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23THE USE OF STYLISTIC DEVICES IN LITERARY TEXTS TRANSLATED FROM
ENGLISH
1Alibekova Dilrabo Abdiraimovna, 2Shermatova Dilnoza G'ofurovna
1Teacher of Samarkand state institute of foreign languages, 2Student of Samarkand state institute
of foreign languages
Telefon: 1998901028555. 2998889309613. e-mail: 1alibekovadilrabo9@.gmail.com,
2dilnozashermatova2313 @gmail.com https://doi.org/10.5281/zenodo.10819282
Abstract. This article describes specific stylistic aspects encountered in translation. In addition, there are generalizations that arise when translating from one language to another through stylistic colors and specific grammatical features, as well as information about artistic techniques determined during experiments, and a word about the meaning of this information.
Keywords: literary, stylistic devices, grammar, metaphor, translation, linguistic analysis, phraseological units, hyperbole, personification, epenthesis, emotional-expressive color.
Translation of literary texts is understood as the creation of an equivalent of a literary work in a foreign language, that is, in essence, a change of the original in the translated language. The concept of interpretation unfolds in different ways and is used in logic, in everyday speech, and in artistic communication. Interpretation means revealing the meaning of the source text and explaining it [3]. Translation is a complex, multifaceted phenomenon, and its individual aspects can be the subject of study by different disciplines.
Translation reveals psychological, cultural, literary, ethnographic and other aspects of human activity and integrates the history of translation activity in a particular country. Thus, many linguists distinguish the following aspects depending on the research topic psychological translation studies (psychology of translation); - art translation studies (theory of art or art translation); - ethnographic translation studies; - historical translation studies" [2] and others. A professional translator uses some stylistic means of conveying that are used in the original to give brightness and impact to the text. Translators are faced with the following dilemma: either they try to directly translate the stylistic device from the original language, or, if the first is not possible, to translate the same emotional-artistic effect. create their own stylistic device. This principle is the principle of stylistic compensation. As K. I. Chukovsky noted, it is not necessary to compare metaphor with metaphor, simile, but smile with smile, tear with tear, etc. Therefore, translators should not forget to convey the task of methodological tools. is much more important than conveying the form. If it is not possible to transfer a stylistic device to the translated text, creating another similar stylistic device in the translation in another part of the text compensates for the shortcomings. [4]. A translator may face some problems in using stylistic systems when translating stylistic devices due to different cultural and national characteristics. Linguists say that it is necessary to preserve the image of the original in the translated text; first of all, the translator should try to reproduce the function of the technique, not the technique itself [1]. During the research, a linguistic analysis of the text of Franz Kafka's "Metamorphosis" was conducted in order to determine the stylistic features of the work, which constitute the unique features of the individual author's style. As a result of the analysis and determination of the percentage ratio in English and German languages, it was found that the stylistic devices most evident in the work are epithet, simile, metaphor, phraseological units, hyperbole and personification. Such stylistic
devices "immerse" the reader in the events of the work, "enliven" them and evoke a feeling of sympathy for the main character from beginning to end. When translated into English, stylistic devices such as oxymoron, metaphor, and hyperbole were replaced or removed, so the author's style and character were not fully conveyed. In the analysis of the translation of stylistic means, some inconsistencies were revealed, which lead to a weakening of the effect of emotional stress, in particular: the lack of expressiveness of words - words with a less vivid semantic color were used in the translation.
Extended metaphors are very difficult to translate. In this case, the translator must either preserve the figurative core of the original figure, or replace it with his own, while maintaining a stylistic orientation adequate to the original [6]. When a successful translation was found, attempts were made to justify the adequacy of the choice of equivalents. However, we have identified techniques that cannot be conveyed stylistically in another language, so this loss must be compensated for in translation. If the translation fails to convey the style of the literary text, we are talking about the loss of both semantic and stylistic order. In this case, first of all, it is necessary to compensate for this loss by preserving the expressive meaning of the word or phrase or by receiving compensation. Also, as a result of the research, we came to the conclusion that the translator, using the stylistic tools of the translation language, first of all conveys the general meaning and spirit of the work, tries to put himself in his place. the author and, keeping his original style, sees what he sees with his own eyes.
"my own house was an eyesore" - "mening uyim bu erda ko'zni qamashtiruvchidek edi"; "among the broken fragments of the last five minutes" - "so'nggi besh daqiqa parchalari orasida" [7].
The main artistic techniques used in the short story include a complete list of narrative devices, linguistic devices (for example, laconic, metaphorical or ironic speech), comedy, epenthesis, etc. Most of these tools are noticeable in speech and therefore easily recognized. More elegant methods include: naming characters with intention ("absichtsvolle Namengebung" -"intentional naming"), hints, loading certain objects and images with meaning ("symbolische Aufladung" - "symbol") [5]. The difference in the worldview, traditions, and beliefs of different cultures is also taken into account in the translation. Often, the translation of stylistic devices into another language creates difficulties for the translator, because it is almost impossible to find an exact equivalent, stylistic devices have new shades in each language. In order to convey expressive means adequately and qualitatively, the translator must immerse himself in another culture and, first of all, strive to convey the meaning, not the structure. In the process of translation, not the conversion of the original text into the target language text, but the transformation (transformation or deformation) of a virtual object, which is some ideal entity that is the translator's idea of the system. the meanings of the message encoded in the source text are more or less close, not identical, to the system of meanings expressed in the material form of the target language. The subject of transformation is the system of meanings present in the source text forms and implemented by the translator. When translating a literary test, the translator repeats the stylistic device used in the original language or creates his own stylistic device with similar functions and means of speech. In a sense, this gives the translator a certain freedom as a specialist: if there is no equivalent in the studied language, the translator can leave out the stylistic device used in the original or convey it by constructing the grammatical structure of the sentence in a certain way. An important problem of linguistics is the problem of preserving the authenticity of the text during
the translation process. The difference in the linguistic pictures of the world of the author and the writer should be mitigated as much as if they belong to different language families. it is possible not only to translate names and reality, but also by creating a special emotional-expressive color of the text in accordance with the position of the author. The stylistic aspect of translation remains an integral part in the translation of literary texts; it is stylistic figures that flash expressively and most clearly convey the idea of the original text. Correctly chosen equivalents of stylistic devices, from replacement or compensation, show all the skills of the translator without losing the style of the author of the original text. The quality of the translated text depends on the translator.
Expression during translation gives more expressiveness to the source text. It is quite logical that the main and most interesting problems for literary scientists, linguists, cultural scientists and philosophers are related to literary translation and literary speech translation. Means of expression include: metaphor, metonymy, simile, allusion, quotation, expressions, proverbs and sayings. The translator can correctly convey the content of the text without using stylistic means, there will be no mistakes, but in this case the text loses its expressiveness, the style of the author of the original text.
REFERENCES
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6. http://yazykoznanie.ru/content/vi ew/33/221/
7. http://kspu-archive.petrsu
