Lecture 3: Food and Culture in Translation Plan

The themes "Food" and "Eating process" in world literature ²
Food is an integral part of the culture of a man and the society in which he lives. The distinctive features of the national cuisine are the ancient roots of the culture of a nation. When one eats or drinks something foreign, one inevitably comes into contact with the culture of a particular nation.
In intercultural communication, food is a means of understanding others. According to the Russian scientist A.I. Kozlov, in society, food has a symbolic meaning between such concepts as "natural" and "cultural", "human" and "divine", "self" and "other". Sometimes giving up an "acceptable" food can be seen as inhumane. In general, the kitchen and the food are a means of distinguishing "mine" from "other's", of defining the boundary between "they" and "we".
The concept of "food" is reflected in various aspects of human life - language, customs, traditions and culture. Literature is a means of presenting this integral part of culture.
In XVIII-XIX centuries, European literature began to cover gastronomy themes in full. However, in the ancient manuscripts of the XI-XII centuries began to appear artistic images of food and drink. The Greek writer Xenophon's book Oeconomicus (Οἰκονομικός) on housekeeping and family economics includes the instructions how to behave at the table, what to eat on praying days. Nutrition is a special field of study in European literature. According to European literary critics, the food and eating process has a special place in fiction, as food is one of the important factors that can provide accurate information about the culture, history and social processes of the people.
Food studies has been formed based on the social sciences (anthropology, sociology, history, cultural studies), and the arts. The subject studies literature, gastronomy and culinary history and covers food-related processes: from product release to analysis of the role of the eating process in social life, eating habits and rituals, and food companions (for social stratification analysis). The study of this process serves to show the role of man in society and the uniqueness of national culture.
In recent years, major research has been conducted in European literature studies on the role of food in fiction. These studies have led to the formation of various scientific directions. In particular, such scientific topics and research as “food in literature”, “folklore and food”, “food in modern poetry”, “food in women's literature”, “food in children's literature”, “literary description of eating in literature”, “the combination of food and physical desire”³ show how deeply the topic of nutrition and food has penetrated European literature. American literary critics Kara Killing and Scott Pollard note that if food is the basis of substance, culture, and civilization at the centre of literature, it is also a source of fundamental research for literature. Since food is an integral part of every culture, food and nutrition are one of the main means of understanding literature and art.⁴ Indeed, as mankind has progressed, finding food has long been a challenge. If we consider each classic work as a history of one or more fates, it is not difficult to imagine how many events related to the process of food and nutrition are included in the historical period being narrated. When the images of food and eating process in fiction are subjected to conceptual analysis, a vivid picture of the culture, lifestyle, traditions, worldview, and spirituality of a particular nation can be formed. There are also complex aspects to understanding the concept of “food” that appear in fiction. According to American scientists David and K. Jonathan, food and traditions related with it create different associations in the minds of different writers. Food is felt not only by taste and smell, but also by other aspects. Perceptions of food can be seen in the literature as a source of associations that are deeply rooted in the memory of a nation. Ethnic associations in the mind of the writer, smell of food and its characteristics can be formed just by using the name of the food. But a literary critic or translator needs background knowledge to understand pragmatic expressiveness - taste, flavor, and related associations in a discourse of foreign people. Background knowledge is a set of conceptual knowledge about the culture, history, and customs of a people. Let us take the following sentence as an example:
“Oshqovoq somsa! Oshqovoq somsa! Kambag‘allik qursin ilohim!” (Cho‘lpon, “Kecha va Kunduz”).
To understand the pragmatic impact of the text, it is first necessary to have extralinguistic knowledge that the Uzbek people love eating meat, which is inherent in their nature, and that having meat at home is a sign of fullness and self-sufficiency. It is also necessary to explain that when there is no meat in the house, samsa is made with potatoes or pumpkin, and pumpkin samsa is a pastry of the poor in Uzbek culture. Because for Europeans who like dishes and pastries with vegetable even when they can afford other expensive products, ‘pumpkin samsa’ may not mean ‘food’ of the poor, but dessert, consumed by members of the higher social strata. For example, the main character Harry of “Harry Potter and the Philosopher's Stone” gets on an express train on his way to Hogwarts. He buys a delicious pumpkin samsa which is a traditional dish of magicians. The little pumpkin samsas are of moderate bitterness with spices. He gives pumpkin samsas to his new friend Ron he met on the train. Ron's family cannot afford sweets as they are poor.⁵ The word “samsa” in Uzbek-English dictionaries is translated as pie – (1. a dough of flour, water, shortening and sometimes other ingridients; 2. baked foods, such as tarts, made with this dought; 3. an individual cake or pastry pie). But in English, pumpkin pie means qovoqli pirog. This cannot be an alternative to pumpkin samsa in terms of preparation, appearance and taste. The English word pasty is derived from Middle French and is equivalent to the English word pie. This dish with meat, vegetables or cheese in it, folded into pieces and baked in the oven without molding, reminds of Uzbek samsa. Inspired by this book, English chefs created a recipe for “Harry Potter samsa” or “Hogwarts express samsa”. As the book gained worldwide fame, “Harry’s Pumpkin Samsa” became the most popular dish in the UK.
In Russian literature, there are gluttonyms (names of food) that are unknown to foreigners. At times, they may not even be understood by Russians themselves. Because the ancient traditions of Russian cuisine has been changing constantly. The protagonist of Gogol's "Dead Souls" Korobochka makes "skorodumki", "pirozhki", "shanejki", "pryagli", "blini", "lepeshki so vsyakimi pripekami": "pripekoy s luchkom", "pripekoy s makom", " pripekoy s tvorogom”, “pripekoy so snyatochkami”. Only those familiar with ancient Russian cuisine can feel that by counting the names of Russian national dishes made from flour products, Gogol reveals the portrait of Korobochka, a woman who enjoys cooking a variety of dishes. Because these dishes became one of the most popular pastries in the 19th century, but many of them are made of other products instead of flour in modern Russian cuisine today due to time constraints. That's why even today's Russian people may have difficulty to understand them. For Russians, maslenitsa, Easter cakes and painted eggs, kutya for funerals, bread and salt for ceremonies which have become a symbol of religious rites are the result of centuries-old religious and historical values of the Russian people that require the translator to do more research when translating them.
The theme of food and nutrition has a special place in the English teen fiction. This is reflected in Roald Dahl's "Charlie and the Chocolate Factory", where chocolate and sweets play a major role. The book depicts sweets as mouth-watering, not a word about sweets is overlooked as grandpa Joe Bucket describes Charlie the chocolate factory:
“Mister Villi Vonka binafsha ta’mli zefirlar, so‘rganingda har o‘n soniyada rangi o‘zgaradigan serta’m karamellar, og‘zingda erib ketadigan pardek yengil shirinliklar, hech qachon ta’mini yo‘qotmaydigan saqichlar, igna bilan teshsanggina yoriladigan, ulkan hajmgacha puflab shishirsa bo‘ladigan shirin pufaklar, sirli uslubda havorang qushlarning ustida olachipor dog‘lari bor tuxumlarini tayyorlar edi. Agar bittasini og‘zingga solsang, u borgan sayin kichrayib ketar va tilingning tepasida turgan jajjigina shakarli qushchaga aylanib qolardi” (Translation by G.O). Sweets that tickle the appetite of a young reader in a fantasy-rich artistic image are the author's artistic findings. Later, confectioners took advantage of the children's love for the book, and the sweets described in it became popular in the British market. There is a tradition in European teen literature to describe food as delicious. Such works, which appeal to sugar craving children, have become popular among young English readers and have been made into films. In English folklore and fairy tales, however, magic powers create endless sources of food, for example, a table full of food, a pot of magic porridge, etc. Gluttonyms with magical powers found in fairy tales are also found in Uzbek folk tales ("Ochil dasturxon", "Oltin tarvuz", "Tilla behi", etc.).
According to psychoanalytic theories, eating habits play an important role in shaping a person's self-esteem and in determining his or her family or social status in society. Although food and the images associated with it have always been part of the literature, psychological theories have led to the study of food and eating as an object of all social spheres. Joanne Harris's "Chocolate" is a world-famous book in 21st century European literature. Canadian science-fiction writer praised the novel, saying “This novel by John Harris is an absolute delight! "Chocolate" tastes like hot chocolate, but it tastes European, not Latin American." The protagonist, a single mother, Vianne Rocher, moves the small French village of Lansquenet-sous-Tannes. Her dream is to open a a chocolaterie in town. As Lent approaches, the village priest Francis Reynaud strongly opposes the opening of a chocolate shop where people can enjoy the worldly pleasures. Opinions of the villagers on the issue are divided. With an innate talent for confectionery, Vianne brings joy, pleasure and happiness to the townspeople. Here, Harris brings something new into English literature. She reveals a woman’s creativity in the kitchen through the sweets she prepares and portrays her as a beautiful creator. According to the author, almost all the characters in the book are prototypes, and here she describes the feeling of enjoying the food she saw in her relatives and friends, and thus enjoying life. In particular, Vianne's daughter Anouk is a prototype of the writer's daughter, while Vianne's mother Armande's views on life are reflected in the character of the author's great-grandmother. In much of “Chocolate”, Joanne Harris describes her personal approach to life symbolically through the process of cooking and eating. Take, for example, Armande, suffering a diabetic, prepares for her birthday. She fills her mouth with every sweet bite, even though she realizes that she is risking her life. She says, “This is my last bite,” and expresses a look of joy on her face that appears only when she talks about a delicious meal. “Let's now look at the menu,” she says, rubbing her hands eagerly. Although she is the one who is not allowed to eat sweets, the character’s enjoyment of food brings her happiness and satisfaction. Even for those who are coming to the end of their lives, food brings pleasure and enjoyment. Let's take a look at the scene when the character enjoys a lavish banquet in the last minutes of her life: “The Chablis runs smooth throughout. Then the vol-au-vents, light as a puff of summer air, then elderflower sorbet followed by plateau de fruits de mer with grilled langoustines, grey shrimps, prawns, oysters, berniques, spider-crabs and the bigger tourteaux which can nip off a man's fingers as easily as I could nip a stem of rosemary, winkles, palourdes and atop it all a giant black lobster, regal on its bed of seaweed. The huge platter gleams with reds and pinks and sea-greens and pearly whites and purples, a mermaid's cache of delicacies which gives off a nostalgic salt smell, like childhood days at the seaside. We distribute crackers for the crab claws, tiny forks for the shellfish, dishes of lemon wedges and mayonnaise.”
As you read, the image of food not only evokes a sense of aesthetic pleasure, but also tickles your appetite. The artistically depicted gluttonyms evoke a desire to get acquainted with Western cuisine, which is an integral part of European culture. In the novel, life is shown through the depiction of the pleasures of life, all the sweets that one can taste, and the process of eating that gives one pleasure.
The peculiarity of the tradition of artistic depiction of food in Western literature in general is that in European literature, the texts with the image of food are artistically created not only for those interested in food, but also for lovers of any literary genre. An example of this is Arthur Conan Doyle's Sherlock Holmes detective stories. The book depicts Holmes eating, and the meals he eats are known in the UK as "detective cuisine." The dishes prepared by Sherlock Holmes, who amazed fans not only with his ingenuity, but also with his unusual cuisine, were later published in 1997 as a separate book “The Sherlock Holmes Victorian Cookbook: Favorite recipes of the Great Detective and Dr.Watson”. The recipes in this book are based on modern culinary standards, with illustrations and excerpts from the stories added to each recipe. The advent of such books shows that English literature and cuisine are closely intertwined as a whole cultural treasure. Indeed, the term "narrative kitchen" is common in both English literature and cooking. The term refers to dishes that are artistically depicted in popular works and are especially loved by readers. The rankings of classic dishes included in the literary kitchen menu are scientifically studied by chefs and literary critics.
The author of a memorable memoir about the fact that the subject of food in Europe has penetrated into every aspect of social life (“Eat Pray Love: One Woman's Search for Everything Across Italy, India and Indonesia”) Elizabeth Gilbert says:
“What a large number of factors constitute a single human being! How very many layers we operate on, and how very many influences we receive from our minds, our bodies, our histories, our families, our cities, our souls and our lunches.”⁶
The work embodies the author's inner experiences, philosophical views on life and society. The fact that the author counts “lunch” in the same paradigmatic line along with higher concepts such as mind, body, history, family, soul, means that the concept of “food” has a high place in the mind of the Westerners. The centuries-old notion in the East that “you must eat to live, not live to eat” is ingrained in our blood and prevents people from wastefulness and materialism. This is probably why in our literature there is not so much emphasis on the highly artistic depiction of food and eating. But in European literature, it is developing as a separate direction (“food in literature”) artistically day by day. For example, Elizabeth Hilbert's memoir has been a bestseller in the New York Times for 187 weeks.
The book depicts the inner experiences of a woman seeking happiness. The 31-year-old writer Elizabeth (the protagonist of the novel), one day realizes that she is living a wrong life, that she has not felt what happiness is for a long time, and gives up her marriage that wasn't based on love and travels to Italy. While living in Italy, she wants to find herself. She goes there in search of her own peace and inner self which she finds in the small pleasures that come with cooking and eating meals there: When I realized that the only question at hand was, “How do I define pleasure?” and that I was truly in a country where people would permit me to explore that question freely, everything changed. Everything became . . . delicious… I found that all I really wanted was to eat beautiful food and to speak as much beautiful Italian as possible. That was it. I passed a few hours once in the middle of October that might look like nothing much to the outside observer, but which I will always count amongst the happiest of my life… Finally, when I had fully absorbed the prettiness of my meal, I went and sat in a patch of sunbeam on my clean wooden floor and ate every bite of it, with my fingers, while reading my daily newspaper article in Italian. Happiness inhabited my every molecule…”
The author's use of the word "beautiful food" literally means "chiroyli taom," and the "prettiness of my meal" translates as "taomimning maftunkorligi." Interestingly, the use of nouns and adjectives in the depiction of living objects, human and female beauty shows that they approach the issue of food in European literature with affection. The character's mood after eating a delicious meal is so vividly described. It is a source of comfort for modern people who feel dissatisfied and lonely in public, and once again awakens the desire to enjoy life. The main idea of the book is that man lives once, and he should look for an opportunity to start anew, rather than to live in a state of depression or self-harm. The writer uses the pleasures of food and eating as the primary means of convincingly portraying her reality. The film, based on this memoir, is no less popular than the book. The romantic drama stars Julia Roberts, a famous Hollywood actress.
Margaret Atwood's "The Edible Woman" describes the formation of a woman's personality, gender differences, social status, and sexual orientation in a woman's psyche in the context of food and eating.
According to Atwood, the story consists of three parts of time. It is about a young woman whose sane, structured, consumer-oriented world starts to slip out of focus. Following her engagement, Marian feels her body and her self are becoming separated. As Marian begins endowing food with human qualities, she finds herself unable to eat as even a simple carrot seems like a living thing to her. She begins to think that food can also suffer from the same mental anguish as the people who eat it. The work is completely feminist. Once describing the pain in her head, Marian compares her head to a peeled melon. "Tell me, can you think with the shell itself," she says sadly. As household chores exhaust a woman, her spirits sink, her appetite, and even her sexual desire diminish. When a woman is with someone close to her spirit, her freedom is not limited, and when she has a place in society, she feels happy. At the end of the book, Marian's appetite is restored, she is relieved of mental anguish, and the feeling of being an edible woman leaves her. Throughout the work, the process of eating is described in harmony with the psyche of the protagonists.
The literature of Uzbek and other Central Asian peoples also contains many contexts rich in the description of food. Although not as well developed as in European literature, emphasis on the social status of the character through the depiction of food is common in our literature, especially in works about the war years:
“Birpasdan keyin opam, akalarim dasturxon atrofida yig‘ilishdi. Har bittasiga yarim qoshiqdan tolqon yo tegdi, yo tegmadi. Keyin dadam keldi, oyim oshxonadan bug‘i chiqib turgan bir lagan lavlagi ko‘tarib chiqdi. Lavlagi shirin narsa-yu, har kuni yegandan keyin jonga tegadi. Bari bir non emas”. (“Dunyoning ishlari”, O‘tkir Hoshimov)
In European literature, the character's inner world is described through the eating process and feeling of pleasure after eating, while in Uzbek literature, the description of the food and products consumed by the character shows whether he is well-off or poor:
“Ayvonda cho‘psavat. Cho‘psavatda non. Juda shirin, suvi qochgani undan ham shirin. Lekin enam to‘yib yegani qo‘ymaydi. Non so‘rasak, bir burdagina beradi. Ba’zan nonpalov pishiradi. Nonpalovga sabzi ham qo‘shadi, sabzili nonpalovni men yomon ko‘raman, faqat nonlarini terib yeyman. Umuman, nonni juda qizg‘anadi enam. Ovqat yeb bo‘linganida, ushoqlarni qunt bilan to‘playdi, keyin akamga, ba’zan menga beradi. “Ol, polvon bo‘lasan”, deydi. Mening ushoq yegim kelmaydi”. (“Qismat”, Isajon Sulton)
In this passage, the mental state of the protagonist is vividly described through an internal monologue depicting that he cannot have enough bread and his rebellion against poverty. When analyzing the gastronomic picture of the world in our literature, we observe that Ibn Sina's quote "Some people live only to eat and I eat to live" is so ingrained in our literature that our writers do not indulge in the image of food. However, the party at the house of Ziyo shohchi in "Bygone Days" and the manty made by Rano in "The Scorpion in the Mihrab" show that Abdullah Qadiri, the father of Uzbek novels, actually started the Western tradition of artistic depiction of food in Uzbek literature. Although the Uzbek people like to eat delicious food, parties and receptions, in theory, the desire to eat, to enjoy it, is described in our literature in negative colors. Delicious food is a dream that the poor cannot achieve, the pleasure of the rich, a means of enjoyment, and the consumption of food by the rich is often used in our literature as an expressive means that reinforces his negative aspects.
“Miryoqub esa mingboshining xursandlik va kayf bilan mast bo‘lgan yuzlariga tikilgan bir paytda ichkaridan bir tovoq to‘la manti chiqib, dasturxonning o‘rtasidan joy oldi. Miryoqub bu dargohda tez-tez ko‘rinib turadigan bu serqatiq, semiz va yog‘liq mantilarga qadrdon do‘stini qo‘rganday shirin bir kayf bilan tikildi, so‘ngra ko‘zlarini tovoqdan qo‘tarib, mingboshining yuzlariga qaragach, shu topda tovoqdagi manti bilan tovoqqa tomon egilgan yuz o‘rtasida hech qanday farq ko‘rmadi: ikkalasi ham shu qadar yog‘liq edi!” (“Kecha va Kunduz”, Cho‘lpon). The food scenes of the negative characters are portrayed in such a way that the reader doesn't like the character, and the authors achieve their goal - the reader's hatred of that character. The eating habits of Salih Mahdum in "Day and Night", or of Kesak in "Devil's Wall" can be good examples.
The protagonist of the famous Kyrgyz writer Chingiz Aitmatov's story "Spotty Dog Running Along The Seashore" Kirisk starts enjoying hunting only when he eats the raw liver of a seal. In this story, the feelings of a boy who accompanies hunters dreaming of becoming a hunter himself are described step by step along the journey. However, it is only when these images are "tasted" that the boy begins to feel like a real hunter: “O, Kurng (nivxlarning oliy tangrisi) egam yetkazganingga shukur! Ovimizning boshlanishi chakki emas! – deya u o‘zining ov pichog‘ini artib, tayyor qildi. Ovdan keyin eng muhim – tyulenning xom jigarini shu yerning o‘zidayoq yeyish edi. O‘rxon nimtalangan nerpa to‘shi oldida cho‘nqayib o‘tirib olib, jigarni bo‘la boshladi. Ovchilar oz-moz tuz sepilgan mayin jigar burdalarini huzur qilib chalpillatib yamlab yutar edilar. Jigar juda mazali- muloyim, iliq, to‘yimli edi. U odamning tilini yog‘li sharbatga botirib, og‘izda erib ketardi. Kirskning orzusi ushaldi – haqiqiy katta kishiday ovda hom jigar yedi!” (“Spotty Dog Running Along The Seashore”, Chingiz Aitmatov). Seal liver, which is eaten together, provides equal rights for the boy to hunt. Gstronomic communication serves as a bridge between a teenager and adults. Now he is a hunter too!
The story "Shilpildoq" in Mirzakalon Ismaili's "Fergana until dawn" can compare with the Western gastronomic literature. Although the author did not imitate the West, the story can easily compete with European literature in this genre. The story depicts the sufferings of a helpless head of the family, his desire to fill an ill daughter's life with happiness and joy, albeit a day, with shilpildoq - dough dish made of dark flour.
“Buvi, otam non opkeptimi? Menga jindek be-ring...
Non qayda, jon bolam! Yaxshi gap topib kelibdi. Shunga suyunayapmiz, - dedi ona. Yaxshi gapni yeb bo’lmas edi. Qiz umid bilan ko‘targan boshchasini yana yostiqqa qo‘ydi. Non ilinjida chaqnagan yirik ko‘zlari mayus yumildi. “Yana ardob, yana umoch, yana atala! O, koshkiydi kunda bo‘lib tursa shular ham!”
The author describes the girl's experience realistically - good news is not eadible! Only food can cure her now.
“Qishloqqa suv chiqaradigan bo‘ldiq bizga ham yer berishadi — hokim aytdi! Biz ham dehqonchilik qilamiz, qorovullikni tashlayman, ko’p-ko’p bug‘doy, jo‘xori ekamiz, mosh, loviya ekamiz, qovun, tarvuz ekamiz.” Matqovul xursand edi. Saltonbuvi shod iljayardi. Kasal qiz tandirdan endi uzilgan xushbuy, issiq, bug‘doy nonni ko‘z oldiga keltirib quvonar edi. Hammalari suyunar, suyunchlari ichlariga sig‘may baxtiyor-
baxtiyor kular edilar. Go‘yo bugunoq, hoziroq qorong‘I kulbalari g‘allaga, ovqatga to‘ladigandek kamdan-kam osiladigan qozonlarida sergo’sht, sermoy sho‘rva
qaynayotgandek quvonib kulardilar! Birgina mazali taom haqida o‘ylash qiynalib qolgan nochor oilaning kayfiyatini ko‘tarish, ko‘nglidagi umid chiroqlarini yoqishga qodir.
Burchakdagi qiz yana inqilladi:
- Ota, g‘o‘za ham ekamizmi?
Otasi ajablanib so‘radi:
- Nimaga surayapsan, qizim?
Kiz ko‘zlarini yumib chalqancha yotardi, shu holida shivirladi:
- Ko‘rpamiz yo‘q.
- Ha, ha, ekamiz, oppog‘im, albatta ekamiz,— dedi otasi, qizining dardiga tushunib. – Biz ekmasak kim ekadi? Ota-buvamizning kasbi, bolam. G‘o‘za ekmagan dehqon – dehqonmi! Ekamiz, Lobarxon, ekamiz. O’zing terasan, buving teradi, ukalaring terishadi — hammamiz teramiz, ko‘rpa-to‘shak qilamiz. Xo‘pmi? Innaykeyin, bug‘doy ekamiz, issiq-issiq non yopasizlar,
uvra osh kilasizlar, lag‘mon kilasizlar, manti, somsa... Matqovulning tansiq ovqatlarni tilga olishidan maqsadi yolg‘iz qizini yupatishgina emas edi. Mana shu lazzatli taomlarning nomlarini tilga olib bir huzur qilmoqchi edi, lekin og‘zining suvi kelib palovga ham o‘tmasdan sanoqli somsada tugatdi. Kambag‘alchilik odamni ne kuyga solmaydi! Matqovulning ayanch ahvoliga tushunish uchun — Matqovul bo‘lish; bolalarining sho‘riga tushunish uchun esa — o’sha sho‘r peshanalardan biri bo‘lish kerak.”
The author, like Western writers, uses a variety of details to describe the culmination of the story - the process that leads to happiness while eating a delicious meal.
“Kulbadagilar zo‘r hayajon va kemiruvchan vahim bilan qarab qolishdi. Matqovul unni bog‘lab bir chetga surdi. Oriq o‘g‘lini qo‘liga olib, kasal qizining yoniga keldi. Qizning ham ko‘zlarida vahm bor edi. U to‘kilib turgan yuragiga otasidan madad surayotgandek:
- Olib chiqarmikan ota? — deb so’radi.
Otasi ham shuni bilgisi kelar, ham yuragiga
madad istar edi.
- Olib chiqadi, — dedi u, ishonch bilan. Bu ishonch uning o’ziga ham, qiziga ham madad, yuraklariga quvvat bo’ldi...” A cup of oil that the neighbor girl gave is the main solution to the problem, it is the girl's hope, joy and happiness for another day. The reader, who reads that grandma Salton takes oil from a neighbor, wonders about the fate of a meal that could give the ill girl a day of joy - whether it is made today or not. While picturing the scene the reader also develops a desire to cook the same food. The scene of the family eating shilpildoq is also so convincing and appetizing that you want to forget for a moment the tragedy of Matqovul's family and share their happiness. This part of the story reminds of the traditions of European food literature.
To conclude, the theme of food and nutrition, which is loved by readers around the world, occupies a special place in literature as a unique style of artistic depiction of the human psyche and inner world. Comparative research on the extent to which this topic is covered in foreign and Uzbek literature allows us to understand the similarities and differences between cultures, to understand the gastronomic picture of world. There is no doubt that the Uzbek readers will also be fascinated by the examples of Western literature, which depict the emotional state after the food consumption in a convincing way.
The study and translation of works on the theme of "food" and "nutrition" in world literature can help our readers to discover new aspects of the masterpieces of world literature. The works written in the new genre allow to get acquainted with the European culture, with the literary trends and to get a deeper understanding of human psychology. In the future, the formation of traditions of artistic depiction of food in the works of modern Uzbek writers, realistic expression of the mood associated with food consumption, will, of course, arouse the desire of readers around the world to taste our national cuisine.
In conclusion, the study of gluttonic discourse, which has become an integral part of our daily lives, is one of the acute issues of modern translation studies.

1^ Державецкая И. А. Ученые записки Таврического национального университета им. В.И. Вернадского. Серия «Филология. Социальные коммуникации» Том. 26 (65). № 1 / Глюттоническая лексика и проблемы её перевода – С. 466-470.

2^ G.Odilova. Dunyo adabiyotida “Taom” va “tanovul” mavzusi / Jahon adabiyoti jurnali. 2018.1 – son. – B. 177-184.

3^ Food in Literature—Introduction. Twentieth-Century Literary Criticism. Ed. Thomas J. Schoenberg and Lawrence J. Trudeau. Vol. 114. Gale Cencage, 2006. N.pag. eNotes.com. Web. 6 Feb. 2011.; Davis, Delmer. “Food as Literary Theme.” Identities and Issues in Literature. N.p.: Salem, 1997. N. pag. eNotes.com. Web. 6 Feb. 2011; David, Jonathan C. "Food in Folklore." Encyclopedia of Food and Culture. Gale, 2003. N. pag. Answers.com. Web. 11 Jan. 2011; Dietrich, Carol E. “The Raw and the Cooked: The Role of Fruit in Modern Poetry.” Mosaic 24.3- 4 (1991): 127-44. Web. 8 Feb. 2011.; Keeling, Kara K. and Scott T. Pollard. “Introduction: Food in Children’s Literature.” Critical Approaches to Food in Children’s Literature. Ed. Kara K. Keeling and Scott T. Pollard. New York: Routledge, 2009. Prin Sceats, Sarah. Food, Consumption, and the Body in Contemporary Womenʼs Fiction. –Cambridge: Cambridge University Press, 2000.

4^ Keeling, Kara K. and Scott T. Pollard. “Introduction: Food in Children’s Literature.” Critical Approaches to Food in Children’s Literature. Ed. Kara K. Keeling and Scott T. Pollard. New York: Routledge, 2009. Print.

5^ Herbert Grebes. Litereture, literary history andcultural memory/Guttинглen. Germany, 2005. – P. 6.

6^ Gilbert. Eat Pray Love: One Woman’s Search for Everything Across Italy, India and Indonesia. 2010. – P. 51.