Translation in Arabic language and literature
yosra shadman; fatemeh Akbarizadeh
Abstract
Jean-René Ladmiral, in the field of translation theory with a destination-oriented approach, believes that limiting translation to simple encryption is incorrect and the translator should produce meaning or re-create it. This theoretician has provided solutions such as displacement, disambiguation, ...
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Jean-René Ladmiral, in the field of translation theory with a destination-oriented approach, believes that limiting translation to simple encryption is incorrect and the translator should produce meaning or re-create it. This theoretician has provided solutions such as displacement, disambiguation, addition, etc. This essay presents examples of successful translations according to ladmiral's components and analyzes their success according to the components. Then he mentioned other examples that were not successful according to the components and also stated their lack of success. Finally, the reasons for the strength and weakness of Amiri's translation are shown based on Admiral's theory. The result of the research shows that the translator has fully complied with the components of Jean-René Ladmiral in terms of disambiguation and augmentation and has presented a readable and understandable text in the target culture. But in some cases, especially in the examples of displacement and deletion, the translator used the components of the Admiral's model inappropriately and caused damage to the story in the transfer of meaning and rhetoric.
Translation in Arabic language and literature
Fatemeh Akbarizadeh; Yosra Shadman
Abstract
According to Bakhtin's theory, the novel as a literary type, appropriate to the spirit of the age and human society, has dialogical relations in linguistic dimensions. A conversational visual novel is the result of the entanglement of languages emerging from the characters, each of them with a different ...
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According to Bakhtin's theory, the novel as a literary type, appropriate to the spirit of the age and human society, has dialogical relations in linguistic dimensions. A conversational visual novel is the result of the entanglement of languages emerging from the characters, each of them with a different worldview, social and cultural level, is present in the novel and interacts with each other. The novel "Post-e Shabaneh" in a multi-voiced world, with the depiction of different sounds, has the heteroglossia feature, and the language of each character in each part of the novel interacts with other languages. This heteroglossia can be seen in the language, tone, and form of the novel, and its translation is very important, and this article will analyze this feature. The novel "Post-e Shabaneh" is a Persian translation of the Arabic novel "Barid Al-Layl" by Hoda Barakat. The present article tries to criticize its Persian translations with a descriptive-analytical method in order to find out how translators dealt with the heteroglossia feature of the novel in the translations. There have been three translations of this work by Hamidreza Mohajerani, Mansoureh Ahmadi Jafari, and Soha Banouni and published under the title "Post-e Shabaneh". In the study of more than 60 samples of translations in multiple languages manifested in the tone and language of the character and the double-voiced discourse, it seems that each of the translators has been successful in translating the heteroglossia feature to some extent. Banouni has performed poorly in this field and has often not provided an acceptable translation.Keywords: Novel Translation, Heteroglossia, Post-e Shabaneh, Hoda.Introduction The Arabic novel "Barid Al-Layl" by Hoda Barakat is the winner of the 2019 Arabic Booker Prize, and due to its importance in the contemporary Arabic novel, it is also translated into Persian under the title "Post-e Shabaneh" by three translators (Hamidreza Mohajerani, Mansoureh Ahmadi Jafari and Saha Banouni). By explaining this feature of the novel, this article is trying to examine with what components it is possible to translate the heteroglossia style of the novel and whether the translations of this work have been able to reflect this important feature in the style of the novel. Because a good translation of a novel is not a translation of words and sentences, but a translation of all the narrative, stylistic, and linguistic aspects of the novel; the present article tries to criticize the translations of the novel "Post-e Shabaneh" by Hoda Barakat, focusing on its "heteroglossia" feature. Therefore, this article examines the characters' utterances in accordance with the characterization, the interaction of the novel with other literary types, and the interaction of the speech styles of hybridization, polemic, parody, and stylization.The current research aims to answer the following questions:In what components can the feature of heteroglossia in the novel "Post-e Shabaneh" be studied and evaluated?Which of the translators has presented a more successful translation of the heteroglossia feature of the mentioned novel? The hypotheses are as follows:According to the narrative style of the letter in the first part and the self-talk of the characters in the last two parts, the novel "Post-e Shabaneh" has put the speech of the story characters in conversational interaction with other sounds and has established heteroglossia in the language of the characters according to the type of each character. Also, heteroglossia can be seen in the interaction of the language of the novel with other literary and non-literary types in the language of the characters, as well as double-voiced discourse in the interaction of speech styles such as hybridization, polemic, parody, and stylistics.In the examination of the double-voiced discourse of the novel, it seems that the translators have not provided a suitable translation and the interference of sounds and correspondence or correlation or contrast in the desired double-voiced discourse have not been considered.Literature ReviewIn analyzing the feature of heteroglossia in the novel, the following points can be mentioned:Akbarizadeh et al. (2014) in the article Heteroglossia Effects in the Novel Things We Left Unsaid, investigated the double-voiced discourse between the female writer and the characters and narrator's language and the language of literary and non-literary genres, and by studying the three levels of multilingualism in Pirzad's novel for women, they analyzed different elements in the creation of an inconsistent language system in the discourse of the novel.Baloo and his colleagues (2016) in the article Bakhtinian Polyphony and Heteroglossia and Their Presentation in the Novel Sangesabor, besides the polyphonic feature of this novel, paid attention to heteroglossia feature, and while enumerating the characteristics of the sounds of the text manifested in the characters, they also dealt with the conversational relationships between them and enumerated the aspects of parody and consonance between them.Professor Mohammadi and his colleague (2016) in an article entitled Multilingualism and Polyphony: Post-modernism Features in "Possible Night" (Shab-e Momken) Novel, while enumerating the novel's postmodern characteristics, pointed out multilingualism and listed the use of English and French alongside Persian as well as the use of colloquial language and the use of words different from the official language by the characters as manifestations of multilingualism.MethodologyIn order to understand a novel, it is important to pay attention to its linguistic and stylistic layers. Also, it is necessary to discover and understand the different language varieties that have emerged according to linguistic rules. The novel "Post-e Shabaneh" is a Persian translation of the Arabic novel "Barid Al-Layl" by Hoda Barakat. This article tries to criticize the Persian translations of Hamidreza Mohajerani, Mansoureh Ahmadi Jafari, and Soha Banouni with a descriptive-analytical method and library tools in order to understand how the heteroglossia feature of this novel is translated.ConclusionAccording to the analysis of the discourse of the novel "Post-e Shabaneh" by Hoda Barakat; in confirmation of the first hypothesis, it can be found that the words of the characters in the novel in the official language of the letters are appropriate for each character as well as the specific time and place of writing.Heteroglossia can be seen in the language of the characters, in the mixing of the language of religion, popular culture and science in the words of the characters. The double-voiced discourse is arranged in relation to the voice of the hypothetical addressee of each letter, as well as the voice of the society and the ruling presuppositions and taboos. Where another voice has an objective embodiment in the speech of the speaker, we are faced with a hybrid discourse. However, when another voice is implicitly considered during the speech, or the speaker's voice is consistent with another voice, it is the stylistic double-voiced speech, or it is in contrast with the other, and the representation is contradictory. It is very important to pay attention to the interference of sounds in speech and translators should consider the type of personality, insight, and social level of the person as well as another voice, to represent the double-voiced speech and translate the multiple voices and choose the appropriate interpretations and words. Among more than 60 selected samples, some of which were mentioned in a small part of the article, it was observed that the second hypothesis is somewhat true and the translators tried to translate these heteroglossias in an experimental way and were successful to some extent.
Fatemeh Akbarizadeh; Farideh Haghbin; Fatemeh Rezaei
Abstract
With regads to the achievements of role-oriented linguistics science, understsnding message and information as the speaker communicate with his/her audience is impossible only to have linguistic knowledge and acquaintance with the meaning of the vocabulary and phrases as well as acquaintance with the ...
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With regads to the achievements of role-oriented linguistics science, understsnding message and information as the speaker communicate with his/her audience is impossible only to have linguistic knowledge and acquaintance with the meaning of the vocabulary and phrases as well as acquaintance with the apparent statement of sentence, but various linguistic forms according to their communicative role in different situation form different structures which is known as information structure. Among these information structures are focalization. Shahrdzad and Tofigholhakim's play is considered in Arabic literature as a literary work includes marked information structure that its exact translation is so important to translate the meaning desired by the author, so the research needs to find out whether the marked information structures from target language marked in the same way and based on situational texture has been translated into persian language or not. For this purpose marked information structures for Shahzad's play in Arabic language are against the Persian translation of two translators Ayati and Shariat. With regards to purposeful translation in order to transfer meaning desired by the author to a reader in target language; descriptive - analytic method was used. The results indicate that the tanslators of play through translation have used unmarked sentences. Few sentences have been translated into marked form. Though despite the differences in marked structures in both languages a translator by recognizing linguistic forms in focalized information structure and left dislocation can find relatively strong equation for the structures.
Fateme Akbarizade; Yosra Shadman
Abstract
The play is a special literary type which has features a literary text and special dramatic features that will only be complete on the scene. Shahrzad's play, the Tawfiq al-Hakim plays written with a philosophical theme. This play has been translated twice in Persian by Shariat and Ayati. The translation ...
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The play is a special literary type which has features a literary text and special dramatic features that will only be complete on the scene. Shahrzad's play, the Tawfiq al-Hakim plays written with a philosophical theme. This play has been translated twice in Persian by Shariat and Ayati. The translation of the play is difficult task and its dramatic character must also be translated. This paper attempts to use a descriptive-analytical method, to examine two translations for stylistics and dramatic elements to check out the problems of the translation of the play. The results show that both translations have been tried to translate the language of the source language into the target language. But because of the translation of dramatic elements, the translation of the Shariat has been more successful. Because he translates tone and dialogue well and he tried to make the Dialogues fit the characters of the show.
