражений обычно используются в качестве директив, которые инструктируют слушателя искать определенную часть информации вне дискурса (т.е. в окружающей обстановке или в хранилище знаний слушателя). Более того, в то время как грамматические маркеры обычно выводятся из лексических выражений, указательные и вопросительные предложения не могут быть прослежены до лексических элементов. Хотя и то и другое часто подкрепляется другими лексемами, ни в одном языке нет доказательств того, что новый демонстративный или вопросительный язык развился из лексического источника (если только лексический источник сначала не функционировал для усиления подлинного демонстративного или вопросительного значения) [2, 211]. Все это говорит о том, что указательные и вопросительные слова имеют особый статус в языке и должны быть отделены от подлинных грамматических маркеров.
Подводя итог, можно утверждать, что у указательных и вопросительных местоимений есть несколько поразительных общих черт: они пересекают границы нескольких классов слов; они кодируют одни и те же онтологические категории; они часто включают одни и те же деривационные морфемы; они обычно находятся под ударением.
Список литературы
1. Diessel H. Function and Form of Demonstrative and Interrogative Pronouns. Amsterdam: John Benjamins, 2009. 254 p.
2. Ultan R. Some General Characteristics of Interrogative Systems. // Universals of Human Language. 2018. Vol. 3. P. 211-248.
THE PROBLEM OF TRANSLATION OF ALLUSIONS RELATED TO PAINTING IN S. MAUGHAM'S "THE MOON AND SIXPENCE"
Turdikulova B.T.
Turdikulova Barno Toirkulovna - English teacher, INTERFACULTY DEPARTMENT OF FOREIGN LANGUAGES, GULISTANSTATE UNIVERSITY, GULISTAN, REPUBLIC OF UZBEKISTAN
Abstract: the article is devoted to the study of allusions related to painting and their translation in the novel "The Moon and Sixpence " by S. Maugham. Keywords: image, the theme of art, Maugham, model of art.
One of the main characteristic features of the era of modernism is the interest of many authors and writers in the problems of the artist's self-consciousness, in the problems of the nature of the act of creation, in the problems of the laws of art perception, as well as in the problems of the use of intermedia techniques that can emphasize the connection between the works of architecture, music, fine art, theater, cinema and fiction. It is worth noting that the hero of many English books is a painter or a writer. These features characterize the commitment of a national character to certain types of art and are due to the peculiarity of the artistic traditions of the literature of a particular country. But this specificity is lost in the process of translation of literary works into different languages. In English literature, the theme of art and the artist is interpreted mainly in the socio-ethical aspect. This is the relationship of the creative person and society: hostility to the artist, his protest and attempt to defend creative independence, the drama of his fate. In the works of many famous writers, the image of the
artist's conflict with society was realized through the artistic embodiment of the real destinies of the impressionists and post-impressionists: for example, the image of Cezanne in Zola's "Creativity", the image of Gauguin in Maugham's "The Moon and Sixpence", the image of Van Gogh in I.Stone's "Lust for life", the image of Monet in "Light", and so on. So, the fate of the famous French painter Paul Gauguin served as a kind of model for Somerset Maugham's novel "The Moon and Sixpence", and Gauguin himself became the prototype of the main character of the novel - Charles Strickland. On the material of Maugham's novel "The Moon and Sixpence", one can see how the model of art and the world is built, the interdependence scheme "literature - painting" is realized, where painting is the referent of descriptions and characteristics that are directly related to a particular image. It is very important when translating the novel "The Moon and Sixpence" to preserve, to keep open and alluvially mentioned the names of famous artists: Michelangelo, Manet, Rubens, Aivazovsky, Rembrandt and others, as well as the titles of their paintings. Most often, the names of French impressionist artists can be found in literary works of English modernist writers. It seems that this is due to the centrally veiled image of Paul Gauguin, whose name is revealed to the reader only through the picturesque allusions of the paintings of Strickland. Maugham draws allusive parallels not only with paintings, but also with facts from the life of artists. The preservation of such facts during the translation allows us to find common features in the fates of fictional artists and real ones. So, Dirk Strev, trying to prove the genius of Strickland, cites the situation from the biography of French artists as an argument: "But I know that he is a great artist. After all, Mane was laughed at once. Koro never sold any of his works during his life... The time will come and these pictures will cost more than all that you have in the shop" [2, p. 67]. In addition to direct biographical allusions between the main character of the novel, Strickland, and the painter Paul Gauguin, the novel, one way or another, contains an allusion that refers to famous paintings that the reader can guess about only possessing a certain level of knowledge. For example, Maugham writes: "One and the same feeling makes the human heart beat intensely at the sight of a beautiful woman. Gulf of Naples in the moonlight and Titian's "Position in the grave" [2, p. 144]. If the name of Titian's painting "The Position in the Coffin" is indicated directly and does not require decoding, then in the first case, a reference to another painting can not be determined immediately. In this case, Maugham had in mind the picture of Aivazovsky titled as "The Gulf of Naples in the Moonlight". In the introductory part, Maugham admits: "I never believed that I could write something out of nothing, I always needed some real fact or character as a starting point, but then my imagination, my invention, a sense of drama invariably turned all this into something that belongs exclusively to me" [1, p. 69]. Thus, we can say that the writer could not only use the plot of the picture, the image to translate into the language of literature, but also convey the colors of the picture, the character of the depicted, reflexively pushing away from the details, making his own personal artistic experience. The title of "The Moon and Sixpence" is a metaphor itself that indicates the choice made by Strickland: between security, stability, position in society and the realization of one's dreams, talents, the construction of one's castles in the open air, as opposed to a life entirely devoted to art, and life entirely devoted to monetary well-being, the translation of allusions related to art is the most urgent task of the translator of this work. In "The Moon and Sixpence" the theme of art and personality, the metamorphosis of life and creative human conflict with society, are the leitmotif topics and deserve further study of the deep.
References
1. Guseva E.M. Maugham and his heroes. // Problems of Literature. 2006. Vol. 3. P. 69-78.
2. Maugham S. The Moon and Sixpence. New York: Macmillan Press, 2017. 210 p.
