Mohadese Safinejad; Ali Khazaeefar; Mahmud Reza Ghorban Sabbagh
Abstract
Aesthetic equivalence is produced when both the source and target texts enjoy the same degree of interpretability with semantic explicitness. This requires both texts to have the same number of indeterminacies. Roman Ingarden, the Polish phenomenologist and aesthetician, was the first one to consider ...
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Aesthetic equivalence is produced when both the source and target texts enjoy the same degree of interpretability with semantic explicitness. This requires both texts to have the same number of indeterminacies. Roman Ingarden, the Polish phenomenologist and aesthetician, was the first one to consider the concept of indeterminacy as a characteristic of literary works. Then Iser and Jauss, two aesthetic theoreticians, applied it in different theories. In this paper, the concept of “aesthetic of equivalence” is defined based on the literary concept of “indeterminacy”. Then it’s the importance is shown in different translations of Jibran Khalil Jibran’s The Prophet. The analysis of fourteen translations of three sentences of this text shows that the translators has tried to explicate everything so they keep the text far away of the aesthetic equivalence
