فهرست مطالب fateme zand

Due to traumatic events, patients with acetabular fractures are vulnerable to rupture of the peritoneum and abdominalhernia in the fracture site. Infection and thromboembolic events are the two most common complications of this situation.

In the current report, we present a 63-year-old woman with a traffic accident that was diagnosed with multiplefractures of the posterior and anterior walls and anterior column of the right acetabulum associated with femoral head protrusion to the fracture site. Furthermore, the right posterior iliac wing fracture and mild subluxation of the right sacroiliac (SI) joint were observed in the pelvic computed tomography (CT) scan. During the Stoppa surgical approach, small intestine penetration and peritoneum were observed and immediately treated by the surgical team. Our case was later diagnosed with pulmonary thromboembolism and recovered successfully, and no infectious complications were observed.

We suggest that bowel entrapment be considered in blunt traumatic events, and antibiotics and anti-coagulants beused in similar cases

Feminist criticism is the approach that began in the late twentieth century to examine the status of women and their experiences in literary texts. Critics of this approach apply two methods of woman criticism (A woman as an author) and, gender roles analysis (woman characters representations) to examine the literary texts.This study tried to analyze two vampire novels of Meyer and Golshiri, with a feminist approach by applying these methods, to answer the following questions: were the works influenced by patriarchal discourse? Borrowing his vampire characters from Western myths, did Golshiris domesticate his characters by letting them enter the streets of Tehran? Did he domesticate the cultural and social issues such as attitudes towards the woman in his work? Is there any difference between Golshiri`s woman characters Meyer`s.Meyer, as a woman writer, has tried to dramatize her women characters as strong and independent, she is influenced by male-dominated discourse in some cases. In the vampire of Golshiri, the gender roles are more frequent than Meyer's, and in some cases

Protecting local culture has expanded in different forms in contemporary literature and has developed a new literary genre called postcolonial literature. Indigenization of English language and its appropriation with language and culture of the former colonial countries is one of the characteristics of postcolonial writing that immigrant authors also enjoy in writing from their experiences in diaspora and transferring their local culture which results in linguistic creativities. One of these creativities is appropriation which is an important component of Postcolonial studies. It is a process which reconstitutes the language of the center to express the ‘differing cultural experiences’ (Ashcroft et al, 2002, p. 38). It seizes the language of the center and replaces it in ‘a discourse fully adapted to the colonized place’ (p. 37). Zabus (2007) also considers appropriation as conscious strategies of decolonization where ‘writing with an accent’ serves to convey ideological variance. Sometimes the English language is unconsciously appropriated by the non-native users. Joseph (2006) believed that a language undergoes a change because of the interference of mother tongue with its inherent resistance. Thus, when a writer from a non-native country would produce something in English, there must be some changes under the influence of their mother tongue.

There are different strategies of appropriation that result in varieties of English language. Some postcolonial writers mixed the linguistic structures of two languages making an ‘inter-culture’ (as cited in Ashcroft et al, 2002, p. 66). Kachru (1983) and Ashcroft et al. (2002) identify at least nine language appropriation strategies: The first strategy in appropriation technique is termed as glossing, it is an explanatory comment affixed to a text. It can be a word, a sentence, or a clause, characterizing the non-English word. The second strategy is the incorporation of untranslated words or leaving words un-glossed, it aims to keep the cultural uniqueness intact. The third one is termed as syntactic fusion, which is the amalgamation of two different linguistic structures, resulting in mixing the syntax of native language with the lexical forms of English, or vice versa. Fourthly, the usage of translation equivalence permits the writer to incorporate the local opinions and insights into a foreign language. In lexical innovation the words are borrowed from local languages and incorporated into the new English. The post-colonial writers use it as a means to describe new experiences, sounds and tastes they come across. Contextual redefinition provides a way to introduce new vocabulary words. The author adopts a new context that is too remote from the English-speaking world to have the same definitions for all the terms. Inter language strategy refers to the entrance of texts, rhythms or sounds related to the writers` mother tongue to the postcolonial writing which shows his/her creativity and interest to the mother tongue. Rhetoric and functional style appropriation strategy deals with changing in different text types and finally, code switching is the technique of moving between two or more codes to bring variation in the ways of expression. Considering the important role of the linguistic appropriation strategy in producing postcolonial literature, this descriptive - analytical study was done in accordance with Kachru (1983) and Ashcroft et al. (2002) framework on postcolonial writing, with an aim of looking for elaboration of linguistic appropriations in the English series of stories Laughing without Accent by Jzayeri Duma and its translation by Mo`takef. Duma is an Iranian immigrant writer who has already published two successful series of stories in America which have been translated into different languages all around the world and they have been translated into Persian too. In her stories, Duma depicted her Persian family life in America for the American readers and helped them to know about the minority of Iranian immigrants living in America through her lens of humorous writing.

Studying Duma`s series, this study looked for answering the following questions: can the English text of the stories be analyzed from a postcolonial point of view according to linguistic appropriation theory? What strategies did the author use to make linguistic appropriations and create a postcolonial work? Were the linguistic appropriations transferred to Persian translation of the stories too? The results of the study showed that the author used glossing, un-translated words, contextual redefinition and inter language and code-switching appropriation strategies in her stories and created a postcolonial text. This study also showed that some of these strategies like glossing and inter language appropriations were left in the translation of the stories, but the rest of them were not transferred and faded away in the process of translation. Inter-language appropriations entered the English pronunciation of the words and glossing made some cultural elements of English language enter the Persian text.

Translation is a proper tool that provides opportunities for reading different texts including horror fiction all over the world. Vinay and Darbelnet are theorists who introduce seven strategies for translation. These strategies include: borrowing, calque, literal translation, transposition, modulation, equivalence and adaptation (cited in Munday, 2012). Davies (2003) offers seven strategies for translating culture-specific words, and three strategies of footnote, dropping cultural references and equivalence, play important roles in translating the horror genre. In this research, attempts have been made to study “The Graveyard” novel by Neil Gaiman using library research method and to study the translation challenges at horror works in Persian translation according to Vinay and Darbelnet and Davies; therefore, the following questions were raised: Which techniques the translator has used to translate the horror elements? Was the translator successful in applying translation techniques based on the features of horror genre to create the same effect as the source text? The results showed that the translator has used strategies of omission, adaptation, literal translation, transposition, and modulation and in many cases when selecting the strategies didn't pay attention to the features of horror genre and it makes the reader feel more horror when reading the original text. The results of this study, in addition to helping the translator to identify the strengths and weaknesses of his translation, will reveal the necessity and importance of paying attention to the features of the text for translators and English students.

Adaptation is a new area in intertextual literary studies. The subject of this area is examining the way of translating a text and changing it into other medias. The novel Alice in Wonderland written by Carroll is one of works many adaptations have been done from. The purpose of the present study was examining the changes between the novel and Berton’s adapted film Alice in Wonderland. For this purpose, concerning Cahir’s viewpoint about types of cinematic adaptations from literary text as a kind of translation and Corrigan’s definition of movie faithfulness to literary work, the plot, Charectors and of novel and the movie were compared and the changes were examined. It was shown that Berton’s cinematic adaptation be taken as a traditional translation, in which characters, time, place, and the main plot of the story are kept but the added secondary plots to the story and continuous returns to the past presents new dimensions of features of Alice character to the receiver.

Slang language is an informal language which has been used among different social groups and entered literature, too. Considering the linguistic and cultural limits in the process of slang translation, this study was done to examine the translation of slang language in two children and adult picture novels, The Diaries of a Wimpy Kid, and The Brilliant World of Tom Gates. The first novel written by Kinney exploded in popularity and was considered New York Times bestseller in 2007. It has won many national and international prizes including “Nickeldone” and “The children praised book”. The second novel, The Brilliant World of Tom Gates, was written by Pishon. It has won several prestigious awards, including Roald Dahl funny Prize and the Water Stones children’s Book Prize. It has also been translated into over 33 languages worldwide. This study was done to elaborate different types of slangs and translation strategies applied in the translation of slangs to show how much the translators were successful in translating slang words and how the introduced translation strategies were beneficial in translation of slang expressions. The data of this qualitative-descriptive study were collected by applying Partridge’s theory about types of slangs and Baker’s strategies for translation of slangs. Partridge distinguishes ten different kinds of slangs: a. Cockney: It is divided into two types used by educated and uneducated people; b. Public house: It refers to group words and phrases made up for the smallness of the recorded vocabulary by nature. It is the main, genial, cheery, materialistic, but not gross nor cynical one; c. Workmen’s: Linking up with the public house is workmen’s slang which is very closed to tradesman slang used to refer to family and financial matters in workmen’s lives; d. Tradesmen: They are used between tradesmen; e. Commerce: it refers to slangs used in trade between tradesmen and customers; f: Public schools and universities: in these type students become the main source, because they are fresh, full of spirit to move forward for their future; g: Society: it is concerned with the spirit of universe, the world life; h. Art: The words and phrases of art are quickly adopted by the society; however, only few words of them are known; I. Theatre: It came to existence in the nineteen century and is related to slangs in art; and J. Church: Slangs not only appear from people in the street or in their daily conversation, but also can be found from a holy place such as church. Baker provides 8 strategies for translation of slangs:1. Translation by a more general word: The translator uses a common word in the target language which expresses the same referential meaning and the same expressive meaning as those of the slangs in the source text; 2. Translation by a more neutral/less expressive word: It consists of data that are translated using common words or phrases of dissimilar meaning, both referential and expressive; 3. Translation by cultural substitution: This strategy involves replacing a culture-specific item with a target language item, which does not have some propositional meaning but is likely to have similar impact on the target reader; 4. Translation by loan or loan word plus explanation; 5. Translation by paraphrase using a related word: This strategy consists of data that are translated using words or phrases of similar referential meaning but dissimilar expressive meaning; 6. Translation by paraphrasing using an unrelated word: Means translation using words or phrases of similar expressive meaning but dissimilar referential meaning; 7. Translation by omission: The translator can omit one word or more to make the translation suitable to the target language structure, seems natural, and suitable for the target language’s culture, 8. Translation by illustration: This strategy enjoys illustrations or pictures to convey the idea from the source text to the target text. Pictures can be helpful to the translator for translating slangs appropriately. According to Partridge’s classification of slang types, there were three types of slangs of school and university (53.27%), social (44.26%) and workmen (24.45%) in the first novel. In the second novel, there were also three types of slangs, namely, social (72%), school and university (24%), and artistic slangs (4%). For translation of these slangs in the first novel, eight strategies of translation introduced by Baker were used. They were translation by more general words (62.22%), translation by more neutral/less expressive words (9.76%), cultural substitution (15.86%), translation using loan words and explanations (2.44%), paraphrasing using related words (20.44%), paraphrasing using unrelated words (18.3%), omission (9.76%) and translation by illustrations (6.1%). In the second novel, six strategies were applied. They were namely, translation by more general words (4%), translation by more neutral/less expressive words (0%), cultural substitution (30%), translation using loan words and explanations (6%), paraphrasing using related words (26%), paraphrasing using unrelated words (30%), omission (0%) and translation by illustrations (4%) were applied. In the first novel, translating by more general words was the most applied strategy and in the second novel, cultural substitution and translation by unrelated words were the most used ones. By applying translation by more general words strategy, the translator of the first novel made the meaning of slang words change and transferred them to common words, so he did not transfer the exact meaning of slangs and did not produce the same effect on the target language. On the other hand, the second translator applied the cultural substitution strategy to find proper equivalences for slangs in the target culture and in this way succeeded in transferring the exact meaning of slangs, and producing the same effect on the target language. Another finding of this study was that pictures are influential in transferring meaning of slang language to children and adult reader. According to results of this study, pictures can help the translator in conveying the meaning of slang words in children and young adult literature.