Translation is a multifaceted process that extends beyond linguistic equivalence, reshaping cultural and conceptual frameworks. Virginia Woolf, a pivotal figure in modernist literature, offers a compelling case for studying conceptual transformation due to her innovative narrative techniques and focus on universal yet culturally nuanced themes. Her novels, particularly Mrs Dalloway (1925) and To the Lighthouse (1927), are rich with concepts such as "self," "time," and "gender," forming a conceptosphere - a network of interconnected ideas that reflect modernist aesthetics and feminist concerns. These concepts, rooted in early 20th-century British culture, undergo significant transformation when translated into other languages, influenced by linguistic structures, cultural norms, and translators’ interpretive choices. This study examines how translation reshapes Woolf’s conceptosphere, drawing parallels with methodologies used by Turdiyeva in her analysis of Shakespeare’s works (Turdiyeva & Qaxramonovna, 2024).

Woolf’s conceptosphere, as explored through cognitive linguistics, encapsulates the dynamic interplay of ideas shaping her modernist worldview. Concepts like "self" are expressed through stream-of-consciousness narration, "time" through nonlinear temporal structures, and "gender" through critiques of patriarchal constraints, making their translation particularly complex. Scholars like Susan Bassnett emphasize that translation is a cultural negotiation, adapting concepts to resonate with target audiences (Bassnett, 2014). Similarly, Turdiyeva’s research on Shakespeare highlights how translation introduces hybrid meanings that blend source and target cultures (Turdiyeva, 2023). This study builds on such insights, analyzing how translations into Russian and Uzbek transform Woolf’s concepts, with specific examples from Mrs Dalloway and To the Lighthouse.

The global dissemination of Woolf’s works has prompted extensive translation efforts, each adapting her texts to diverse cultural contexts. In Russia, translations often emphasize philosophical and psychological depth, aligning with literary traditions influenced by Dostoevsky (Pasternak, 2019). In Uzbekistan, translations highlight emotional and communal resonance, reflecting Central Asian values (Yusupova, 2021). This research explores these transformations, drawing on Turdiyeva’s framework for analyzing conceptual shifts in literary translation (Turdiyeva & Qaxramonovna, 2024).

The primary sources are Virginia Woolf’s Mrs Dalloway (1925) and To the Lighthouse (1927), selected for their conceptual richness and global translation history. The study analyzes the English source texts, Russian translations (by Natasha Sokolova, 1984), and Uzbek translations (by Gulnoza Odilova, 2005). Secondary sources include translation studies by Bassnett (2014), feminist criticism by Woolf (1929), and Turdiyeva’s analyses of idiolect and conceptual transformation (Turdiyeva, 2023; Turdiyeva & Qaxramonovna, 2024).

The study adopts a qualitative approach with two primary methods:

Conceptual Analysis: Identifies key concepts ("self," "time," "gender") in the source texts and traces their transformations in translations, using cognitive linguistics to map metaphorical and contextual shifts.

Comparative Textual Analysis: Compares specific passages across English, Russian, and Uzbek translations to identify linguistic and cultural adaptations, annotating changes in vocabulary, syntax, and cultural framing.

Data were collected by selecting representative passages from Mrs Dalloway and To the Lighthouse and cross-referencing them with translations. The analysis was conducted iteratively to ensure comprehensive coverage of conceptual transformations.

Transformation of "Self" in Translation

The concept of "self" in Mrs Dalloway is central, expressed through stream-of-consciousness narration that captures characters’ inner lives. Clarissa Dalloway’s reflection on her identity illustrates this:

“She had the oddest sense of being herself invisible; unseen; unknown… this being Mrs Dalloway; not even Clarissa any more; this being Mrs Richard Dalloway.” (Mrs Dalloway, p. 10)

In the English text, "self" is fluid, fragmented by social roles, reflecting modernist concerns with identity. The Russian translation by Natasha Sokolova (1984) introduces a philosophical tone:

“У нее было странное чувство, что она невидима; неузнанна; неизвестна… это быть миссис Дэллоуэй; уже не Кларисса, а миссис Ричард Дэллоуэй.”

The Russian “невидима” (invisible) and “неузнанна” (unrecognized) evoke existential alienation, aligning with Russian literary traditions that emphasize psychological depth (Pasternak, 2019). The Uzbek translation by Gulnoza Odilova (2005) emphasizes emotional resonance:

“U o‘zini g‘alati his qildi: ko‘rinmas, tanilmas, noma’lum… bu missis Dellouey bo‘lish; endi Klarissa emas, missis Richard Dellouey.”

The Uzbek “ko‘rinmas” (invisible) and “tanilmas” (unrecognized) highlight emotional isolation, reflecting Uzbek cultural sensitivity to personal and communal identity (Yusupova, 2021). These translations transform "self" into a philosophically profound or emotionally charged concept.

Another example is Septimus Warren Smith’s fragmented self:

“He, Septimus, was alone, called forth to hear the truth, to learn the meaning of life.” (Mrs Dalloway, p. 25)

The English text portrays "self" as isolated yet questing for meaning. Sokolova’s Russian translation deepens the existential weight:

“Он, Септимус, был одинок, призванный услышать истину, познать смысл жизни.”

The Russian “одинок” (alone) and “истина” (truth) evoke a spiritual quest, aligning with Russian philosophical traditions. Odilova’s Uzbek translation emphasizes emotional turmoil:

“U, Septimus, yolg‘iz edi, haqiqatni eshitishga, hayot ma’nosini bilishga chaqirilgan.”

The Uzbek “yolg‘iz” (alone) and “haqiqat” (truth) highlight emotional struggle, reflecting cultural values of communal support (Yusupova, 2021). These shifts reframe "self" as a site of existential or emotional tension.

Transformation of "Time" in Translation

The concept of "time" in To the Lighthouse is nonlinear, reflecting Woolf’s modernist exploration of subjective temporality. Lily Briscoe’s reflection captures this:

“What is the meaning of life? That was all—a simple question; one that tended to close in on one with years.” (To the Lighthouse, p. 161)

In the English text, "time" is fluid, tied to existential questioning. Sokolova’s Russian translation adds a meditative tone:

“В чем смысл жизни? Вот и все — простой вопрос; тот, что с годами все ближе подступает.”

The Russian “с годами” (with years) and “подступает” (approaches) evoke a philosophical contemplation of time’s passage, aligning with Russian literary introspection (Pasternak, 2019). Odilova’s Uzbek translation emphasizes emotional weight:

“Hayotning ma’nosi nima? Hammasi shu — oddiy savol; yillar o‘tgan sari yaqinlashadigan savol.”

The Uzbek “yillar o‘tgan sari” (as years pass) and “yaqinlashadigan” (approaching) highlight time’s emotional impact, reflecting Uzbek cultural narratives of life’s transience (Yusupova, 2021). These translations transform "time" into a meditative or emotionally resonant concept.

Another example is the “Time Passes” section:

“The house was left; the house was deserted. It was left like a shell on a sandhill to fill with dry salt grains.” (To the Lighthouse, p. 137)

The English text portrays "time" as an impersonal force eroding human presence. The Russian translation intensifies the desolation:

“Дом был покинут; дом опустел. Он остался, словно раковина на песчаном холме, наполняемая сухими зернами соли.”

The Russian “опустел” (emptied) and “раковина” (shell) evoke a stark, philosophical void. The Uzbek translation adds emotional poignancy:

“Uy tashlab ketildi; uy xarob bo‘ldi. U qum tepasidagi qobiq kabi qoldi, quruq tuz donalari bilan to‘ladi.”

The Uzbek “xarob bo‘ldi” (ruined) and “qobiq” (shell) emphasize loss, aligning with cultural expressions of impermanence (Yusupova, 2021). These shifts reframe "time" as a desolate or emotionally charged force.

Transformation of "Gender" in Translation

The concept of "gender" in Mrs Dalloway critiques patriarchal constraints, as seen in Clarissa’s reflection:

“She felt very young; at the same time unspeakably aged. She sliced like a knife through everything.” (Mrs Dalloway, p. 8)

The English text portrays "gender" as a tension between vitality and societal aging, reflecting feminist concerns. Sokolova’s Russian translation emphasizes psychological complexity:

“Она чувствовала себя совсем юной; и в то же время невыразимо старой. Она резала все, словно нож.”

The Russian “невыразимо” (inexpressibly) and “реза́ла” (sliced) evoke a sharp, introspective critique of gender roles. Odilova’s Uzbek translation highlights emotional duality:

“U o‘zini juda yosh his qildi; bir vaqtning o‘zida so‘zlab bo‘lmas darajada qari. U hamma narsani pichoqdek kesib o‘tdi.”

The Uzbek “so‘zlab bo‘lmas” (inexpressible) and “kesib o‘tdi” (cut through) emphasize emotional conflict, aligning with Uzbek cultural sensitivity to gender dynamics (Yusupova, 2021). These translations transform "gender" into a psychologically or emotionally nuanced concept.

The results demonstrate that translation reshapes Virginia Woolf’s conceptosphere, as evidenced by transformations of "self," "time," and "gender" in Mrs Dalloway and To the Lighthouse. These shifts, observed in Russian and Uzbek translations, are driven by linguistic structures, cultural norms, and translators’ interpretive choices, mirroring findings in Turdiyeva’s study of Shakespeare’s conceptual transformations (Turdiyeva & Qaxramonovna, 2024). The findings align with Susan Bassnett’s view that translation is a cultural negotiation, adapting concepts to resonate with target audiences while preserving the source text’s essence (Bassnett, 2014). Woolf’s modernist themes, as noted by Rebecca Walkowitz, allow for flexible reinterpretation across cultural contexts, making her works susceptible to conceptual shifts (Walkowitz, 2006).

The concept of "self" undergoes significant transformation. In the English texts, "self" is fragmented, reflecting modernist concerns with identity’s fluidity. Russian translations imbue "self" with philosophical depth, using terms like “невидима” (invisible) to evoke existential alienation, aligning with Russian psychological traditions (Pasternak, 2019). Uzbek translations emphasize emotional isolation, with terms like “ko‘rinmas” (invisible) reflecting cultural values of communal identity (Yusupova, 2021). These shifts create hybrid meanings, blending Woolf’s modernist introspection with local sensibilities, as Turdiyeva notes in her analysis of Shakespeare’s conceptosphere (Turdiyeva, 2023).

The concept of "time" transforms to reflect cultural temporalities. Woolf’s nonlinear temporality is philosophical in English, but Russian translations add a meditative tone, with terms like “подступает” (approaches) evoking introspection (Pasternak, 2019). Uzbek translations emphasize emotional transience, with “yaqinlashadigan” (approaching) aligning with cultural narratives of impermanence (Yusupova, 2021). These adaptations highlight the tension between fidelity to Woolf’s modernist structure and cultural relevance, a dynamic Turdiyeva identifies in literary translation (Turdiyeva & Qaxramonovna, 2024).

The concept of "gender" acquires nuanced feminist interpretations. In English, "gender" critiques patriarchal constraints, but Russian translations deepen this with psychological complexity, using “невыразимо” (inexpressibly) to underscore internal conflict (Pasternak, 2019). Uzbek translations highlight emotional duality, with “so‘zlab bo‘lmas” (inexpressible) reflecting gender’s cultural weight (Yusupova, 2021). These shifts align with Woolf’s own feminist arguments in A Room of One’s Own (Woolf, 1929) and echo Turdiyeva’s findings on cultural adaptation in translation (Turdiyeva, 2023).

These transformations reflect the challenges of translating Woolf’s conceptosphere, as her stream-of-consciousness style and feminist themes require careful negotiation. As Walkowitz argues, Woolf’s cosmopolitan style invites reinterpretation, allowing translators to adapt concepts without losing their core significance (Walkowitz, 2006). The Russian emphasis on philosophical depth and Uzbek focus on emotional resonance demonstrate how cultural contexts shape conceptual meanings, supporting cognitive linguistic theories of dynamic conceptual systems (Lakoff & Johnson, 1980).

Limitations include the focus on Russian and Uzbek translations, which may not capture global translational practices. Future research could explore translations in languages like Chinese or Spanish, as suggested by Turdiyeva’s call for broader comparative studies (Turdiyeva, 2023). Quantitative methods, such as corpus analysis, could complement the qualitative approach. Analyzing other Woolf works, like Orlando, could further illuminate transformations of concepts like "gender" or "identity."

This study reveals that translation reshapes Woolf’s conceptosphere, adapting "self," "time," and "gender" to align with Russian and Uzbek linguistic and cultural contexts. Through comparative analysis of Mrs Dalloway and To the Lighthouse, the research highlights translation’s adaptive power, preserving Woolf’s modernist themes while creating hybrid meanings. These findings build on Turdiyeva’s work on Shakespeare, underscoring translation’s role in global literary dissemination (Turdiyeva & Qaxramonovna, 2024).