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22Тем не менее, основная трудность заключается не в переводе слов, а в глубине содержания исходного текста. Каждый художественный текст обладает определенной скрытностью, скрытым смыслом, передача которого является вызовом для переводчика. Это вопросы, которые изучает прагматика.
Список литературы
1. Влахов С., Флорин С. Непереводимое в переводе. М.: МО, 2010.
2. Ковалева К.И. Оригинал и перевод: Два лица одного текста. М.: ВЦП, 2011.
3. Чайковский Р.Р., Вороневская Н.В. Художественный перевод как вид межкультурной коммуникации. М.: Флинта, 2014.
THE THEME OF A "WOMAN" IN VIRGINIA WOOLF'S DISCOURSE
Bozorova L.B.
Bozorova Lobar Bozorboevna - Teacher, ENGLISH LANGUAGE AND LITERATURE DEPARTMENT, GULISTANSTATE UNIVERSITY, GULISTAN, REPUBLIC OF UZBEKISTAN
Abstract: the article is devoted to the problem of the development of the theme of a "woman " in the literary works of Virginia Woolf. In order to reveal specific features of the "woman " image several essays and novels of the writer were analyzed. The result of the research is that the image of a "woman " in the discourse of V. Woolf is a significant phenomenon in the world literature. Keywords: image, feminism, Woolf, discourse.
Virginia Woolf is a significant figure not only for 20th-century literature, but also for the feminist movement. By the beginning of the 20th century, the feminist movement had already achieved some success in a number of countries, however, in some European countries women were still deprived of basic political and financial rights, and the conservative Victorian heritage more defined English culture. In Virginia Woolf s personal diary of November 28, 1928, 24 years after her father's death, there is an entry: "father's birthday. Today he would have been 96 years old; but fortunately, that did not happen. What would have happened then? No literature, no books - incomprehensible!" [1, p. 145]. According to the family biographers, "Wolfe's father was a typical Victorian man trying to avoid any contact with women, still, he was an authority on her" [2, p. 91]. The image of her father haunted Wolfe's thoughts and memories for the rest of her life, even after she tried to free herself from it by impersonating Mr. Ramsay in the novel "To the Lighthouse". So, personal experience abusive family relations in some way shaped the writer as a person, reinforcing her rejection of the patriarchal structure of the modern English culture. So, the peculiarities of Woolfs work, her attitude to important social problems in England, were formed from her Victorian upbringing, from traditional English values, to which Woolf developed a strong rejection. Clashes with discrimination from an early age, namely the deprivation of the opportunity to receive traditional education, psychological and physical violence by men, the observation of injustice towards women - these episodes of the biography of the writer were reflected later in her work, namely in essays on the women's issue in society and literature. In a collection of essays, "The Common Reader" (1925), in response to criticism, she notes: "However, it is true that I do not have the gift of 'reality". Do I have the power to convey true reality? Or do I write sketches about myself?" [4, p. 30]. Almost all essays begin with words "I think", "I feel", that was explained the most wolf: "After, as you this said, becomes obvious, that you write not historical or philosophical labor, not biography, namely essay, which can be ingenious and profound, which can be devoted immortality souls or your rheumatism, in primarily this always expression of personal opinion" [4, p. 32]. This definition was Wolfe's first attempt to define the boundaries of the genre in which she wrote throughout her life; it first appears in "The Decay of Essay Writing" (1905), in which she criticizes the "Edwardian essay" - "a perversion of the original character of the genre" [5, p. 9]. In an attempt to bring the nature of the genre back "to its origins, "Wolfe suggested that it was necessary, as Montaigne had done, to place simplicity of direct expression above refinement of style and "good writing" [5, p. 11].
The features of Woolfs writing include: 1) first-person writing, an appeal to the group's gender experience; 2) conscious or unconscious opposition of the internal world to the world of official
history, 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
