Chapter Literature Review 1 History of translation of Hemingway’s works into Uzbek and Hemingway’s style

2.1.2. Ernest Hemingway’s style
One of the most remarkable aspects of Hemingway's artistic style is based on revealing the genuine sense of his creativity, the mastery of his art, not directly, not through the author's direct remarks and the words of his characters, but through the so-called implications, subtext, and covert message, which is sometimes hidden very deeply. The author was able to conceal the social and historical context in these implications, or connotations. The interplay between what is spoken and what is hidden is emphasized by the mix of subjective and objective characteristics in the narrative of the stories. Hemingway's artistic style is shown indirectly, via the implicit subtext, rather than explicitly, through the author's observations and the words of the characters. Yet, the author's appraisal of recounted events, attitudes toward the characters' pictures, and the themes buried in the implicatures make comprehending the plot's and characters' intentions more difficult, resulting in a loss of stylistic information. The implicatures in Hemingway's stories may be found both within the text as a whole, on the compositional level, and on the lexical level, via the use of figures of speech when describing people, animals, and natural events, generating a distinct emotional environment. The author's lexical figures of speech provide several options for actualization of a neutral word as a stylistically marked element, resulting in an increase in the text's meaningfulness. E. Hemingway adhered to a well-known artistic theory that is primarily employed in playwriting but is also relevant to other creative genres—the idea of integrating only aspects into the fiction work that would be beneficial in the future narration or development of the events. E. Hemingway, a highly disciplined author, based his economically written writings on this precise premise. However, on occasion, he behaved entirely opposed to it. Spare, apparently insignificant details found their way into his stories and books simply because 'it was so,' since they are components of the real world. These information are never repeated again, and the reader may believe that the author shared them with them purely by chance. But, the consequence of this strategy makes the reader feel as if he himself spotted this tiny, accidental information, and as a result, he, the reader, has experienced this scenario himself. This impact is only feasible with the appropriate combination of words and sentence patterns.

1. 
   The forest had been green in the summer when we had come into the town but now there were the stumps and the broken trunks and the ground torn up, and one day at the end of the fall when I was out where the oak forest had been I saw a cloud coming over the mountain. (chapter2 page6)
   
2. 
   When daylight came the storm was still blowing but the snow had stopped. It had melted as it fell on the wet ground and now it was raining again. There was another attack just after daylight but it was unsuccessful. We expected an attack all day but it did not come until the sun was going down. The bombardment started to the south below the long wooded ridge where the Austrian guns were concentrated. We expected a bombardment but it did not come. It was getting dark.(chapter27 page162)
   
3. 
   Later, below in the town, I watched the snow falling, looking out of the window of the bawdy house, the house for officers, where I sat with a friend and two glasses, drinking a bottle of Asti, and, looking out at the snow falling slowly and heavily, we knew it was all over for that year. (chapter2 page6)
   

In this piece, Hemingway preferred his main character to arrange time with nature. He utilizes the appearance of the full moon and sunrise as two natural periodic events that were utilized to measure time in ancient times.The main character in these examples notices the sun and stars moving in a predictable pattern. When he looks up at the sky, he sees the sun moving over him and says sunrise, sunset, and nightfall. He tells the readers of numerous events that occur during the battle, and he modifies several actions that signaled important changes in the environment over the years. Seasonal winds and rains, river flooding, and the flowering of trees and plants are all examples of his efforts, which led to natural year divisions and season identification.
The simplicity of Hemingway's writing tries to provide a place for each individual to put his or her own connections into the novella. As a result, the reading process becomes a projective experience through Hemingway's pictures, which fulfill the reader's anticipation and touch his mind with powerful personal projection. As the reader projects his own experiences into the sentences, he builds a compelling tale. Other linguistic tactics used by Hemingway, such as the open conclusion of the story, contribute to this projective sensation. His philosophy of omission is another significant aesthetic feature of his approach. "Writing with economy of words may generate an effect on readers that is more strong than expounding," he believes. If a writer of prose understands enough about what he is writing about, he may omit things that he knows, and the reader, if the writer is writing honestly, will get the same emotion as if the writer had mentioned them. The dignity of an iceberg's movement is due to just one-eighth of it being above water. A writer who omits items because he is unfamiliar with them creates gaps in his work. As is well known, the underlying meaning in Hemingway's writings is frequently implied rather than stated explicitly, and as a result, his works become "highly suggestive, revealing submerged levels of meaning for readers to discover for themselves every reader connects the story with his own associations and understands it in accordance with his wishes, experiences, and expectations."

2.2 Researches on the shifts and style in the translation of Hemingway’s works

The focus of this research will be on the style and alterations in translation of Hemingway's writings. As is well-known in the literature, there have been several studies on this issue, and three of them have been thoroughly examined in order to complete the current study. However, just one study was chosen for categorizing of shifts in translation labor since it dealt exactly with research findings. Therefore this subject goes through those three studies and explains why one of them was chosen for this work.
The first research which was near to the current problem examines "Ernest Hemingway distinctive style and its reflection in Russian translation. The study investigates difficulties of appropriateness in Russian translation, which is a prevalent problem in Uzbek translation. The primary goal of every translation is to attain adequacy at all levels: lexical, grammatical, and stylistic. Yet, owing to natural factors, total parity of translation is not achievable; consequently, translators should endeavor to eliminate any translation losses. Fedorov defines an acceptable translation as one that conforms to the original in its purpose and is tied to it through the linguistic means. Appropriate text transformation is only achievable when all translation criteria are met at all levels. A translation is equal if all of the text's parts and levels have been transmitted effectively and without loss. Adequacy, according to Komissarov, is "something objective, i.e., is the correspondence of things to the degree of adequacy, expressing an objective reality that is not reliant on us". The components that comprise the imagery of the tale should be evaluated while examining the level of sufficiency of Hemingway's translated stories into Russian. Some of these parts may naturally lose some of their original vision, while others have been translated with extra emotional colour. The difference in levels between the two texts: the source (original) text and the target (translated) text is seen even on the grammatical level, as some phrases have been connected together or split up into multiple smaller sentences or clauses. Because of differences in the systems of the two languages—English and Russian—the borders of paragraphs and supra-phrasal units do not always match. The translation of metaphors serves as the framework for this research. Metaphors are the most significant figure of speech for achieving expressiveness and hence creating imagery in a literary text. The unusual use of words, phrases, grammatical structures, and figures of speech has traditionally presented translators with several challenges. Critics pointed out that Hemingway's metaphors are more than just figures of speech portrayed in random phrases; they are the language embodiment of intellectual analogies. Hemingway built actual items using useful, rather than aesthetic, metaphors. Thematic metaphors weaved throughout the story or composition depicts themes of conflict, pain, and loneliness. Yet, it should be acknowledged that Hemingway's metaphors are a method of artistic imagination, despite the fact that many of them are typical, clichéd, "dead" metaphors. Any study of a literary text's translation should deal with metaphors, which create specific imagery; thus, it is necessary to reveal the level of adequacy of their translation, to discover any distortions, translation shifts, and losses, as they have a significant impact on the overall conception of the text. Any study of a literary text's translation should deal with metaphors, which create specific imagery; thus, it is necessary to reveal the level of adequacy of their translation, to discover any distortions, translation shifts, and losses, as they have a significant impact on the overall conception of the text. While doing such an examination, Peter Newmark's idea of metaphor translation comes in handy in this research. According to his idea, there are seven different ways to translate metaphor, listed in order of preference:

1. 
   Reproducing the same image in the target language;
   

Original version	Translation	Back translation
Oh yes I went very badly.(Ch-33)	Rost, rost rasvoye maraka bo’ldi.	Really it was awful funeral.
I’ll bet you can sing.(Ch-33)	Boshim bilan qasam ichamnki, siz ashula aytishni bilasiz.	I swear on my head you know how to sing.

2) Replacing the image in the source language with a standard TL image;

Original version	Translation	Back translation
He was serious.(Ch-33)	U menga diqqat bilan qaradi.	He looked at me carefully.
Do you want breakfast?(Ch-34)	Qorning ochdimi?	Are you hungry?

3) Translation of metaphor by simile;

4) Translation of metaphor by simile plus sense;

5) Conversion of metaphor to sense;

6) Deletion;

Original version	Translation	Back translation
I saw you come down the wall.(Ch-33)	Men sizni tushayotganingizni ko’rdim.	I saw you coming down.
I had had too much red wine, bread, cheese, bad coffee and grappa. (Ch-34)	Ko’p zamonlardan beri yeganim non, pishloq, ichganim qizil vino, maza-matrasasiz qahva bo’lgandi	For the long time I had had bread, cheese, red wine and bad coffee

7) Same metaphor combined with sense.

Although the category of this work corresponds to the findings of the current research, there were several cases of changes that did not fit into any of these categories.
The following research seeks to give a systematic and objective translation critique, relying notably from Van den Broeck's "systemic paradigm of translation criticism". Instead of looking for translation faults, the textual and extra-textual aspects of the source and target texts were attempted to be specified, and "shifts of expressions" were detected by tying each text to its social environment. According to Van den Broeck, translation criticism may be impartial if it is founded on methodical description, which necessitates a comparative investigation of the source and target texts as a first step. This type of comparison seeks to ascertain the degree of "factual equivalence" between the source and target texts. To put it another way, one of the primary goals of this methodology is to determine what type of link exists between these two texts without making value judgments. Yet, limiting this comparison to text structures is insufficient. He asks the critics to take into consideration the "many relations between the source text and the system of comparable and/or other works deriving from the same language, culture and tradition; between the target and source systems; between the target text and its readers and so on". According to him, comparing ST and TT should reveal expression shifts in the translation. He has avoided labeling every alteration in the target text as a "mistake" by incorporating Popovic's concept of "shifts of phrases" into his translation critique model. "Everything that appears as new with regard to the original, or fails to appear where it may have been expected, may be read as a shift," Popovic says. According to him, the disparities in languages are inescapable owing to the "disparity and asymmetry in the development of two linguistic traditions. As a result, any modifications in the target text should not be construed negatively as a result of the translator's attempt to alter the "semantic appeal" of the source text. According to him, in trying to "preserve the norm of the original," translators occasionally resort to changes in their translations. As a result, establishing the nature of the alterations in the translated texts (optional vs. mandatory) would allow the critic to objectively evaluate the translator's tactics as well as what is "lost" or "gained" in the translation process. Van den Broeck further adds that the critic should seek to "discover the translator's norms and alternatives, the conditions under which he works and the way in which they impact the translational process". Above all, the critic should never mix up his own set of standards with those of the translator. The researcher concentrated on lexical factors such as translations of ideologically charged words, specialized terminology, and culturally relevant objects. The incorporation of Islamic features in translation was the most appealing aspect of this work. The translator’s labor in various sociopolitical environments, producing target materials for certain reasons. As Shäffner points out, the linguistic structure of the target text reflects social conditioning in translation. To put it another way, target texts can disclose the effect of the target system's social, ideological, and discursive norms and limits. As previously stated, the novel incorporates several biblical motifs in order to establish a Christian atmosphere in the source material. When we study the translators' tactics for (re)creating the religious context in the target text, we see significant discrepancies, which will be supported by some typical examples from the translated version.
Examples for addition Islamic elements

Original version	Translation	Back translation
You never got away with anything (Idiom: you never succeed with that illegal plan )	Alqososul minalxaq	Islamic Phrase : Revenge is only from God
Snow did not come until three days before Christmas.	Xaytga uch kun qolganda qor yog’di.	It was snowing when three days were left till Eid. (Muslims holiday )
They all looked sleepy so early in the morning	To’rtovlari ham bu Azon chogida uyqusiragan ko’rinardilar	They all four looked sleepy at Azan time (Muslim phrase for Fajr).

Nevertheless, the current study focuses not only on the incorporation of Islamic features, but also on other words and phrases introduced by the translator in his work.

The final and chosen study for the present work explores the duet between the author and the translator and focuses on style analysis via variations in literary translation. The four research questions provided in this study focus on three elements of research related with the agency/role of a literary translator: (1) Identification of numerous formal shifts (changes) made by translators at the language level during the translation process, particularly where alternate answers to shift selection were accessible to the translator (2) Identifying disparities in different translators' choices and characterizing individual translators in terms of recurrent translatorial decisions as markers of translation style; (3) the ramifications of such recurring translatorial decisions at the level of a complete work of art, such as a book, in terms of its stylistic structure. The preceding factors, as well as my own experience of the translator's role in practical translation and teaching translation, led to the formation of the following research questions with the goal of analyzing individual translators' particular proclivities: 1. What kinds of recurring alterations in formal units such as sentences, phrases, and minor parts occur in the translation of English literary texts into Finnish?
2. Are there any intersubjective variations between the repeated shift patterns that characterize specific translators? 3. Can repeated shift patterns be used to create 'translator profiles' or indicate specific translators' styles?
4. What kinds of macrolevel stylistic implications may be found in the study of literary translations based on an investigation of microlevel shifts?
The study questions thus highlight the problem of recurrent formal changes that occur in the translation of English literary works into Finnish, as well as intersubjective disparities between individual translators in their selection of such recurring shift patterns. Furthermore, emphasis is placed on the possibility of characterizing individual translators' styles by focusing on the types of recurring shift patterns they prefer, as well as the stylistic implications that recurring shift patterns have in the study of literary translations as complete works of art that extend beyond the local level of individual text-level units. The study begins with microlevel data, then moves on to a broader characterisation of translators as interpreters of complete works of art by analyzing if systematic patterns can be detected in the data. The study questions are answered by analyzing the kind of choices that individual translators make while reading an author's material in another language. If there are variances between such selections, it indicates that there are multiple translating styles that may be distinguished by shifts.
The most essential questions for this study are 1 and 2, and the solutions are in chapters 2 and 4. This research categorizes micro level shifts and identifies intersubjective variances in recurring shift patterns. Thus the next chapters explain why it was critical to select the appropriate research for assessing findings for the current study.
2.3 Style and shifts (general information)
Language, with its multiple geographical, cultural, and stylistic variants, is in a perpetual state of change due to its nature as a medium utilized across a wide range of diverse communication settings in ever-changing surroundings. This makes language a complicated object of study in and of itself, and it takes on even more aspects when translation into another language enters the picture. The idea of style is frequently used to define the diverse situational uses of language. Style is a contentious concept to include in a research since no unambiguous definition has been obtained, and there are several approaches to style. While the term is frequently associated with an individual's distinctive way of using language, an equally common approach is to categorize styles as types of discourse used by a group or groups of people and deriving from the functions of language, i.e. various types of language used in specific situations. Style may also relate to broad categories such as written and spoken language, or reality and fiction, or these broad categories may be subdivided based on the purpose of the language in each situation. What all of these explanations of style have in common is that the numerous variations of style are always related to a specific context. In terms of Holmes' research, this work comes within pure translation studies rather than the applied branch. It is descriptive and product-oriented since it analyzes the translation product to discover changes in translation and defines the product based on this analysis. It may be claimed that this also applies to the translation process, because shifts are the outcome of translatorial decisions made throughout this process. This feature is not mentioned in the study's description since it is the product of the process that is being examined, not the method itself. Finally, the theoretical partial branch identifies the sort of material under consideration: literary translation. Scholars have attempted to address these changes through concepts such as equivalence (and lack thereof), similarity (and dissimilarity), and invariance (and variation), all of which are aspects of essentially one and the same thing: whether something changes or remains unchanged during the translation process from one language to another.
Shifting, i.e. translation shifts, is a fourth notion employed in this context, with a focus on change. The most contentious of these ideas is equivalence. Catford defined shifting as the relatively simple, though not unavoidable, effect of departing from formal equivalence. Toury took a more nuanced approach, describing shifts as departures from adequacy that demonstrate the gap between real equivalence and a hypothetical maximal standard of a pragmatically acceptable translation; adequacy, according to Toury, relates to fidelity to source norms. Toury's equivalency is clearly not the same as Catford's, but the difficulty with Toury's method is that it is incapable of correctly defining sufficiency for research purposes. Newman, on the other hand, describes 'equivalence' as an ideal relationship that the reader expects to exist between source and target texts, whilst Snell-Hornby criticizes the entire concept as being so ambiguous that it has become meaningless. Hermans uses the term "illusion of equivalency" to argue for the removal ("elision") of the translator's agency ("the translator as a subject") from the text. The shifting that occurs during the transition from the source text to the target text is part of the translation process. Shifts are frequently investigated through the discrepancies between the source text and the target text, i.e. by comparing the source text with the translation output, because the translator is seldom questioned directly what causes shifting in the process. According to Campbell, target texts are a primary source of evidence for the mental processing that underpins translational judgments. Dissimilarities and differences between the source and destination texts may thus be used to identify what happens throughout the translation process. In such a comparison, it is common to discover that, although some things have changed, others have stayed unchanged.
To go beyond the formal variations across language systems, the study of shifts must distinguish between 1) mandatory and 2) voluntary shifts, not to mention 3) non-shifts. Each of these categories can change the distance between the source and destination messages. Both mandatory and elective changes have an influence on the final work, regardless of whether they are inevitable due to linguistic system variations. Non-shifts, on the other hand, are parts of the text where no shift occurs, other than the shift from one language to another, and may have shift-like effects because they involve the transfer of an element (e.g., a sentence, clause, phrase, word) into a different language and culture, where it may not work in the same way as it does in the source text environment and culture. As a result, a non-shift may be considered as source-language interference or as a mechanism of foreignization. This research will analyze formal dissimilarities between source and target texts using the idea of shift, although this does not mean that other sorts of shifts do not occur or are not a worthwhile topic of study. In the material reviewed, there was a definite pattern of repetition involving specific sorts of changes. Some changes obviously broadened the formal appearance, while others narrowed it. This was the primary split that arose. A third, unique trend was varied alterations in the sequence of the text components.
Hence, the most commonly occurring shifts fell into three major categories: 1) expansion shifts, 2) contraction shifts, and 3) order shifts. A number of earlier classifications featuring the categories of expansion, amplification and contraction compression, such as Klaudy's classification for grammatical transfer operations and the concepts discussed by Modena and Hurtado Albir, support the establishment of an expansion versus contraction dimension. A handful of shifts, however, had no discernible pattern and were classed as miscellaneous shifts in a fourth group. Additional investigation found that these rather broad categories might be subdivided into subcategories, which could be utilized to extract more information from the broad groups.