Analysis of the development, scale and nationality of translations of literary works into Arabic

The American Journal of Social Science and Education Innovations

71

https://www.theamericanjournals.com/index.php/tajssei

TYPE

Original Research

PAGE NO.

71-73

DOI

10.37547/tajssei/Volume07Issue05-10

OPEN ACCESS

SUBMITED

16 March 2025

ACCEPTED

12 April 2025

PUBLISHED

14 May 2025

VOLUME

Vol.07 Issue 05 2025

CITATION

Nigora Sabitovna Azimova. (2025). Analysis of the development, scale and
nationality of translations of literary works into Arabic. The American
Journal of Social Science and Education Innovations, 7(05), 71

–

73.

https://doi.org/10.37547/tajssei/Volume07Issue05-10

COPYRIGHT

© 2025 Original content from this work may be used under the terms
of the creative commons attributes 4.0 License.

Analysis of the
development, scale and
nationality of translations
of literary works into
Arabic

Nigora Sabitovna Azimova

University of World Economy and Diplomacy, Teacher of the Department
of Oriental languages, Tashkent, Uzbekistan

Abstract:

The study explores the development, scale,

and nationality of translations of literary works into
Arabic, tracing the historical and cultural trajectories
that shaped this dynamic field. Beginning with the
Abbasid Golden Age, when the translation movement
flourished under institutional support, the analysis
identifies pivotal periods of growth and shifts in focus. It
examines how globalization, regional politics, and the
rise of Arab literary institutions influenced the scale of
translations in modern times. The study also highlights
the national origins of translated works, revealing
dominant trends, such as the prominence of European
literature during colonial and post-colonial periods, and
the growing interest in Asian, African, and Latin
American literatures in recent decades. Through
qualitative and quantitative methodologies, the paper
underscores the role of translation as a vehicle for
cultural exchange, intellectual enrichment, and the
construction of Arab literary identity in an
interconnected world.

Keywords:

“colorit”,

the work “Ar

-Rohikul-

Makhtum”,

“translations, “poems”, “translators”

.

Introduction:

Although the theory of translation as a

discipline was formed in our country later, it is no secret
that translation activities began much earlier. As for the
translation of literary works, work has been and is being
carried out in this direction to translate literary works
from many foreign languages into the Uzbek language
and, in turn, from Uzbek into other languages. However,
if we turn to Arab scholars on this issue, we will see that
the number of translations of literary works is limited.

The American Journal of Social Science and Education Innovations

72

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The American Journal of Social Science and Education Innovations

Of course, if we consider this issue within the
framework of the Uzbek and Arabic languages

However, many world-famous scholars who lived in
our country wrote in Arabic and left behind many
world-famous works, it is known that almost all of
these works are scientific works written with the aim
of contributing to the development of sciences and the
dissemination of knowledge. In particular, the works
written in Arabic cover such areas as jurisprudence,
faith, interpretation, grammar and sarf. After gaining
independence, in the process of restoring the national
heritage, it was discovered that we have such works
and they were introduced into scientific circulation.

However, little has been done so far regarding the
translation of Arabic literature. Of the 20th century
Arabic writers and poets, only some stories by the
Saudi writer Khiyam Hasun Ali al-Muflih have been
translated into Uzbek, as well as works by the writer of
this country Hakima al-Harbi, who wrote under the

pseudonym “Lamis Mansur”, such as “A Dream in the

W

hirlwind of Defeat” (1998), “A Question in the Hand

of Glory” (2002), “A Plant in the Field of Kahrat Ayaz”
(2002), “The Sadness of Refuge” (2004), “Beautiful
Dreams”, “Shadows over Barriers”, “Dawn of
Childhood” for children and “Prison of Life”, but only

a

few of their stories have been translated into our
language. He was born in Kuwait in 1945 in the family
of the famous poet Abdullah Abdullatif al-Usman, who
has been writing in the press since 1965, published
articles in the field of art, hosted a program on current
cultural issues on Kuwaiti television, and published a
collection of poems, Shivir, an example is Leyla Osman,

whose stories “The Woman in the Mirror”, “Eyes Meet
at Night”, “The Charm of Love”, “The Woman and the
Cat” and other works are

known in the Arab world.

However, only a few of these writer’s stories have been

translated into Uzbek. Or, as for Jurji Zaydan (1861-
1914; Lebanon/Egypt), who is familiar to most of us, he
(12/14/1861, Beirut - 8/21/1914, Cairo) was an Arab
writer, publicist, and scholar who studied at the
Medical College in Beirut (1881-82). Having moved to
Egypt in the 1880s and founded the journal Al-Hilal
(1892), Zaydan laid the foundation for the historical
novel in modern Arabic literature.

The author of 17 historical novels, which make up the

“Series of Stories from the History of Islam” (“The Girl
from Hassan”, 1895

-

96; “The Sister of Harun ar

-

Rashid”, 1906; “The Fergana Bride”, 1907

-08, etc.),

these novels describe historical events that took place
in the 7th-13th

centuries, the events in the novel “The

Fergana Bride” take place among the Arabs in Central
Asia. The novel “Oppression of the Mamluks” (1893) is
written on a historical theme, and the novel “The Coup
d'etat of the Ottoman Turks” (1911) takes place durin

g

the period of conquests (the end of the 7th century and
the beginning of the 8th century), and Zaydan is the

author of many scientific works: “History of Islamic
Culture” (1902

-

06); “History of the Arabic Language”

(1904); Information is provided that hi

s works “History

of Arabic Literature” (1911

-14) and other works have

been translated into many languages of the world,

including (“Fergana Bride”, 1971) into Uzbek.

It is surprising that, despite the fact that this writer is
famous and popular, only one of his works has been
translated into Uzbek

–

“The Fergana Bride”. This was

done in 1971. However, literary works in Arabic were
mainly translated by Russian Arabists. As an example of
translations of works by modern Arab writers into
Russian, we can cite a number of translations, including
the translation of a novel from the works of At-Tahir
Wattar, who lived and worked in Algeria.

It should also be noted that Russian translators
translated works of Arab writers for Russian-speaking
readers not only from Arabic, but also through other
languages, in particular French. For example, I. Volevich
translated one of the works of the Algerian writer
Rachid Bouedra from French into Russian under the title

“Cup holder” (novel). There are many examples of such

translations made by Russian translators.

Although we mentioned above only translations of
Algerian writers into Russian, they, that is, Russian
translators, managed to bring to the attention of
Russian readers the works of writers not only from
Algeria, but also from Lebanon, Egypt, Palestine, Iraq
and a number of other Arab countries.

As is known, translating a work by a writer who lived and
wrote in a certain country from one language to another
and transmitting it to the speakers of that language is
not just an introduction to the work or a consolation for
someone who is bored and does not know what to do,
but also an introduction to that nation, its customs,
unique national characteristics and history, past and
present. Since the Arab Republic of Egypt is the Arab
country that has the greatest scientific contacts with our
country, our Arab scholars are better acquainted with
the people and customs of this country, as well as its
unique characteristics, than with other Arab countries.
Of course, this is true if we consider the issue within the
framework of Arabic studies. However, such a situation
is difficult to observe among the general public.

Because only a small number of literary works from
Arabic have been translated into Uzbek. Most of the
works in Arabic known to our people are religious works,
which in itself indicates that many works of religious
content are translated and that classical Arabic
translators are much more advanced in the field of
translation than modern Arabic translators.

The American Journal of Social Science and Education Innovations

73

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The American Journal of Social Science and Education Innovations

As you know, “colorit” is associated with the

ideological content of the work and serves to more
clearly demonstrate the idea and artistic image that
the artist is trying to express. An artist who pays special
attention to color when expressing thoughts, ideas,
concepts, and emdiving an image is called a colorist.
The second meaning of this term refers to a set of
certain aspects of something. For example, a
characteristic feature of a work of art is the expression
of the characteristics of a nationality, era, or a certain
place. [8, 98-99]

Simply translating something written or spoken from
one language to another is not a problem for someone
who knows that language, but the extent to which the
emotions and spirit of that translation reach the
listener is a problem. It should also be noted that what
unites the Arab peoples with our people, what brings
them closer to our nation, is their religious worldview,
which to a certain extent facilitates the translation of
works from one language to another or from one
language to another, but this can only happen with
works that have a religious worldview. In addition, this
situation does not cover the possibility of making any
aspects of the identity of one nation fully
understandable to another nation.

Therefore, it can be said that among the works
translated from Arabic into Uzbek, the transmission of
information including religious traditions in works of
religious content turned out to be more vivid and at
the same time preserved the spirit. As an example, the
following sentence

s from the translation of “Ar

-

Rahikul-

Makhtum” can be cited:

لك يطعن مث انيف اطيسو ابيسن اديلج اباش يتف ةليبق لك نم ذخان نا يرا
دحاو لجر ةبرض اهب هوبرضيف هيلا اودمعي مث امراص افيس مهنم يتف

ف اعيمج لئابقلا يف همد قرفت كلذ اولعف اذا مهناف هنم هيرتسنف هولتقيف

مل
هانلقعف لقعلاب انم اوضرف اعيمج مهموق برح يلع فانم دبع ونب ردقي

مهل

[10, 152]

We will take from each tribe a strong, well-bred,
middle-aged youth and give each of them a sharp
sword. They will all strike him with their swords at once
and kill him. In this way we will be rid of this. If this is
done, his blood will spread among all the tribes, and
Banu Abdumanof will not be able to wage war against
them all, and he will agree to receive compensation,
and we will pay it. [5, 120]

Indeed, ensuring unity of form and content cannot in
itself guarantee the historical spirit of a nation or its
unique aspects from the point of view of
communication.

CONCLUSION

In conclusion, it can be said that there are few
translations of Arabic literary works into Uzbek. Most
of the works translated from Arabic into Uzbek are

religious works covering such scientific fields as
biography, jurisprudence, aqida, hadith and tafsir. Many
works of art have been translated from Arabic into
Russian by Russian translators, and not all of these
works have been translated directly from Arabic, but
many have been translated from French. As for the issue
of nationality in translations, the commonality of beliefs
and religions between the Arabs and our people, and
therefore the closeness of many national customs
between the two peoples, have greatly helped Uzbek
translators in translating classical works.

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