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.
Zohreh Gorgi; Ensieh Khazali; Dalal Abbas
Abstract
In the process of translating stories, proverbs and allusions are key cultural elements, which convey meanings and messages of the original text to the reader. The main problem for translators in this process is the accurate way of confronting these elements. In this challenge, the equivalents are one ...
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In the process of translating stories, proverbs and allusions are key cultural elements, which convey meanings and messages of the original text to the reader. The main problem for translators in this process is the accurate way of confronting these elements. In this challenge, the equivalents are one of the important factors which pave the way for the translator. A good equivalent should convey not only the meaning, but also the spirit, feeling and experience of the literary writer to the reader. The present study aims at criticizing the translation of one of the most popular works of Resistance Literature, “DON'T FORGET” , by applying Newmark’s approach. In his model, Newmark considers cultural elements and divides them into five groups (ecology, material culture, social culture, institutions, customs, concepts, movements, gestures, and body language). The present study focuses on the fourth category and investigates the quality of translation of concepts, including allusions and proverbs, and analyzes them by applying Newmark's methods of translation of cultural elements. In this descriptive-analytical research, following an investigation of several examples and adapting them to Newmark's strategies, it was found that the translator has been successful in translating the concepts of the book by using the functional equivalent method. Furthermore, he has used semantic translation more. And sometimes the meaning of the proverbs or allusions are not well understood, as a result, a wrong equivalent has been entered in the text.
