Nadia Ghazanfari Moghaddam; Mohammad Reza Hashemi
Abstract
Language is a system by which all sorts of thoughts and concepts are transmitted and exchanged. On the other hand, translation performs like a tool which eases this exchange of information and makes it interculturally possible. Yet, the translation of cultural terms and concepts has always been a tricky ...
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Language is a system by which all sorts of thoughts and concepts are transmitted and exchanged. On the other hand, translation performs like a tool which eases this exchange of information and makes it interculturally possible. Yet, the translation of cultural terms and concepts has always been a tricky area of translation practice, and for which numerous translation strategies have been proposed. Newmark has also contributed to this area of translation and suggested many strategies and even classifications. Newmark divides cultural terms and concepts into five categories which assumingly should apply for almost all cultural terms. Through a quantitative and qualitative study we attempted to investigate the application of Newmark's Cultural Categories on Persian cultural terms and concepts. To fulfill this aim, three short stories by Jalal- Ale- Ahmad ( which were enriched with cultural terms and concepts) were selected as the corpus of the present study. At the end, based on the extracted and later analyzed data, the five categories although quite handy, did not apply on all Persian cultural terms and concepts. Eventually, three categories were suggested to compensate the Newmark's model.
Somaye Delzendehrooy; Helen Ouliaeinia
Abstract
In discussing the notion of style, whether in literary or linguistic studies, we are in fact referring to the author's language habits. That is why we can assign each writer a particular style and call that style in the name of its author, for example, Shakespearian, Joycean, or Woolfian style. Given ...
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In discussing the notion of style, whether in literary or linguistic studies, we are in fact referring to the author's language habits. That is why we can assign each writer a particular style and call that style in the name of its author, for example, Shakespearian, Joycean, or Woolfian style. Given that modality and the repetitive use of modal verbs and adverbs is a determinant factor for the fictional universe represented by Virginia Woolf’s The Waves, this study aims to examine what the Persian translators do with these terms and whether their choices contribute to a change in the fictional universe represented in the texts and change the ‘feel’ of the text. To this end Virginia Woolf’s The Waves and its two Persian translations, one by Daryoush (1977) خیزابها and the other by Najafipour (1990) امواج, are selected and Bosseaux’s model (2004), based on Simpson’s model of a grammar of modality (1997) is chosen to see how the translators handle certain modals. The results showed that modality, i.e. the personal obligations, negative shading, possibilities, capacities and abilities of the focalizing characters are less emphasized in the translations than in the original but Daryoush translates them more systematically than Najafipour.
Roya Letafati; Nafiseh Alipour
Abstract
It is through language and translation as the important elements which animate the lives of different human societies that we come to know our culture and know the world. We can never neglect the exchange and cultural development as the result of the translation. We try to do a search about the translation ...
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It is through language and translation as the important elements which animate the lives of different human societies that we come to know our culture and know the world. We can never neglect the exchange and cultural development as the result of the translation. We try to do a search about the translation in the field of the interjections. An interjection is a word category invariable, allowing the speaking subject, express spontaneous emotion (joy, anger, surprise, sadness, admiration, pain, etc.) . If the interjection does not deserve a specific treatment of grammar, it plays a very clear role in the transmission of meaning. That is why translation is difficult and important. As corpus, we chose The Little Prince and the translations made by Shamlou and Nadjafi Ghazi. We also try to analyze the examples to compare and find the qualities of each translation.
Abass Emaam
Abstract
Translating children’s literature is a challenging enterprise; easy at the first sight, but rather difficult in practice. It is assumed by some translators that because children’s works are intended for an audience/ readership of young age, they are simple and easy to deal with in every way. ...
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Translating children’s literature is a challenging enterprise; easy at the first sight, but rather difficult in practice. It is assumed by some translators that because children’s works are intended for an audience/ readership of young age, they are simple and easy to deal with in every way. Even some naïve translators consider such works as texts whose words, grammatical structures and rhetoric in translated versions do not need any particular precaution, care, and/or creativity. However, at least translation of children’s works of fiction and poetry has proved that things are in fact otherwise. Among the challenges to be mentioned in this connection is to retain the characteristics of the overall atmosphere of the original. The lion’s share of this is represented in how properly “tone” is transferred from the source text into the target text. In what follows, a range of samples from Persian translations, both in prose and poetry, are introduced, their translational inadequacies are traced, and are finally re-translated to improve their quality.
