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Adaptation and stylistic features of the text in translation
Shakhruza BEKHZODOVA
Samarkand State Institute of Foreign Languages
ARTICLE INFO
ABSTRACT
Article history:
Received December 2023
Received in revised form
15 December 2023
Accepted 20 January 2024
Available online
15 February 2024
The translator needs to be accurate in communicating the
intended meaning of the source material to the target readers
since translation is a tool for cross-cultural communication and
one method to represent the environment and cultural
background of other populations. It is well recognized that
there are several kinds of translation, including mass media,
legal, economic, literary, and religious. Every kind has distinct
methods and styles.
2181-
1415/©
2024 in Science LLC.
DOI:
https://doi.org/10.47689/2181-1415-vol5-iss1/S-pp1
This is an open access article under the Attribution 4.0 International
(CC BY 4.0) license (https://creativecommons.org/licenses/by/4.0/deed.ru)
Keywords:
translation,
text,
analyze,
stylistics,
approach,
study,
research.
Tarjimada matnning moslashuvi va stilistik xususiyatlari
ANNOTATSIYA
Kalit so‘zlar
:
tarjima,
matn,
tahlil,
stilistika,
yondashuv,
o‘rganish,
tadqiqot.
Tarjimon uchun manba materialning mo‘ljallangan ma’nosini
o‘quvchilarga yetkazishda to‘g‘ri bo‘lishi juda muhim, chunki
tarjima madaniyatlararo muloqot vositasi va boshqa aholining
muhiti va madaniy kelib chiqishini aks ettirishning bir usuli
hisoblanadi. Ma’lumki, tarjimaning ommaviy axborot vositalari,
yuridik, iqtisodiy, adabiy va diniy kabi bir qancha turlari
mavjud.
Har bir tur o‘ziga xos uslub va metodga ega.
1
Teacher, Samarkand State Institute of Foreign Languages.
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Адаптация и стилистические особенности текста при
переводе
АННОТАЦИЯ
Ключевые слова:
перевод,
текст,
анализ,
стилистика,
подход,
изучение,
исследование.
Переводчику
крайне
важно
точно
передать
предполагаемое значение исходного материала целевым
читателям, поскольку перевод служит инструментом
межкультурной коммуникации и одним из методов
представления окружающей среды и культурного
происхождения других групп населения. Общеизвестно,
что существует несколько видов перевода, включая
массовый, юридический, экономический, литературный и
религиозный. У каждого вида есть свои методы и стили.
INTRODUCTION
It is simple to understand why stylistics and translation may be closely related:
both are concerned with a text’s fine linguistic details and how they might be interpreted
as a writer’s textual decisions and sources of reader effects.
However, these connections
have not been thoroughly examined very often until lately. It is necessary to investigate
the reasons why translation studies are inadequate in the absence of stylistics before
going over some of the historical changes in their interplay. The different perspectives on
what constitutes or does not constitute an instance of translation are an excellent place to
start this investigation. Though opinions on whether every act of speaking, in the sense of
putting thoughts into words, could be considered a translation, most readers would agree
that Don Paterson's translation of Rilke's Sonette an Orpheus as the English Orpheus is a
translation (even if he himself calls it a “version”). Although Barnstone believes it could,
this is not a widely held belief. Is it still possible to refer to a translation of a Yorkshire
dialect poetry or Beowulf into ordinary current English? This was dubbed "intralingual
translation" by Jacobson, who was among the first contemporary theorists to combine
the study of style with the study of translations explicitly in his books from the 1920s
onward.
It is widely acknowledged, therefore, that translating entails a linguistic (or
dialect) shift. The most contentious issue among translation academics, aside from the
definition of language, is presumably what exactly gets conveyed. According to a
conventional perspective, it is a word, expression, or meaning of the text. However, this
seemingly simple perspective raises two further queries: Is meaning transferable or does
it alter when spoken in a different language? Furthermore, what does a meaning of the
text consist of? The notion of style has a major role in the answers to both queries.
LITERATURE REVIEW
Scholars studying translation have shown a renewed interest in the study of style
since the turn of the century. This is partially due to the evolution of university curricula,
particularly postgraduate curricula (like those at Leicester or UEA), which view literary
translation as something that goes much beyond simple language distinction.
Parks' idea that discernible changes between source and target highlight the
original author's style in intriguing ways may be developed, particularly when more
thorough stylistic evaluations of the source text and translation are conducted. This is
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frequently due to the fact that these points of divergence between the source and the
target are difficult to translate because they reflect what Riffletre dubbed
"convergences," or places in the source text when a lot of stylistic elements come
together.
A few English poems are discussed with their German translations, showing how
this kind of comparison might illuminate the original.
Both in theory and practice.
We have been approaching stylistics and translation studies as two academic fields
that complement one other up to this point. However, this is not the complete image. The
study of translation extends beyond how we interpret translated materials, how we
perceive the translation process, and how a translator could read the original material. A
creative writing practice is implicit in translation studies: practically all of the academics
who study translation also translate. Thus, it is always required of those in the stylistics
and translation fields to take the connections between theory and practice into account.
As the aforementioned example shows, Boland's translations invariably depart
from the originals in both language and style. A translator can, however, read the source
text through the eyes of the stylistician and make informed decisions about the kinds of
stylistic choices behind it and the stylistic choices available to a recreation of the text in
the target language if she assumes that style is not just a set of formal features but also a
set of textual elements that represent the attitude or state of mind of the reconstructed
figure of the author, narrator, or character.
METHODOLOGY
As Baker and Saldanha point out, there are several ways to use adaptation as a
literary translation approach, including transcription of the original, omission,
enlargement, updating, exoticism, situational or cultural appropriateness, and creativity.
Three methods of adaptation are used by the translator of Naguib Mahfouz's epic poem
"The Riff-Raff": invention, situational or cultural appropriateness, and expansion.
Depending on the original material and the meaning she wants to get over to the
intended audience, she uses each style as needed. Here are a few instances of adaptation
strategies used by the translator to the original text, along with an explanation in English.
RESULTS AND DISCUSSION
It should come as no surprise that recent advancements in the fields of stylistics
and translation studies have somewhat coincided with advances in each of the individual
disciplines. Many originate from stylistics, which follows its evolution along with
changing and evolving perspectives on language and literature. Given that Jacobson
employed a code-view of language and translation as well as a generally structuralist
view of literature in the middle of the 20th century, it stands to reason that translational
stylistics of now and tomorrow will mostly be cognitive, if only because they have
followed the transition from text to keep in mind that all stylistics have adhered to,
whether or not they consider themselves "cognitive."
New perspectives on translation itself may arise from future breakthroughs in the
relationship between cognitive poetics and translation. According to St. André, earlier
approaches included cross-dressing, metaphors involving bridges and ships, as well as
several efforts to explain it without the use of metaphors by employing taxonomies like
Vinay and Darbelnet's or diagrams like Nord's. In research on translation metaphors, St
André observes a conflict between perspectives that emphasize metaphor's capacity to
generate novel ideas and others who regard it as somewhat restricting.
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Metaphors may, in reality, have both positive and negative impacts. Translation
metaphors have occasionally been restrictive (such as the "window" metaphor discussed
in the preceding section) and have had a detrimental effect on practice.
However, they may also inspire fresh approaches to translation theory. Blending
theory offers one such option, which is the metaphor of a translation as a mental mix. It is
possible to use this concept as a metaphor for a translated text, providing a cognitive
poetic model for the many earlier views of translations as hybrids, or as texts that would
have been produced by a hypothetical author-figure who could write in the target
language. This is assuming blends are the result of cognitive processes that bring
together elements of separate cognitive domains into a blended domain.
The translator must retain the spirit and flavor of the original work while having
the freedom to add, subtract, or change specific passages from the source text to make it
more appropriate for the intended audience and their culture. The translator helps the
reader by providing more information, interpretation keys for the enigmatic passages, or
footnotes to clarify certain passages when the reader is unable to grasp certain parts of
the text because he is unfamiliar with certain cultural factors of the original text.
When certain expressions or words in the source text do not have an equivalent in
the target language and the target readers could not understand it, the translator
attempts to convey the meaning to them according to their culture and environment. It is
evident that the translator accurately uses adaptation technique through the use of three
modes of adaptation (creation, situational or cultural adequacy and expansion).
Translator also employs adaptation techniques to make the target content seem unique
by assisting the target readers in comprehending the source material in a flexible and
useful manner.
CONCLUSION
Lastly, there is rising concern over the interpretation of translation as translation.
This is a worry that has been raised by research like Venuti's appeal to oppose
translation's invisibility. Now that this issue is very widely acknowledged (although not
always acknowledged, particularly in the publishing industry), the focus is beginning to
shift towards seeing translation as a distinct genre of literature with unique qualities.
According to Gutt, a translated text differs from an untranslated text only in terms of
functionality. However, it might also be claimed that it requires the reader to engage in
more complicated thinking or even that it is stylistically distinct; some research indicates
that at least in some languages this is the case.
Yoshihiro (2005), for instance, demonstrates how the urge to domesticate and
remove all signs of the translation process has not historically been felt to the same
extent in Japanese. As a result, translated writings frequently include unique content. It is
necessary to do new research using English texts that goes beyond the criticism of a
language known as "translations" and investigates if translated works share any stylistic
characteristics that identify them as belonging to a specific literary genre.
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