abdolbaset arab yousofabadi

Saadi's Golestan and Jami's Baharestan are two Persian works in prose in which significant techniques have been used in translating Arabic expressions due to the proficiency of the authors in Arabic and Persian languages and their rhetorical and linguistic knowledge. In this research, the Arabic-translated phrases in the mentioned works have been studied based on the target-oriented approach in translation. The basis of this approach is that the translator tries to choose equivalent and equal elements of the target language with regard to the elements of the source language and text. With the help of special methods, he also tries to enter the entire meaning of the desired context into the target language and to avoid conveying the explicit meaning merely. The aim of the present study is to find Arabic to Persian translation techniques in Saadi's Golestan and Jami's Baharestan and to examine the extent of Saadi and Jami's commitment to the target language. Considering that Jami's Baharestan is the most prominent work of art identical to Saadi's Golestan in terms of form and content, the results indicate that the techniques of translating Arabic phrases into Persian in this work are also remarkably similar to Saadi's Golestan. Accordingly, the most distinguished methods of the target-oriented approach in translating the Arabic expressions of Golestan and Baharestan, respectively, are transition, dissimilation, adjunction, and disambiguation.

Laghatah, written by Abd al-Halim Abd Allah, and Probably I Am Lost, written by Sara Salar, are two examples of texts dealing with the status of women in a patriarchal society. The protagonists of Laghatah and Probably I Am Lost are named Leili and Ravi, respectively. Both novels’ protagonists are women limited by the society norms and their social role. Despite various turbulence, they experience an internal journey to achieve perfection. The present study investigated both novels comparatively based on Maureen Murdock’s theory using analytical-descriptive method. The paper aims to investigate the sequence of female heroes’ actions in Laghatah and Probably I Am Lost? Accordingly, the text structure of both novels as well as a set of their textual connections were evaluated and described through Murdock’s theory. The results showed that the sequence of Leili’s actions in Laghatah and Ravi’s in Probably I Am Lost follows a ten-stage model, including: passing from femininity, identification with men, tests path, imaginary success, being rejected as a powerful woman, falling in front of the goddess, femininity renewal, removing the gap between mother and daughter, finding the internal man, and reaching beyond duality.

Although Quran’s text is obvious and comprehensible, but it has delicate meanings and it is written with an eloquent syntax and unique brevity. According to this description, one should try in Quran translation to transmit its clarity as well as its delicate meanings and syntactical  and rhetorical details. Tahereh Saffarzadeh has translated Quran in Persian by an obvious and understandable language, but in some cases, she has not conveyed the word’s significations and syntax of text with accuracy and brevity. Investigating Safarzadeh’s Persian translation of Quran and comparing it with Arabic lexicons and syntaxical structures, authors of present article has figured out that some parts of translation cannot reflect the Arabic text and is influenced by English translation of Quran. In order to meet the purpose, text of last for parts of Saffarzade translation has been compared with Quran and Abdullah Yosef Ali’s translation and the aspects by which saffarzade has been influenced, has been extracted and investigated. A more in depth analysis, the results show that in safarzade’s translation, changes such as ungrammaticality, linguistic adjuncts, change of implication, inappropriate equivalents and descriptive equivalents have been made under the influence of English translation.

There is a close relationship between language and cultural factors which becomes stronger with expansion of linguistic relations among nations. Translators play a critical role in transferring the culture of source language to target language. There are some interpretations in Arabic novels that are considered as taboo in Iran demanding the translator to try the most appropriate procedure to reduce the negative meaning of these taboos besides safekeeping the source language. The translator can achieve its goal by providing a radial network of meaning. The present study investigated the taboos of Al-Tashahhi novel (2007, A.D.) by Aliyah Mamdouh based on a descriptive-analytical method. The results of the study indicated that radial network in the translation of Al-Tashahhi taboo is very effective in maintaining the social self-sufficiency of the Persian-speaking audience. Also, semantic implication (41%), allegory (26%), and laconism (11%) is considered as the most frequent semantic network in the proposed translation of Al-Tashahhi taboos

Any text can play a significant role in reproduction of its specific ideology provided that it can gain access to those discourses that make social actors involved in hegemony. Van Leeuwen’s (2008) discourse-oriented theory is one of the approaches to discourse analysis that aims at unraveling the hidden layers of language in written and oral texts by drawing on socio-semantic factors and with a focus on social actors. This approach to discourse analysis can have a special position is Quranic studies since discoursal structures of Quran and their mysterious features indicate that the hidden ideology behind them are more or less the same. Drawing on analytical-descriptive method, and Van Leeuwen’s (2008) discourse-oriented model, the present study aims at examining the discourse of Al-Jinn (English equivalent of “Goblin”) Sureh. This Sureh was selected because it involves various social actors and speech acts by narrating a group of Goblins. The results of the study indicated that discoursal elements related to candidness in comparison to those of secrecy were more frequent (with the frequencies of 172 and 24 respectively). This finding suggests that using a stylish creativity and innovation, this Sureh has attempted to familiarize the audience with persons, groups, places, and times in which the social actors have an active role. Besides, specificity of allusion type (with the frequency of 63), role specificity method (with frequency of 60), and nature specificity (with the frequency of 49) had the highest representations among the social actors’ statements and remarks.