Translation in Arabic language and literature
Narges Khosravi Savadjani; Roghayeh Rostampour Maleki
Abstract
The stanza form of the contemporary poem doesn't have any predetermined format and it is the poet who designs its written structure based on his intended meanings. In Umberto Eco's cultural semiotics, images and forms can be studied in the form of "stylization" and "invention". The present article having ...
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The stanza form of the contemporary poem doesn't have any predetermined format and it is the poet who designs its written structure based on his intended meanings. In Umberto Eco's cultural semiotics, images and forms can be studied in the form of "stylization" and "invention". The present article having a descriptive-analytical approach and relying on the semiotic opinions of Umberto Eco, has examined the reflection of contemporary Arabic poetry in Persian translation. The research data were chosen from the collection of Al-Ketab: Past Place Now (2018), which is translated by Amir Hossein Allahyari from Al-Ketab: Ams Al-Makan Alaan Adonis. The writing form and format chosen by Adonis to write the poems in the Al-ketab contains many meanings and has served the meanings of the poetic text. The results of the study indicate that Adonis started innovating and styling by writing Al-ketab in manuscript format and using norm deviation in the written form. In many cases, Allahyari has not succeeded in conveying these two ways of sign production to the target text. Sometimes, he has produced innovations and stylistics in the target text that were not used in the original poem in order to better convey the content of the poem.
Zohreh Gorji; Roghayeh Rostampour Maleki
Abstract
The role of language in a literary text is aesthetic and literary translation has a special sensitivity from this perspective. In a literary text, the translator must translate not only the content and message but also the literary devices to the extent permitted and in the format required by the text. ...
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The role of language in a literary text is aesthetic and literary translation has a special sensitivity from this perspective. In a literary text, the translator must translate not only the content and message but also the literary devices to the extent permitted and in the format required by the text. Among translation theories, the model of Carmen Valero Garcés critiques literary translation. This model consists of four levels (semantic-lexical, syntactical morphological, discourse-functional, and stylistic-practical). In this model, translations are also evaluated from the perspective of two criteria of adequacy and acceptability. This study considers the translation of selected works of the famous Lebanese author "Gibran Khalil Gibran" in the book "Hamam-e Rooh” by Seyed Hassan Hosseini based on the theory of criticism of Garcés translation and at all four levels of his proposed model. The achievement of this descriptive-analytical study indicates that the translator has performed better in the semantic-lexical and syntactical-morphological levels and has appeared in relatively weak stylistic and discourse levels, but in general, this translation has the necessary adequacy and acceptability. He also has used "expansion" more than any other solution.
