THEORETICAL ASPECTS IN THE FORMATION OF
PEDAGOGICAL SCIENCES
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LITERARY TRANSLATION AND THE INDIVIDUAL STYLE OF THE
CREATOR.
Fayzieva Komila Akhrororvna
Economic and Pedagogical University. Associate Professor, Doctor of Philological
Sciences, Associate Professor, Department of International Language. Karshi.
Republic of Uzbekistan.
Теl.+998903148448
e-mail:komila.fayziyeva.85@bk.ru
https://doi.org/10.5281/zenodo.14738281
Annotation.
It is impossible to separate style from the general creative
essence of the author and blindly turn it into a linguistic characteristic of the
work. Image and style are closely interconnected. The interdependence and
mutual dependence of image and style is based on the writer's artistic reflection
of reality.
Key words:
determining the style, stylistic uniqueness of each creator,
worldview and the main ideas, creative evolution.
Writers who are distinguished by their individual style have not one, but
several clearly visible styles in their work. The emergence of a new style in a
writer's work is often associated with his creative evolution, a turn, a shift in the
perception of life, a change in the artistic method. The life material acquired by
the writer requires the search for an alternative method for its artistic depiction.
Of course, this does not give grounds for concluding that new methodological
phenomena arise only when turning to new life material. It is also undeniable
that new life material calls for the author to intensive methodological research.
[1. P. 457.] Sometimes it is necessary to make some changes to the previously
established methodological system. In addition to the material taken from
reality, the reader’s intention, whether unconsciously or consciously, during the
creative process also plays an important role in determining the style. During
translations, when there is a “clash” of tastes, the translator is forced to take into
account such a subjective situation.
The style of a true wordsmith has the ability to influence not only his
contemporaries, but also the readers of the future. As is known, a work of fiction
does not always find its readers immediately. It may take a long time before it
finds the desired readers. However, in order for such a captivating interest to
arise, the work must have certain qualities related not only to the original series
of images, but also to a well-developed methodological system, the ability to
evoke an aesthetic feeling.
THEORETICAL ASPECTS IN THE FORMATION OF
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In translation, conveying the tone of a work of fiction is important in all
literary genres. From a single proverb or saying to a sonnet, ghazal, story, and
novel, if harmony is not ensured, the translation will sound false. Tone, in turn,
in connection with other components of a work of art, lexical unity, syntax,
inversion, alliteration, rhyme, weight, etc., leads to the emergence of either
naturalness in the translation or, conversely, artificiality, artificial context,
artificial artistic atmosphere. [2. P. 103.]
Style is a “peculiarity”, each great artist has his own style - an ideological
direction specific to his work, artistic and figurative means, lexical and
phraseological elements and other components related to the artistic form.
Comparison is one of the most important tools in determining the style of a
writer, poet, playwright, in determining his unique individual creative
biography, and in determining the manner of writing. Since style is closely
related to literary and historical traditions, the worldview, taste, aesthetic
beliefs of the creator, and the idea, goal, etc. put forward in a specific work
created by him, all of these can be taken as a basis in comparison. Since Lutfi and
Navoi lived in the same historical period, it is unlikely that the specific style of
these two writers can be sought in the level of development of the Uzbek literary
language of the 15th century. Therefore, it is appropriate to search for their own
artistic and pictorial means, images, the idea, and form of the ghazal in
comparison. However, in determining the specific style of, say, Navoi and G.
Ghulam, the factors that distinguish the 20th century Uzbek literary language
from the 15th century also come to the fore. [3. P. 401.] The individual style of
these two poets can be recognized even from their works on the same topic.
Since the stylistic uniqueness of each creator arises on the basis of
language resources, the concepts of language and style are close to each other,
but they cannot be equated. If language and style were one and the same thing,
then when translating a writer's work from one language to another, it would be
impossible to give its stylistic uniqueness by transferring only its lexical
equivalents. However, recreating each author's own “language”, that is, style, is
one of the important conditions of literary translation. [4. P. 175.] There is a
serious uniqueness in the style of Oybek and A. Kahhor, who wrote in exactly the
same language, Uzbek, and there is also a big difference in the style of F.M.
Dostoevsky and A.P. Chekhov, who wrote in Russian. However, the style of A.P.
Chekhov and A. Kahhor, who wrote in different languages, is close to each other.
This stylistic harmony is expressed in the closeness of the literary and aesthetic
views of the two writers, the skill (brevity) in the use of language. In the
THEORETICAL ASPECTS IN THE FORMATION OF
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commonality of the style of A. Kadiri with the Arab novelist, and M. Gorky with S.
Aini, the theme and historical coloring play an important role.
When it comes to artistic style, the language of the literary work often
comes first. Because in books on literary language, aspects related to the “style”
of the writer’s language are studied in the “stylistics” section of linguistics. [5. P.
45.]Therefore, since stylistics is a section of linguistics, there are views on style
as stylistics alone, and the language of the literary work. However, the scope of
style is extremely wide. However, language is a means of artistic expression.
Only one aspect of style. “It is not correct to understand style only as the
language of the writer or a specific literary work”. V. M. Zhurmunsky also says
that “the style of a literary work is not only stylistics: the theme, images, and
composition of an artistic work are expressed in the means of language.” [6. P.
327-329.]
Lack of style is lack of appearance. We have many creative people who
do not have their own individual style. They are left in the shadow of others’
imitations in style. Many creative people have lack of style rather than stylistic
originality. Qodiriy says, “Style is a characteristic that depends on knowledge of
language and is recognized as the movements of each writer’s tongue. Therefore,
when writing skills are acquired, style is born by itself.”
English writer S. Maugham describes style as follows: “If a person thinks
vaguely, then he writes vaguely. If he is of a capricious nature, then his prose will
be subtle, if he has a quick, mobile mind, any subject reminds him of hundreds of
others, and in this case, I think, sometimes he loses serious self-control and
decorates the text of the work with similes and metaphors”.
A.N. Sokolov’s opinion: “The style of a work is both an idea, an image, and
a method, and is determined by the genre”. Style is not a one-sided concept, and
selective coverage of a certain aspect of it gives its effect. [7. P. 52]
Style is a set of basic, typical ideological and artistic features of a writer’s
work that are repeated in his works. The writer’s worldview and the main ideas
related to the content of the works he creates, the series of plots and characters
that the author describes most often, the means of artistic expression that are
often found in the artist’s work, and his own unique language form his individual
style.
List Of References:
1. О.С.Ахманова. Словарь лингвистических терминов. Москва, 1966, с. 454-
457.
2. O`. Nasirov. “Creative person, artistic style, image of the author”. Tashkent
1981. p. 103.
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3. I. Sultan Literary theory. 1980. - P. 401.
4. “Fist” article. “Small works’, 1979. - P. 175.
5. E. Khudoyberdiev “Introduction to Literary Studies”. 2003. – P. 45.
6. https://www.in-academy.uz/index.php/zdit/article/view/7714. P. 327–329.
7. https://newjournal.org/01/issue/view/323. – P. 52.
