In the process of world nations integration and unity, the people of all countries are trying to study other cultures as well as achieving the international communication in all spheres. The integration of different nation’s culture can be regarded in the development relationship of this nation’s art, literature and other important fields. Every nation’s culture, traditions, habits and the way of living are derived from literature. Accordingly, studying of world literature introduces with not only the masterpiece of literary work, but also informs about definite that people’s culture, traditions and habits. The world’s largest scientific schools which translate scientific works, also deal with the translation of literary works, that signifies the highest interest in recognizing the people’s language, literature and culture in an origin context.

The style of the author which is considered in the literary text may exaggerate phrasal structures and semantics of the language. As for I.R. Galperin: “The belles-lettres style is a generic term for three substyles in which the main principles and most general properties of the style are materialized” [6, 24]. These elements that revised within context have to be related to the peculiarities of stylistic approaches of the fiction. Here, is an interest for foreign readers to acquire the origin of the source language text to their own language. The translation of the original literary text to the translating language coincides the features of rules and regulations in translation, recognizing differences of various language owners, linguistic and non-linguistic peculiarities of a language. The main aim of translation rules of literary texts from one language to another is to preserve the balance of both interlanguages contextual meaning and forms. As J. Vinay and J. Darbelnet revised, that “translation can be given a third role. A thoughtful comparison of two languages allows a more effective identification of the characteristics and the overall behavior of each” [4, 8]. The comparative method includes the cognitive features of the utterance, while the translation process involves psycholinguistic approach to the utterance. Therefore, “the comparative stylistics generalize the translation by analyzing comparatively the origin and translating languages’ linguistic and stylistic units, as well as the translation itself serves for the identification of adequacy with source context” [8, 111].

Accordingly, the stylistic approach during the translation is characterized on behalf of mental inclination. The main task in translation is to find out the expressiveness in the target language, that can be analogue to the source language stylistic units, as accepted by the readers of target language and understood the conscious and intentional emotions created by the author. The stylistic aspects in translation demonstrates, that the contextual meaning of the literary texts in the target language depends on stylistic orientation of both language units. As mentioned: “Translation is the expression in another language of what has been expressed in another source language, preserving semantic and stylistic equivalencies” [1, 10]. Indeed, these literary units of source literary text are highly connected with the style of author, the translation of the subsequent stylistic devices should convey to target text relevant to the proficiency of translator in accordance to contribute the brightness and colorfulness of the context. V. Levik described: “A good translator usually is never afraid to deviate from the original, as according to words of all these deviations will supplement and develop the author’s thoughts in quite new and unusual way” [7, 72]. It has been regarded, that the differences between source text and target transmitted text depends on translation diversity of suggested applied words and stylistic units. The word “equivalency” is deeply studied in translation theory of literary texts, with the approaches of units that facilitate the literacy of the passage to the recipients in the target language.

Mostly, equivalence seems to be said as the adequacy of the existing of origin passage in target language. But, it may not only equivalent sufficient words convey the exact reflection of the source language units, such as expressive means and stylistic devices. However, the translator can modify them eventually or determine with neutral words to simplify the understandings of the passage. Depending on the context the translator should establish author’s style and the essence of the content that renders the stylistic units. If the consequence of the passage is not clear to translator, then he or she can include neutral words in order to convey the main idea of the context. The relevant of expressive means and stylistic devices between source text and target text can be differ, in accordance, that each device which the author refers, exclusively occurred by extra-linguistic approaches, such as culture bound words, the ways of living, thoughts, behavior and other factors that author relies upon it. The relationship of stylistic elements along with the non-linguistic attitudes can be included in the text through the national colorfulness and realis that are specific to the language of origin.

Each expressiveness might be shaped in a foundation of phraseological, socio-cultural, linguacultural words that identify the national peculiarities of source literary text. According to J. Boase Beier’s view, he bounded the following issues of formation lingua-stylistic features of origin context: “the sociological, historical and ideological aspects of the genesis of source and target text are largely ignored; there is sometimes little consideration of psychological aspects of the production and interpretation of texts;  pragmatic aspects, that is, aspects which have to do with the way people speak and understand texts beyond their actual linguistically determined structures, are not taken into account; and there is little consideration of the role of the reader” [2, 16]. Drawing on background knowledge, a translator must convey the meaning of culture-specific terms while preserving their original usage in the target language. In many cases, extra-linguistic features of the source language can cause confusion, so professional translators need to be aware of these patterns when translating literary texts. This awareness helps them maintain the author’s style, accurately reproduce stylistic devices and expressive means, and ensure correct interpretation by target-language readers. The distinctive nature of literary texts lies in their stylistic richness and diversity of word combinations, which reflect national identity, traditions and customs, modes of communication, culture, and social belonging. In this context, the stylistics of literary prose intersects with disciplines such as lingua-culturology, phraseology, and sociolinguistics, where the roots of stylistic units are grounded in the national characteristics of a particular people within a specific historical period.

For literary translators, this presents significant challenges, particularly in deciding how to handle stylistic units that rely heavily on the extra-linguistic features of the source language. Stylistic devices in literary texts primarily function as acts of communication shaped within a specific language, which is why they fall within the scope of study of the disciplines mentioned above. According to J.C.Catford: “Language is a type of patterned human behavior, it is a way, perhaps the most important way, in which the human beings interact in social situations” [3, 2]. Consequently, the solution also involves the pragmatic aspects of translation, in which lexical units are examined in depth. During the translation process, translators should avoid rendering stylistic devices and expressive means through direct translation, as this may result in misinterpretation by the target audience. Therefore, “With the help of research in the field of pragmatics, linguists and stylistic researchers alike have come to realize that meaning is not stable and absolute, but depends as much upon the processes of interpretation undertaken by a reader or listener, as upon the actual linguistic structures that are used. In this sense, stylistics can also consider the point of contact between the text and the reader as an interactive, communicative act” [5, 61]. Thus, a translator’s approach to conveying stylistic devices and expressive means is shaped by their background knowledge of the national characteristics of the source language. The aim of translation is to identify and transfer the national distinctiveness of the original language into the target language and to determine effective ways of rendering it. Insufficient understanding or inadequate translation may result in misinterpretation and cultural inaccuracies when conveying national phenomena rooted in the culture of a particular community. Such stylistic units are often associated with culturally marked vocabulary, phraseological expressions, and socio-cultural patterns. Consequently, translators face a choice between preserving the semantic content of culture-specific words within context or maintaining the functional use of stylistic devices. To address this challenge, translators employ various methods and strategies to transfer these elements from the source language into the target language. Depending on the nature of the stylistic units and their cultural significance, their meanings in the target language can be conveyed through equivalence-based approaches that help establish appropriate correspondences. It has to establish each set expressions referring to the stylistic units are occurred in components of inner linguistic features of a language, which are peculiar for language norms.

The Russian theoretician E. Aznaurova remarked all the necessary features of corresponding translation, while her research devoted to the phraseological units’ transformation, relevant with the preservation of their semantics through the used complete, partial and absence confirmative in transferring of these expressions. But, this theory is not always collaborated with the translation of stylistic units as well as each of them is created by the authors in certain circumstances. Not each expressiveness might be given to the translating language within the complete or absolute equivalencies, however, they can be compensated by another set expression or rather stylistic units, that illustrates the lexical or grammatical transformations of the structures, phrases and expressions.

So, it will be important to generalize them, to give the logic step, to omit, to substitute or integrate them in translating content. And it will conclude for giving the exact, proper meaning of origin stylistic unit, preserving the linguistic and extra-linguistic norms of a language. According to the research of translation the stylistic units in literary text for the second confirmative can be called the sub-equivalency method, though the translation deals not only with the semantics of these units, but also with the linguistic property of a language, that distributes various transformations and collaboration within language.

Although the stylistic units are relevant to the certain cultural-bounds and created in order to fulfill the exaggeration of the meaning, arising the national coloring, emotiveness of origin in literary text, they may be replaced with the free combinations of words in conveying their semantic meaning to the target language. Such kind of approach called neutralization of specific set expressions, like stylistic devices and expressive means. In this situation descriptive priority can be reflected during the compensation of stylistic units with neutral words.

Here, the target content may not keep the originality of the given expressions, though linguistically the content is preserved its perception for target language representatives. Despite of lacking the correspondence in target language literature readers can understand and percept the information through their own language which is expressed in source language. The method is mainly used when the translating language is excluding the existence of the expressions in their own. The third point of equivalency in this occasion acquired as non-correspondence and nominated neutralization of stylistic expressions in the content. Thus, it is regarded the neutral-descriptive method, whereby the stylistic devices substituted or compensated with the neutral, free words usage. Basically, this kind of stylistic units are interrelated with the linguacultural aspects of the created literary work, that unfamiliar for the target language representatives. Translated works of art, as part of national literature, penetrating into another linguistic culture, contribute significantly to its enrichment and development. That is very important to recognize the cultural differences among the nations and it did not recommend to forget about, that any stylistic units are occupied with the richness and embarrassment of certain nation’s specific culture, traditions and customs, social behavior, ways of living and history.

This issue leads to conclusions about the perception of stylistic devices and expressive means in translation into a foreign language through the distinction between linguistic, extra-linguistic, and stylistic aspects of both languages. The key criterion is equivalence in translation is viewed as a specific, multifunctional approach applied in the transfer of stylistic units, whether through full equivalence, partial equivalence, non-equivalence, or descriptive and neutral methods of representation in the target language.

In such cases, the translator plays a crucial role in ensuring an adequate translation by recognizing inter-lingual differences. It should be noted that preserving the semantic meaning of stylistic units depends on the correlation between the communicative frameworks of both languages. Regardless of the method used, communicative intent must be transferred from the source text to the target text. The semantic structure of a sentence should be rendered from one language into another with consideration of both languages’ linguistic, extra-linguistic, lexical, and stylistic dimensions.

In conclusion, lingua-stylistic devices in literary works serve to emphasize or foreground significant names, situations, or ideas, evoke additional imagery, draw upon existing knowledge and experience, and create a specific emotional atmosphere. Through these means, readers or listeners are encouraged to form their own interpretations, develop personal associations, and independently construct meaning, thereby shaping an individual perception of reality.