Republic of Uzbekistan Ministry Higher Education, Innovation Bukhara State University interpretation of the protagonists in the novels by j. Steinbeck and writer's style dissertation work By Durdona Bakhtiyorova Scientific supervisor: dots

Different views on interpretation as a subject

"It is impossible to create a national spirit without introducing carving and silence into the work. In addition to common language tools, to determine the "structural nationality", "stylistic nationality", "individual nationality", "periodic nationality", "speech nationality", so to speak, resulting from the unique individual style of each creator, and to reflect this in the translation finding ways is incomparably more complicated and important than determining ways to give only external national ethnographic signs, national components"²⁷. National mentality is the manifestation of the typical characteristics of an artistic work through the language of the work. It is mainly reflected in the characters that express the way of life of a certain people, and at the same time it also creates intercultural differences.

Preservation of national color in the translation is expressed by giving the mental characteristics of the original work. G. According to Gachechiladze: "Translation is the rendering of the original in a new linguistic material while preserving the unity of content and form, which means to reflect the artistic reality of the original as a whole; for this reason, the national uniqueness of the translator's creativity, expressed in linguistic elements, is also shown. After all, he is a child of his people and creates a translation for his people. Therefore, the concept of "interpreter's individuality" also includes the concept of "national identity".²⁸So, translating from the original is not only about giving the content or giving the linguistic form.
A certain period and each nation in it have their own "national" words that are integrally connected with that period and cannot be transformed into another language. In order to artistically reflect the characteristics of that nation, the translator is faced with complex tasks such as adequate translation of the original language through the speech of the author and character or giving an alternative equivalent of lexical and grammatical units. In this regard, solving the actual problem of translation, such as preserving or re-creating the original artistic work's national color in the translation, is determined by the ability to translate "nationally specific" words. The words "national specific" reflect the cultural, historical, and household views of a particular nation.
Every translator who tries to preserve the style of a work of art in translation is constantly confronted with words that mean nationality in the original work. In this regard, realism is the main character that expresses the national characteristics of the work. Realias have been studied to one degree or another in English, Russian and Uzbek translation studies. Including O. Nancy, H. Feiz, R. Jeanie, B. Reinhert²⁹ as English, G. D. Tomakhin, A.P. Babushkin, L. V. Mosienko, M.N. Russian like Esakova ³⁰, H. Khamroev, I. Mirzaev, N. Kasimova ³¹ as expressed in the researches of Uzbek scientists.
There is no established rule-methodology for translating realities, because translation is a creative, changing process. When translating these units using different methods, it is necessary to draw conclusions based on their meaning in that context. In the translation, it is necessary to find and provide words and phrases that correspond to the realities that reflect the worldview, customs and traditions of a particular nation. The reader is interested in the times, household lifestyle and hero's experiences described in the work. Therefore, if the translator makes a mistake in giving them, the meaning of the text will not be understood. Therefore: "It is not possible to preserve all the elements of the historical and national identity of the original, but among them it is necessary to capture those that, as a result, the reader will have an image of the historical and national environment"³² .
To restore specific words in the translated language, the following must be taken into account: "Genre of the work; the function of specific words in the text, i.e. meaning load; the relation of specific words in the original language and the translated language; peculiarities of the original and translated languages - their word-making ability, literary traditions; the degree of comprehensibility of the specific word included in the translated language to the reader"³³.
In the translation, defining the national characteristics, the customs, character, and interaction of that nation, which express the national characteristic of that nation, require great skill from the translator. When giving such concepts in translation, the translator needs to look at dictionaries, encyclopedias, the level of wide or narrow distribution of this word expressing the concept in the translated language, deep study of the color of the word, and the context. The uniqueness of the works which are part of ethnographic realities. Such realities and universals have their artistic functions in the detective work. The translator should work based on the extent to which the Uzbek reader is aware of English culture, images, and unique concepts. It is known that an important feature of literary translation is the combination of author's and translator's styles.
Based on this, the translator creates his own style. In this process, the potential of the reader, the level of his acceptance is an important criterion. Therefore, it is required that the translator has a good knowledge of the characteristics of the original language. In particular, the units that make up the English language lexicon, especially the translation of nationalistic expressions used in the author's and character's speech or finding their equivalents are factors that ensure the quality of literary translation. This is one aspect of reviving the artist's style in literary translation.
"During the translation process, the translator should select such vocabulary from his native language, so that they are not related to the specific words (realia) of the Uzbek language. For example, when some proverbs, phrases and phraseological units do not have specific words, when they are used as equivalents in translation, they are free from any burden of nationalization.³⁴.
Literary critic D. Kuronov writes: "In most of the works of an epic nature, the story, the description of the place or circumstances, the description of the characters, the author's observations, etc. are given directly from the author's language."³⁵ in the work, through the author's speech, there is an opportunity to get acquainted with the place, time, and description of the hero. At the same time, the detective-criminal words used in the author's speech can give an idea of the development of the plot in the work, the details of the crime.
Transformation is one of the most effective methods of translation. K. in world translation studies. Volmek, L. Viljoen, E.M. Steyer, I.V. Neshumaev, F. Bozarova and S. Mamatkulov in Uzbek translation studies, we can observe their effective research. Transformations, as we know, refer to changes in the translation, and these changes cause inconsistencies between the original and the translated language. The analysis of transformations serves to reveal the skill of recreating the artist's style.
In English, word order is fixed, and any change in the order of clauses affects the meaning. In artistic translation, various transformational processes and changes are observed to convey the content of the original. This is mainly related to the lexical, grammatical, stylistic structure of the language. In particular, in prose translation, various grammatical forms, word forms, artificial words, word combinations and sentences are changed based on certain norms. For example, conjuncts in words can be changed to prepositional phrases, demonstrative sentences to interrogative sentences, quotation sentences to possessive sentences. Transformational grammar also reflects changes while preserving the original core meaning of the language. Such changes serve to reflect the original content in the literary translation. Russian translator L.S. Barkhudarov describes changes in four ways: (a) reconstruction (or replacement), (b) replacement, (c) additions, and (d) omission (or deletion).³⁶ Therefore, on the basis of the above classification, it can be justified on the example of translations of detective works. It can be said that in the process of translating a prose work, transformation is observed at almost all levels of language construction.