Translation in Arabic language and literature
Reza Mohammadi
Abstract
Undoubtedly, the world of childhood is one of the most important periods in the life of every human being, a period during which everyone's personality is formed. Therefore, education and intellectual products offered to the child in this period are significant. Animation is a tool affecting the thinking ...
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Undoubtedly, the world of childhood is one of the most important periods in the life of every human being, a period during which everyone's personality is formed. Therefore, education and intellectual products offered to the child in this period are significant. Animation is a tool affecting the thinking of this age group. Among the humor works that have been done in this field in Iran is the "Shekarestan" animation TV series (2008). It is rooted in old Iranian-Eastern stories, proverbs, fables, and folk tales. This animation TV series has been dubbed into other languages including Arabic. The humor used in this series has special subtleties, which require a lot of care and attention to translate into Arabic. This paper seeks to criticize and analyze the humor translation methods used in the story "False Brother" of this series via a descriptive-analytical method based on the humor translation approach of Magdalena Panek. The result shows that the literal translation method, which is the most profitable humor translation method from the author's point of view, has a high frequency in this part of the series, and this issue has greatly reduced the artistic value of the dubbing group. However, for their efforts, this group has used other strategies of Panek’s techniques, such as modulation, paraphrase, condensation, substitution, deletion, neologisms, and transposition. The general result of this research is that the Arabic dubbing team has not been very successful in localizing this part of Shekarestan in Arabic culture and the humor used in the original language of this story has been sacrificed to the Arabic dubbing.
Mohadeseh Haddadi; Ali Najafi Ivaki; Mohsen Seifi
Abstract
In all the languages of the world, some words and expressions indicate an unpleasant and impolite concept, which are called "linguistic taboos" or "rhetoric" and are generally avoided from their obvious and direct use. Examination of the "Mokhtarnameh" TV series indicates the use of a significant number ...
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In all the languages of the world, some words and expressions indicate an unpleasant and impolite concept, which are called "linguistic taboos" or "rhetoric" and are generally avoided from their obvious and direct use. Examination of the "Mokhtarnameh" TV series indicates the use of a significant number of these taboos; In light of this, what is important for the authors of this article is to identify and extract the desired interpretations in the series in the first step, and in the next step, the authors identify techniques used in the translation of this series by a qualitative approach and descriptive-analytical method, evaluate the strengths and weaknesses of the translation by criticizing and examining the inputs of Persian taboos in the Arabic dubbing of the TV series, and present the result to the audience. The result indicates that the translation of the taboos used in the TV series under study can be defined, formatted, and recognized by the most important linguistic strategies in constructing euphemism, including semantic implication, semantic expansion, permissible, omission, reduction, duplication, contradiction, and literal or semantic translations. Another conclusion is that using the method of reduction and contradiction, respectively, has been the most frequent and least frequent strategies in translating the studied TV series.
