جستجوی مقالات مرتبط با کلیدواژه « ترجمه عربی » در نشریات گروه « ادبیات و زبان ها »

Normalisation is one of the universals of translation in which the translator, through the use of special creative processes such as applying criteria, appropriate idioms, completing sentences, replacing simple phrases with complex structures, increasing the meaning of words or changing them according to the meaning, makes the translated language normal and natural. According to Baker, this solution tends to highlight the features of the target language and follows its conventional and common patterns. In this study, based on Mona Baker's pattern and using a descriptive-analytical method, the types of normalisations in Reza Amery's translation of Season of Migration to the North and the extent of his stylistic creativity in presenting a readable translation of the novel were evaluated and measured. The results of the study show that the translator, through normalisation, has made the target text closer to the semantic horizon of the Persian-speaking reader, making the text readable and presenting a translation with personal characteristics and reader-oriented style by providing natural vocabulary, syntax, and style.

In 1956, Yahya al-Khashab and Sadegh Nashat translated the history of Beyhaqi into Arabic. The scientific and literary value of Beyhaqi's history among Persian and historical texts shows the necessity of evaluating and criticizing such a translation. Criticism of translation is one of the methods that is helpful in showing the quality level of translated texts. The purpose of this research is to criticize and evaluate the lexical equivalence of the translation of Beyhaqi history from the beginning to the end of Hasnak Vazir's story based on the semantic-lexical level of the Carmen Garces model. Definition, cultural or functional equivalent, assimilation, syntactic expansion, syntactic bill, and ambiguity are among the components of this level of the model that we will discuss in this research. This research makes it clear that the equivalence of the words and terms of the source text in the language of the target text has a wide range, and for this reason, most of the problems in the Arabic translation of Beyhaqi history are lexical. The translators have taken advantage of the assimilation and definition of all the elements to translate this ancient text. The non-uniformity of lexical equivalents can be seen throughout the text, and the translators' inattention to the time evolution of words and the hidden meanings and irony of Persian terms is the most important reason for the occurrence of lexical translation errors in this text.

In this research, an attempt has been made to criticize and analyze the Arabic translations of Khayyam's quatrains. Therefore, at the beginning, the history of the quatrains, Khayyam's quatrains, the translations done in the West, and how they entered the Arab world have been discussed. Next, Arab translators’ methods have been criticized and analyzed under titles such as ideology, source and target language discourse, translation formats, and translation from the intermediate language by bringing evidence. In the topic of ideology, the influence of the ideology of the translator and the target language, and in the context of discourse, the evolution and transformation of the text and the potential of the translator's success have been discussed. The translator's adherence to the main quatrain format or non-adherence to it, as well as its results in the translation process, in addition to the use of the intermediary language and its positive and negative and sometimes destructive effects in the translation, like other cases, have a special place in this study. In the present research, in addition to what has been said, the personal choices and methods of translators and their influence in clarifying, stylization, changing and deleting, the transfer of the received meaning from the source language which is affected by misunderstanding or intermediate language or cultural differences, have been critically analyzed.

Cultural elements as major parts of texts play an important role in conveying the main concepts to the readers. Understanding these concepts is the main concern of translators of different scripts. Therefore, a translator can convey not only the meaning of the text but also the sentiments of the author to the readers using cultural synonyms. To this end, in this paper, we analyze the “Kharidar Eshgh” novel by Mohammad Ali Behzad Rad using the cultural pattern of Mark Newman. Moreover, we investigate how a translator deals with cultural elements and how he/she approaches finding the equivalent of cultural expression in Arabic and Persian language. We use a descriptive-analytical method in our research and we show that the translator of this novel has concentrated more on interpreting the meaning of text rather than conveying the author’s sentiments and feelings. Hence, word-by-word translation in some cases led to the ambiguity of translation. Furthermore, the actual meaning of expressions and metaphors have not been apprehended properly and inappropriate synonyms for words have been chosen. Among cultural components in this novel, cultural contents, proverbs, and ecology have the highest frequency, respectively.

Translation acts as a bridge of thought as a bridge to transfer thoughts from different languages to each other. Poetry translation has long attracted the attention of translators and its translatability or non-translatability has always been discussed by translation theorists. In the field of translating poetry into Arabic, the poems of Iranian poets have always been of special interest and have overtaken other literary works. In this article, parts of the translation of Saadi Shirazi's lyric poems by Mohammad Alaeddin Mansour are examined from the perspective of descriptive studies of the translation process-orientation, relying on the theory of translation criticism strategies of James Holmes. Although Holmes himself believes that no translation of a poem is ever the same as or equivalent to the original, and that the practical limitations of the situation preclude the achievement of the equivalent, used to translate a variety of poems, it has identified four types of imitative strategies, allegorical strategy, structural strategy and deviant strategy, which are traditionally used to translate different types of poetry. The choice of strategy reflects the norms of the target language and specific cultural priorities in a particular language. The main result of the qualitative evaluation of Aladdin Mansour's interpretation indicates that his work is mostly based on imitative and allegorical translation, and in a few cases, a structural and deviant translation can be traced in his translation. .

Ibrãhym al Shüarãby was the first Arabic translator to translate Hãfiz's lyrics and he became well known with the song of Shiraz and the lyrics of Hãfiz Shirãzy. This prose work, which also includes a poetic composition in the translation of some lyrics, such as the 10th lyric, is influenced by the limitations that translator André Lefevere says in her rewriting view. In this view, he considers translation as a kind of rewriting in which extra-systemic and intra-systemic limitations, ideology and poetics are effective. With a descriptive-analytical approach, this research tries to study the Arabic translation of the poem and prose of Shüarãby from the 10th lyric of Hãfiz due to Lefevere's intended limitations. The final result of this research, on the one hand, shows the effect of Lefevere's ideological limitation in Shüarãby's translation, with his mystical attitude in rewriting this lyric and equating monastic symbols, “pyr”,“miykhãnih”,“kharãbãt”, ”khãniyh khammãr” and on the other hand, he expresses poetic limitation which leads Shüarãby to conceptually rewriting and manipulate sound, music, and the literary tools. The manifestations of Lefevere's view can be seen in Shüarãby 's rewriting in the form of separate translations of poems and prose, increasing and decreasing some words, inverting the use of structures, the shape and material of pronouns, and inverting the pseudonym or omitting it. Shüarãby is both affected by the mentioned limitations and by choosing special strategies in his rewriting, he appears as a controlling factor.

Each of the Arabic translations of Hafiz's poems has undoubtly many advantages and disadvantages, which are remarkable in comparative studies of Persian and Arabic literature. Simultaneously, each of these translations has its own value, and they are respectful in their own places. But given the difficulties of translation, especially in poems, it now begs our question whether Arabic translations, including the translation of Salah al-Sawi, have been able to convey the linguistic subtlety and depth of the meanings of Hafiz's poems? In this descriptive-analytic study, the following the answers are given to these questions, the examples of Hafiz's poems in the translation of "al-Sawi" as a statistical population are studied. Since al-Sawi has lived in Iran for nearly three decades and collaborated with Iranian scientific figures, our assumption was that he was well-versed in Persian and he was able to translate them in the imperfect equality. However, the study found that al-Sawi, in spite of all his efforts to translate Hafiz's poems well, he was incapable of accurately reflecting the rhetorical elements and imaginative figures and he was unable to do the right thing.

The purpose of this research is to investigate how the cultural elements of the story "Farsi Shekar Ast" by Mohammad Ali Jamalzadeh, is transferred from Persian to Arabic, using Peter Newmark's model for categorizing cultural categories and its translation strategies. The most important findings of the present study, which have been written with a descriptive-analytical method, indicate that the story of "Farsi Shekar ast" has all five categories of cultural categories that Newmark deserves, the translator translates this story more than the equivalent cultural equivalent and in this way, a translation is tailored to the culture of the target language.

Persian playwriting, which was the result of Iranian acquaintance with Western literature, and most importantly, French and English, grew rapidly and people such as Sadeq Hedayat, Bahram Bayzaee and Hassan Moghaddam are the leading figures in this kind of literature whose works, although somewhat late, have been so widely accepted in the Arab world by translators. The present study seeks to assess the process of translation of Persian literature plays in the Arab world from Damascus and Egypt to Iraq and Kuwait with a descriptive historical method and offers a clear picture of the efforts of Arab translators in these plays as well as this article intends to review and critique them by looking at the translation of the titles. The findings of the present study indicate that the translation of Persian plays into Arabic does not have much history and it began in 1988 with the translation of "Time’s Cloud and Zulf’s Cloud" by Dr. Mohammad Islami Nodoshan, by Ibrahim al-Dussouqi Shta and continued with the translation of "Sheikh Sherzyn's Petition" by Bahram Beyzaee in 1994. Of course, at the same time, many famous Persian plays or drama have been translated into Arabic. The translators have also chosen the word translation method in the translation of the titles and have tried to maintain the structure of Persian titles in translation.

The purpose of this paper is classification, correction, and elaboration of the most outstanding mistakes and errors occurred in the Arabic translation of Beihaghi History by YahyaAlkheshab and SadeghNashat. This translation has been done based on the edition of GhasemGhani and Ali Akbar Fayaz. The Arabic translation of Beihaghi History as a historical document – which is considered outstanding from the literary and scientific point of view worldwide – is clear, and since the proper understanding of the Persian texts contributes to our knowledge of the Iranian literature and culture, it is indispensable for Iranians to assure the proper translation of those texts for non-Iranians. On the other hand, because of the historical and social subject of this book, its correct translation is considered necessary for Arab researchers. As a result, it is helpful for native speakers of Arabic interested in Persian language and literature. In this article, we have tried to investigate this translation from different points of view; we look into "translator's additions", "translator's reductions", "mistakes in finding lexical and idiomatic equivalents ", and "mistakes in content transmission". In addition, after reviewing each sample, we tried to suggest equivalents that are more suitable for them.