Дата регистрации 10 Май 2023
5700 ПродажThe impact of translation on stylistic choices in literature
![Tools of stylistic choices:
“Diction: The specific words and phrases chosen by an author to convey
meaning, tone, and point of view.
Imagery: The use of vivid and descriptive language to create mental images
and sensory experiences for the reader.
Syntax: The arrangement of words and sentences, including sentence length,
structure, and punctuation, to create rhythm and convey specific meanings.
Figurative Language: The use of metaphors, similes, and other literary
devices to add depth and complexity to the writing.
Purpose of stylistic choices . Authors employ stylistic choices to achieve
various objectives, such as:
- Conveying emotions and moods
- Establishing symbolic meanings
- Evoking sensory experiences
- Developing characters and settings
Engaging the reader's imagination and emotions” [10; p. 43-61 ]
The usage of stylistic choices is also influenced by cultural and historical
contexts. Different literary movements, periods, and cultural experiences
contribute to the evolution and diversity of stylistic approaches in literature.
Additionally, regional dialects, idiomatic expressions, and linguistic traditions
impact the stylistic elements within a piece of writing. Stylistic choices in literature
are a dynamic and integral aspect of storytelling, enabling authors to craft rich,
multilayered narratives that resonate with readers across diverse cultural and
historical contexts. Understanding the background and usage of stylistic choices
16](https://docx.uz/documents/ab1fdc17-cb59-4646-a192-c57f0ad40ee8/page_16.png?v=3)
![worth translating, including its language and idiom, its special connotations, its use
of register and stylistic device, and the particular ways it achieves its effects on its
readers. Yet the target text also needs to function as literature, and to that extent the
translation is instrumental. One could argue, in fact, that the instrumentality of
translated literature resides not just in its being literature, but in belonging to the
special category of translated literature and that its instrumentality is thus achieved
at least in part through its documentary nature, because only thus is its relationship
with the original text preserved. All this presupposes that we know what literary
texts are, and it is beyond the scope of this chapter to embark upon a detailed
discussion of the issues involved.” [3; p. 69-77]
However, it is important to note that literary translation can sometimes be an
extremely difficult undertaking because of the specific social, historical and
cultural circumstances of different nations and languages. Therefore, one of
literary translation’s most important and arduous tasks is to take into account all
these elements and use appropriate resources to remedy the absence of any words
and expressions during translation. Historically speaking, literary translations that
succeed and endure are those that are published and read, regardless of how
transparent their ideological or political ends may be, or how many linguistic
“betrayals” translators might have committed.
Importance and functions of literary translation. It is well knowledge that
translating communications that are not straightforward declarative statements of
truth leads to increased complexity and difficulty in the translation process. One
may believe that a writer who has studied both languages is best suited for
translating books, songs, poetry, or other creative works. To effectively translate a
work of foreign literature and culture, a translator must first gain a profound
awareness of the culture surrounding the source material. Merely possessing a
solid knowledge of the source and target languages is insufficient. After that, he
returns to his home country and its own cultural environment while also returning
12](https://docx.uz/documents/ab1fdc17-cb59-4646-a192-c57f0ad40ee8/page_12.png?v=3)
![languages. A good translation is one that brings the author’s message back to the
reader in such a way that it seems as if the latter is rewriting it the moment he is
reading it. In other words, a translation is really good only once the reader has no
idea that there is a translated text in front of him. [7; p. 209]
Furthermore, modernism envisioned a different approach to translation—one
that went beyond seeing it as merely a verbal transfer. As a result, modernists
challenged the veracity of translation techniques and strategies by obfuscating the
distinctions between source and target texts. They added their own unique touch to
translations of literary works since they saw literary translation as a creative
endeavor as well. Furthermore, modernists took advantage of translations to
convey the movement's artistic goals. Modernist poets' translation technique
reflects one of their interests, which is communication with the past. At times, this
dialogue appears as a blend of Victorian and Elizabethan policy mixed with a
modernist historical perspective.
The translator is the best interpreter of foreign literature, and a crucial
interpreter of the greatest literary foreign authorities, who with his/her special
skills, craft and expertise enables his/her country to communicate with the greatest
values of World literature. Thanks to translators, thousands and thousands of
literary works have visited and are visiting foreign countries, especially when the
translations are done competently and artistically and when there are affinities
between the author of the original and the author of the translation. In such cases,
these translators are able to successfully avoid all kinds of obstacles, make the
translated work a triumph, and enlarge the common treasures of culture. Only
thanks to successfully translated and reproduced works can the works of the great
writers become really known worldwide. The translated literary work becomes
oftentimes a phenomenon of national literature and hence it plays a cultural role as
an original work.
18](https://docx.uz/documents/ab1fdc17-cb59-4646-a192-c57f0ad40ee8/page_18.png?v=3)
![“Earlier, faithfulness to the original text was considered to be one of the
greatest responsibilities of the translators. The inherent tone of the text in respect
of the nature of its terminology. Figurative (metaphorical) terms therein. But now-
a-days, the translator takes liberty with the original text to allow some
accommodation or adaptation in order to keep pace with the sense or spirit of the
original. Accommodate to maintain the essence, impact, and effect of the text in
the source language. This is particularly true of poetry where the text is highly
emotive and artistic in nature. A translator may come across a rooted and thus
untranslatable. Such words are difficult to be translated if the cultural context is
missing. But the fact is that individual words may not be translatable, but language
is. In such a case, the original in the target language-script with a brief footnote
indicating the meaning and context. However, there cannot be any compromise in
the sense; it can be admissible only in terms of classicality or colloquiality of the
terms.” [6; p. 82-86]
Over the years, translation has been defined in different ways. Translation
can be considered “both a process and a product”. In support to this method of
translation Bell suggests that a division be made between translation as process,
translation as product, and translation in general, that is, what comes about as a
result of the union of the two. According to him, “translation includes several types
of texts ranging from literary to technical”. On the other hand, according to
Halliday “translation is a process which makes it possible to establish a connection
between two languages and the readers of these two languages”. Translation the
emphasis is always placed on the reader and that the translator must bring the
original text into the language of the translation in such a way that it is as similar
as possible to the original. As a result, the idea that the translator is recommended
to keep in mind that he / she cannot be the “author” of the text in the language of
translation is emphasized.
9](https://docx.uz/documents/ab1fdc17-cb59-4646-a192-c57f0ad40ee8/page_9.png?v=3)
![“However, the art of translation is not more recent than the art of original
creativity, and the role of translation mastery has been known since antiquity.
Now, as the fields of culture are expanding, translation is taking on an increasingly
important role. The translated works and masterpieces, despite the occasional
reactions, remarks and criticisms, are expanding the cultural horizon of the people,
giving them the opportunity to enrich their artistic taste as well. In general, there
are three translation theories: philological, linguistic and socio-linguistic theories.
Philological theories deal with literary translations and with the problem of
equivalence of literary genres between the source language and target language.
They focus on questions whether poetry should be translated as poetry or prose or
whether an epic in the source language should be rendered as such in the target
language. Namely, literary translation enriches national literatures on the one hand
and it also enhances and advances the development of different literary kinds and
genres of national literatures. Many national literatures begin with translations. The
importance of literary translation is compared to the motors of change of history of
literature. Therefore, the article focuses on the role, function and on some of the
most important aspects of literary translation.” [11; p. 54-61]
1.2 Background information about how different theories impact
stylistic choices in translated literature
In its most basic and obvious form, translation is just the translator's attempt
to communicate across linguistic (or genre) boundaries whatever it is that the
translator believes is crucial to the text's meaning, purpose, and method of effect.
The style of a document plays a crucial role in expressing attitude and implicit
meanings, fulfilling specific roles, and influencing its readers, beyond its strictly
referential meaning or substance. When these two concepts are combined, they
imply that translation always contains style translation because it deals with both
the content and the manner in which something is said.
10](https://docx.uz/documents/ab1fdc17-cb59-4646-a192-c57f0ad40ee8/page_10.png?v=3)
![In actuality, the value of translated literature is still unknown. Reading
literary classics, especially those with poor translations, as a habit could help
readers get ready for the acceptance of international literary works. When national
literature is being created, the function of translated literature is increasingly
significant. Every translation of national literature into another language might lead
to public misunderstandings, for example by criticizing well ingrained traditions,
and readers may find it difficult to accept novel, unfamiliar ideas that diverge from
well-known, national ones.
“The importance of literary translation relies not only on the fact that a
foreign writer becomes popular because of his/her access to many readers, but
because a translated literary work meaningfully enters into a new literary milieu
and thereby exerts a fruitful, productive, and creative influence. Without
translation, Shakespeare would still remain on an island and none of us would even
remember that in our childhood we have read ‘Gulliver’s Travels”, “Robinson
Crusoe”, “Alice in Wonderland”, “The Last of Mohicans”, “David Copperfield,
etc, translated into national our languages. Without the efforts and contribution of
literary translators, Ancient and Classical literature would not have become part of
modern literary traditions. Even the Bible would not have had such a huge
influence in the vocabulary and stylistic structure of modern languages.” [20; p.
291-301]
2.2 Comparison of stylistic choices in different literary genres and the
impact of translation
Understanding how different theories impact stylistic choices in translated
literature sheds light on the varied approaches and considerations that shape the
translation process. Let's delve into the background of translation theories and their
influence on the preservation and adaptation of stylistic elements in literary works.
Modifications to the fictional world, like the one in the aforementioned example,
are typically limited to extremely specific situations and have no bearing on the
19](https://docx.uz/documents/ab1fdc17-cb59-4646-a192-c57f0ad40ee8/page_19.png?v=3)
![catered to the general masses. Scholars used to use palm leaves and sharp cutting
instruments to scribe the text with much toil.
Literary translation is generally regarded as an integral part in comparative
literature. Every boom of literary translation in history would promote the further
development of comparative literature, thus, literary translation has undoubtedly
played a significant role in world literature; however, readers and writers may well
neglect the status of literary translation, thinking that it is only a means to make
known some foreign literature. Actually, in comparative literature, literary
translation can even constitute an independent section, and combine itself into the
literature of the target language.
“Although literary translation is primarily focused on translation, it is
typically acknowledged as a form of literature. It's a literary kind of reconstruction.
Literary translations need to go through two phases. The translator must first
accurately, completely, and profoundly comprehend the content written in the
original language, including any linguistic, social, political, historical, and regional
conventions and practices. The translator decides what the original work's main
idea is. By using his proficiency in the target language, the translator must build a
new literary work based on the original; additionally, he must faithfully translate
the original literary images into the target work so that readers of the target
language will understand and appreciate it.” [5; p. 23-25]
As stated above, literary translation involves two aspects. For the first
aspect, called the shallow one, the translator transfers the original work to the
target-language reader, which is just the creation for language form; for the second
aspect, called the deep one, the translator creates the artistic or literary contents for
the target-language reader. For literary translation the most important part is the
literary equivalence of the source and target languages. Therefore, literary
translation is also a kind of literary creation. In literary creation, the writer works
out a special artistic image with his profound understanding of life and literature,
6](https://docx.uz/documents/ab1fdc17-cb59-4646-a192-c57f0ad40ee8/page_6.png?v=3)
![the semantics of a text and involves a first stage, the study of how a text means
what it does, and can involve a second stage, the study of why the text is shaped in
its particular way given certain extralinguistic factors that restrict the writer’s
freedom of choice, literary texts are read differently from non-literary texts
because the emphasis is not only on the content but also on the form of expression.
She distinguishes between a primary meaning, determined by lexis or syntax, and a
second-order meaning, or “weakly implied meaning,” where choice can be
exercised by the author/translator. Weakly implied meanings place the burden of
meaning-making on the reader or translator. The use of “translator’s meaning” for
the extended meaning which goes beyond what can be assigned to the text or
passage on the basis of semantics. Translating primary meanings requires
background cultural and linguistic knowledge, while weakly implied meanings
require a particular stylistic sensitivity.” [16; p. 65-68]
“Dualist approach has the advantage of allowing us to easily define the
object of analysis by leaving sense aside and focusing on stylistic variants with
different stylistic values. However, this approach implies that it is possible to write
in a neutral style. How can we judge what is the “default choice”? Is it possible to
have “no style”? Even if some linguistic choices could be described as “unmarked”
and “neutral,” the choice of such a form instead of others is still a linguistic choice,
and as such can be fruitfully examined in stylistics This, however, assumes a very
naive understanding of translation as equivalence. The monist perspective, in any
case, also assumes a rather rigid understanding of meaning, which has been
replaced in most stylistic work by the more nuanced understanding of meaning
espoused by pluralistic views of style, whereby various strands of meaning are
distinguished according to the functions performed by language (e.g., ideational,
interpersonal, and textual.” [19; p. 84-87 ]
22](https://docx.uz/documents/ab1fdc17-cb59-4646-a192-c57f0ad40ee8/page_22.png?v=3)
![comes to copying, the translator relinquishes as much of his original inventiveness
while simultaneously freeing himself from an entirely accurate translation. Even
though researchers and academics have often condemned imitations, they might
nonetheless be pertinent and improve the caliber of translation.
“The process of imitating a different author, literary work, or even a bygone
era for artistic effect is known as stylization. To ensure that the translated version
is appreciated in a manner similar to the original, the translator should make every
effort to artistically emulate the original style, even when translating in a stylistic
manner. Finding equivalents for words, expressions, phrases, idioms, connotations,
associations, and contextual meanings will help you attain stylistic fidelity. Since
the primary goal of literary translation is the faithful reproduction of meaning,
style, image, and other elements of the original, which cannot be accomplished
without the use of artistic techniques, creative literary translation is therefore
required.” [14; p. 66-74]
Due to the fact that a translator dealing with translation from one language to
another must overcome linguistic obstacles found in the source material. It is
evident in these circumstances that the translator must try to accurately translate a
literary work's language into another language. Consequently, in order to maintain
the original, he or she must come up with fresh ideas and phrases that capture the
essence and brilliance of their mother tongue but are occasionally unheard of in
other languages. By literary translations, the translator, with his proficiency in the
language, contributes to the advancement of national literature and language.
Moreover, it is well known that the original and the translation, each entail two
different, equal cultural values, which the translator has to take into consideration.
Namely, the translator must consider not only the original, but also literary and
cultural pertinence of the translation in the new milieu. Therefore, we can say that
the translator in many cases has to reproduce a literary work in such a way that is
acceptable to the different milieu and literary and cultural context.
14](https://docx.uz/documents/ab1fdc17-cb59-4646-a192-c57f0ad40ee8/page_14.png?v=3)
![translation no matter what we have read or heard. Readers, actors, editors are all
the translators of the written or spoken words; therefore, Steiner put forward the
notion that “understanding is also translation”. Although the theories about literary
translation are not sound, its significance in comparative literature can never be
overlooked.” [9; p. 43-47]
Translation has been the most significant factor in the growth of comparative
literature. Mutual literary understanding and communication are impossible
without translation, and comparative literature research is impossible without the
diligent efforts of translators. When translating literary works, the translator takes
on the role of the author. His artistic creations have a significant impact on target-
language literature.
Literary Translation’s Role in Literature Communication and Interaction.
World literature may engage and communicate with one another thanks to literary
translation. Literary translations from German, English, Italian, Russian, and Latin
are considered as essential components of French literature in a 1970s book on
modern French history. Similar to a description of a French work, this book goes
into great depth about the publication, investigation, and acceptance of the
translated works. It demonstrates how highly valued literary translation is in the
field of comparative literature. This practice is not limited to France; literary
translation is highly esteemed in Russia, Germany, and Britain as well. For
example, in Britain two books on literary history, Cambridge Concise British
Literary History and Outline of Literary History, have been published recently. In
the former book, 182 translators and 234 translated works are mentioned; in the
latter, 65 translators and 105 translated works. By these two books, the role of
literary translation in comparative literature can be exhibited. The famous
American poet Ezra Pound once said, “Literature can regain its life in translation;
every new trend and revival in literature began and will begin from translation. The
grand era of poetry is in fact the grand era of translation.”
8](https://docx.uz/documents/ab1fdc17-cb59-4646-a192-c57f0ad40ee8/page_8.png?v=3)
![provides a foundational framework for appreciating the intricacies and impact of
these elements in literary works. By recognizing and analyzing these choices,
readers can gain deeper insights into the creative process and the rich tapestry of
meanings woven into literary texts.
“It goes without saying that the problem of translation, in general and of
literary translation, in particular exists and it will have to be continually addressed
in the future. Of course, this is very simple when it comes to translation of
scientific, professional and technical works. However, the problems become
thornier when dealing with translation of literary works with artistic values, such
prose and verse. This is due to the fact that there are cases when the translation of a
particular literary work is so difficult that translators have no choice but to consult
dictionaries, sources, encyclopedias, annotations, research books and articles,
essays, etc. about the literary work or even live nearby the authors (if they are
alive), accompanying and communicating with them, in order to enter into their
world, ideas, thoughts, aims and thereby become familiar with their writing, artistic
style, techniques and perspective in order to translate their works in an effective,
accurate and creative way.” [17; p. 51-59 ]
When it comes to translation of different literary works, the translator also
interprets ideas in the source text in creating another equivalent text in target
(translated) language. However, interpretation of ideas in the text cannot be done
unless the literary translator is professionally fit and properly trained. Interpretation
in literary translation therefore entails a major dilemma: on the one hand,
translation of literary works is equal to almost creating a new text for which a
translator is required to make free interpretations and choices; on the other hand,
the translator has to stick to the original, which limits translator’s freedom. A
successful combination and compromise between these two elements can be
achieved only by translators who are talented, well-read, experienced and
knowledgeable and have a profound knowledge of the source and target literary
17](https://docx.uz/documents/ab1fdc17-cb59-4646-a192-c57f0ad40ee8/page_17.png?v=3)
The impact of translation on stylistic choices in literature