The place of «An American tragedy» in Theodore Dreiser works

1.2 The place of «An American tragedy» in Theodore Dreiser works

Dreiser’s methods of characterization are consistent with these attitudes and social revelations. Just as he does not conceive the individual as individual, so his characterizations are not mere representations at atomized men and women straggling in the American society of their time. They appear in their social roles, and their natures as well as their actions are involved in the functions which they perform in society. Carrie’s first lover, Drout, is one of the most successful and attractive of Dreiser’s minor characters. He is jolly, genial, superficial, yet he is strikingly different from the salesmen of, for example, Sinclair Lewis. Drogue does not subordinate himself to the «fetish of commodities»; a successful salesman, he is concerned with a life of pleasure, he feels secure in his world. He appears in a social role which is an integral feature of his «individuality», similarly. Hurst wood has the charm, the savoir-faire, the sophistication of the professional major-domo in a high-class saloon, concerned with meeting important personages, when he loses this position, he lasses also the personality that goes with it. His character is social rather than individual, and his defeat is that of a man who has lost his function and place in society. The tragedy in Dreiser’s novels is social tragedy. His characters do not merely represent themselves; they speak for their classes and their occupations. «An American Tragedy» would remain a tragic work even if Clyde and Roberta had not died; but it is tragic in a new sense. In Dreiser, the old terms of art are reset by the social thinking of his day. He wrote what he knew what he was. His many colloquialisms were part of the coinage of his time, and his sentimental and romantic passages were written in the language of the educational system and the popular of his formative years. In his style, as in his material, he was a child of his time, of his class. Self-educated, a type or model of the artist of plebeian origin in America, his language, like his subject matter, is not marked by internal inconsistencies. As a style, in the formal sense, it never developed at all, and he frequently permitted his novels to be revised by others before publication.

There are many passages in these novels that rise to high levels of passionate writing. In Dreiser the subject matter is always more important that the expression. Because he reveals the very nerves of American society he has exerted a more profound, a more lasting influence than any other novelist on twentieth century realistic fiction in America. Several generations of writers are already his debtors. His influence is discoverable in a seriousness of approach to the material of American life, in a greater freedom of theme, in the parallelism of ideas and phenomena. Dreiser desorbed the broad patterns of modern American experience; his successors have been more intensive in their treatment. Because he was faithful to his art and made no compromises with the censors and the pudes, his work gives a sense of totality and finality.

1.3 The Aims and task of the papers

American literature is very rich and unlimited. We know it well. Its role in world literature is huge. One of its great representatives is Theodore Dreiser (1871–1945). He is known in Uzbekistan mainly as the author of «Sister Carrie» and «An American Tragedy». Both these nice novels are translated into Uzbek language. The fifth novels was translated from Russian into Uzbek in 1971 by Erkin Nosirov. The first part of «An American Tragedy» was also translated into Uzbek by Erkin Nosirov but it was done in 1976. But these books are not studied in Uzbek literature. While to study these books and their Russian and Uzbek translations have valuable significance not only for Uzbek but for American literature as well. The interrelations between the culture as well as the literature of the Republic of Uzbekistan and America is developing day by day. There are still a lot of things to do in these branches. One of these problems is to study the peculiarities of Theodore Dreiser’s literary activity on the one hand and his works on the other. Fictional translation plays a great role in the development of Uzbek literature as well. Fictional translation has a great importance in the churchmen of our national literature, our social views. We must learn Theodore Dreiser’s depiction methods and it will feel our world views.

In our final graduation paper aims at studying Theodore Dreiser’s creative mastery skill. For this purpose we analyzed Russian Translation of «An American Tragedy» as the Uzbek translator chose for his brave the Russian translation. We must study the translation comparing English-Russian-Uzbek versions.

For fictional translation every author, every text should be carefully selected. When translated any work becomes the spiritual heritage of the people into whose tongue it is transferred as a Russian text we have the translation made by Vershinina and N. Gall. (Some Notes on Theodore Dreiser’s literary activity)

Теодор Драйзер «Американская Трагедия» Часть первая (книга первая и книга вторая) Часть вторая. Оба они печатались по изданию «Художественная литература» Москва, 1978 год, в издательстве «Узбекистан» 1984 года.

Once Sherwood Anderson wrote that Theodore Dreiser’s feet were paving a path, those feet were heavy, cruel feet. They are walking among the steppe of lies and self ling heavy steps paving the path. We must mention that Sherwood Anderson was Theodore Dreier’s follower Theodore Dreiser widened the horizons of American realistic literature, while bourgeois America was always setting bars and hard slaps before him.

Theodore Dreiser left broad and picturesque trays. His literature, his works are quite different from those of other writers. He is brave, he never shattered shivered. He worked hard, he tailed, he hoped, he believed. We try to see such Courageous.

Dreiser not in the original, not in Russian, but also in Uzbek too.

On writing our final graduation papers we have the following aims and tasks:

1.  To speak about American literature in Connection with Theodore Dreiser’s literary activity.

2.  To enlighten specific features of Theodore Dreiser in connection with the creation of «An American Tragedy».

3.  To talk about «An American Tragedy» not only in Theodore Dreiser or in American but both in the world and Uzbek literatures.

4.  To study the characters of Clyde Griffith and its reproduction in Uzbek. To see Clyde’s attitudes to Hortense, Roberta and Sondra.

Each of the character takes separately and in connection with the main hero. To study ways and principles of reproductively of every image.