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

Methods of the research: in the process of research, historical-comparative, system-structural, descriptive, comparative, component analysis methods were used to clarify the content of the topic.
The results obtained and their novelty: the definition of the concept of "group" in the understanding of J. Stennbeck, study of the socio-psychological properties of the group, patterns of behavioral reactions in the process of consideration literary works of the writer of the 1930s; study of artistic comprehension by D. Sgeinbeck the "mechanism" for the inclusion of the individual in the group community; study of artistic problem solving relationship between man and society, individual and group began in the psychology of personality in the prose of D. Steinbeck period; consideration of the problem of the primitive hero in the context society and the definition of features of artistic and functional loads of the "primitive" in the aesthetic system of J. Steinbeck.
Theoretical and practical value: the practical significance of the research work lies in the possibility of using materials and conclusions in developing lecture courses and conducting seminars on problems of foreign literature in the first half of the 20th century. The level of application of the research is determined by the fact that the problem is clearly stated, based on the theoretical views of scientists, the conclusions of the study based on the achievements of modern linguistics and translation are confirmed by the analysis such as interpretation, literary analysis, classification, comparison and stylistical analysis.
Structure of the work: Dissertation contains introduction, three main chapters, conclusion and the list of used literature. Total size of the work is 70 pages.

Chapter I. Methodology of interpretation the style

1. 
   Recreation of the style in translation
   

Therefore, "Translation is the art of re-creating and re-interpreting the original"¹. Chinese scholar Libo Huang's opinion also confirms this: "The style of the author is considered sacred in translation."² Therefore, conveying the essence of the original through translation is a great responsibility for the translator.
Being able to convey the ideological content, methodological, spiritual and artistic value of the original text in another language requires great skill. In this regard, one of the great tasks of the translator is to distinguish the uniqueness of the style in the original, to be able to preserve its aesthetic appearance, artistic content and idea in the translation. The diversity of culture, religion, languages, and mentalities certainly affect the process of literary translation. In particular, the translation of the works of English-speaking writers into Uzbek, the non-repetition of the translation style along with the original style, the study of the author's style is one of the urgent issues in modern literary studies and biography.
One of the main tasks of recreating style in translation is to preserve the means of expression of the creator. According to translation scholar A. Popovich, a stylistic character appears in the process of creating a work, and in translation, if these are similar or different, the style can be changed or recreated.³ In this case, it is taken into account to preserve the translator's creative image style in the translation.
According to Theo Hermann, when the discourse of a text is translated, it is considered to contain more voices than a single "voice". "...the discourse of the translated text always includes a 'second' voice, which I refer to as the translator's voice, an indicator of the translator's discursive participation. The sound can be more or less. It can remain completely hidden behind the narrator, rendering it undetectable in the translated text. It appears directly and powerfully when it breaks the surface of the text that speaks for itself.⁴ So, in the translation, the voice of the author and the voice of the translator come together. In this case, the scientist means style by "voice".
Artistic translation, first of all, requires a creative approach to work with style, to recreate it. One of the main tasks of the translator is to understand the main features of the style. "He who does not understand and feel the style should not be engaged in translation," writes K. Chukovsky.⁵ R.Shirinova writes: "In addition to the translator's knowledge of the language and vocabulary, his choice of text, his attitude to it and his interpretation of the original are also important. In this, of course, the level of the translator and the level of development of the literature belonging to him play a big role. But the most important factor is the spiritual-psychological closeness and methodological commonality between the author and the translator, the commonality of their worldview and mutual harmony of their pains. The mutual harmony of heartaches, which inspired the translator, moved him, opens a wide way to translate the work of art with special passion and love.⁶ Chinese scholar Libo Huang's opinion confirms the above view: "A translation should have the same ability to translate as the original.⁷ Н.Komilov, T. Kakhharov's opinions also confirm the above views: "It is clear that spiritual closeness is a guarantee of success in artistic translation."⁸ Therefore, it is a basic requirement that the creator and the translator are spiritually and spiritually compatible. Only then will it be possible to fully convey the original content to the reader. Libo Huang continues his point and writes: "The style of the translation 'reworks' the style of the OT (original text. Emphasis is ours.) style." However, in their later exposition, we see their "style" in genres such as poetry, prose, etc.; (2) the text type, for example, in "narrative", "explanatory", "controversial" genres; (3) we find a combination of genres, such as the style of the author»⁹. This can be called the definition given to recreate the style. Because the translator develops his style based on the style of the original. Dj. Buranov writes about this: "The closest connection between translation and style occurs in literary translation. Literary translation is a special genre of translation, in which the artistic text is distinguished by its image method, emotion, expressiveness, organization, semantic ambiguity and other specific features. The interdependence of style and literary translation is first of all manifested in the existence of one and the same object of study»¹⁰. In fact, the object of the creator and the translator is one - the artistic text. Manifestation of emotional-expressive coloring in it depends on the skill in recreating the style.
After all, the Russian scientist L.S. Barkhudarov: "The translated text can never be complete and absolutely equivalent to the original text. Therefore, when translating from one language to another, in order to minimize semantic losses, one of the types of meaning should be sacrificed"¹¹ – says. In particular, this aspect can be observed in translation works made in the system of unrelated languages. Therefore, in the examples of world literature translated from English to Uzbek, the feature of preserving the essence of the artistic text takes priority. However, in the translation of detective works, the words that express a certain national mentality may not be exactly given, may be left out.
In order to avoid such situations, according to V. Humboldt: "First, it is necessary to study the characteristics of the people's way of life, customs, culture, the components of language units, and only then create an image based on feelings, and then, if possible, express it with words. Possible from its initial form, the language is influenced by the signs and characters characteristic of a certain people¹². In fact, in addition to understanding the mentality of the author of the chosen work, the translator should know the features, grammatical structure, and stylistics of the original language. At the same time, it is necessary to know the traditions, customs, and culture of the nation to which the heroes of the work belong. It is known that detective works go beyond the scope of one nation and express the characteristics of several peoples. Universal aspects take priority in them. Therefore, works of this direction use universal realities.
G.N. Poslesov states that "if style were only an element of language, then every language would have its own style. At the same time, it would be possible to preserve the style in fiction, mainly in the process of translation from one national language to another. But since there is also an element of speech in the style, it is almost impossible to preserve the artist's style in an adequate translation¹³. In fact, differences between nations and different cultures definitely affect the artist's style. This is evident in the process of translation. It seems impossible to give an otherworldly style.
According to Kashkin: "National specific words can be fully expressed in the translated language only through a deep study of the national spirit and characteristics of the original language, the individual and psychological characteristics of the representatives of the particular nation given through this word, and the author's style in the artistic text"¹⁴. The text of the detective work does not have a large number of nationally specific words. Only detective-crime words include national words with equivalents in other languages, through which one can get information about the place and people in which the detective takes place.
According to G. Salomov: "It is crucial to be able to choose lexical and phraseological tools in order to accurately convey the author's style in translation"¹⁵. The views of the translation scholar are also confirmed by the opinions of the Russian scientist G. Retsker: "It is crucial to be able to choose lexical-phraseological tools in order to accurately convey the style of the author"¹⁶. Georgian translation theorist G. And Gachechiladze: "Not only words and phrases with semantic meaning, but also an artistic image, a stylistic element, a rhythmic element, etc., that is, an element of the creative-artistic system of the scenario, can also be an element of the text"^17. It is known that lexical and phraseological means show the national character of the work. Therefore, in their translation, it will be possible to preserve the author's style by providing alternatives and equivalents of such words in the translated language.
While studying American stories, Dosbaeva N.T. focuses on the issues of cultural and domestic characteristics reflected in them, their different aspects, giving specific words in the translation, restoring the national spirit in the translation. In his opinion, in the practice of direct and indirect translation, the skill of a writer and translator is of great importance in the restoration of national identity.
In the analysis of the translation of American stories, the scientist emphasizes that in the process of interpreting specific words, their methodological functions in a specific context have not been determined, and appropriate tools have not been chosen for them that can be accepted by the norms and culture of the translation language. He thinks that giving the original language realities without any explanation has caused confusion in the translation, and inappropriate use of the transliteration method in the translation has also caused some misunderstandings.
The scientist emphasizes that in the process of giving psychological actions, customs, appearance, behavioral norms, behavioral elements belonging to the original language, the national fabric of the original is broken and the work becomes Uzbek in the translation¹⁸. Therefore, when the styles of the creator and translator intersect in the translation, it becomes possible to convey the original content. In particular, two types of lexical units, expressions, and proverbs used in the language of the work are given: 1) given with equivalents in the translated language; 2) giving the content of such units.
After all, "...what kind of food a certain character eats gives an idea of ​​his living conditions, the unnatural environment in which he fell, so it is self-evident that this important factor needs to be recreated in the translation by finding possible ways.
Taking into account some similarities, for example, the fact that it is made from rice, replacing Uzbek "pilaf", Russian "rice porridge" or Russian "okroshka" with Uzbek "chalob", in addition to giving the mentioned dish an Uzbek national character, the author also sometimes intended target can also be faked" ¹⁹. Therefore, the national color, lifestyle and culture of the people expressed in the work can be observed in the dishes mentioned in it. In the translation, the dishes unique to that nation should be served without any changes. First, the national spirit in the work is preserved, and secondly, a system of national realities emerges.
"In works of art, the national and individual landscape of each nation is expressed through linguistic means. In order to recreate the bright national landscape of the original world in translation, the translator must be an educated, multi-talented and broad-minded specialist. Because the problem of reviving the national image of the original world in the eyes of the reader is inevitable that any skillful translator will be confused by language barriers ²⁰. Linguistic means include lexical units of each language, national specific words, universal realities. Therefore, it is necessary for the translator to make effective use of these tools and to be a broad-minded specialist.
The purpose of the translation is to reflect the content of the original, to gain a deep understanding of the artist's style. In this case, the translator needs not only to know the meaning of the word, but also to understand the aspects of meaning in the text. The only way to determine the figurative and contextual meanings of artistic words in the work is related to knowing the author's original style.
Translation expert N. Nizamiddinova writes: "It is impossible to preserve all the elements of historical and national identity of the original in the translation, but among them it is necessary to keep those, so that as a result, the reader will have an image of the historical and national environment"²¹. In fact, it is difficult to preserve all the characteristics of the people to which the work of art belongs in the translation. However, based on the character of detective works, it can be said that they reflect universal, universal aspects rather than national-cultural aspects. Therefore, the translation of such works does not cause difficulties for the translator.
It is known that direct and indirect methods are used more often in literary translation. The direct translation process is the best way to convey the original style. Therefore, "the language of artistic creation is much different than the elements of ordinary language. It is necessary for the translator to present these differences - idea, image, external form in his work. Only then can we talk about the original style of translation. The growth of translation skills, the reader's demand for fiction, the problems of comparative translation, increase the attention to the reproduction of the artist's style in translation ²².
In indirect translation, along with the original language and the translation language, the intermediate language is also involved. In this case, "if the work of translation is carried out through indirect translation, then it is necessary to fully understand the content of the work, the ideological intention and style of the writer, and then give it in the translated language"²³. Because the translator understands the content of the original through the intermediary language. In the mediating language, the writer's ideological intention and the content of the work are not fully reflected.
Before starting the translator's work, he should familiarize himself with the direction of creativity and literary heritage of the author of the work he wants to translate; he should be able to understand and feel his literary style, spirit, purpose. Therefore, "a real translator also chooses an author, sorts books, defines a strategic translation policy according to the requirements of the period, genre, theme, and style"²⁴.
"The first thing that a translator pays attention to is the choice of methodological tools. The translator adds his own style to the work, of course, but it should not be to the extent that it destroys the original's ideological and artistic originality»²⁵. "As a matter of fact, it is said that the best translator's style is the one who can preserve the style of the original"²⁶.

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