fereshteh afzali

"Apostrophe" (Iltifāt) means grammatical altering between the use of first, second, and third person in a sentence or consecutive sentences. It aims at examining the coherence in the Holy Quran. Speech act theory is one of the important topics in pragmatics. It conveys that a conversation includes many acts such as description, declaration, command, prohibition, prayer, wish, etc. Considering a text as an act enables religious texts experts to change the nature of the texts more systematically. John Searle is one of the theorists of this area. He has classified speech acts into representatives, directives, commissives, expressive, and declarations. In this study, based on his theory, as a linguistic discourse analysis, and by using a descriptive-analytical method, the text and context of Iltifāt verses in the Holy Quran have been examined, and the type of their acts were identified. According to the results, regarding Searle's five speech acts, in these verses, the representative and commissive acts have been used more and less than other types, respectively. Also, the verbs used in each of these speech acts are as follows: describing, emphasizing, reporting, criticizing, and granting in the representative act, offering, making a condition, asking for explanation, protestingly asking, etc. in the directive act, giving and making a pledge, and swearing in the commissive act, praising, thanking, threatening, wishing, etc. in the expressive act, and terminating and judging in the declaration act.

Cultural and linguistic differences in audio-visual texts has been always presenting a great deal of difficulties to translators in terms of word selection and transferring the cultural elements, and the issue of translatability or untranslatability of these elements challenges them. The purpose of this research is to explore how to transfer cultural elements in audio-visual texts in the form of subtitles, relying on the descriptive-analytical method. Therefore, far from the feasibility or impossibility of transferring cultural components to non-native audiences, we analyzed the movie "The Book of Law" based on the cultural morphology of Wojtasie Wicz, Then, relying on the seven techniques of Vinay and Darbelneh, we will examine and analyze the Arabic subtitles of the collection of oral statements of this film. And we are looking to show which group of cultural elements is more visible and which one of the tricks of these two theorists has the translator used more in the selection of words and the structural arrangement of phrases. The results show that linguistic terms and purely cultural references to literature, followed by names and terms related to lifestyle, have the highest frequency. And the descriptive and linguistic analyzes resulting from the translation of cultural oral statements in this corpus show that that the translator has mostly used the indirect translation and balance strategy (equalization) with a frequency of 14 and 40% and then the replication strategy (adaptation) with a frequency of 12 and 35%.

Imagination in literary texts, which means representations of real or illusory objects and people allows the visualization of invisible dimensions of the universe. Since imagination is the core of the thinking of fictional texts, the horror genre, because it s a combination of fear of the unknown and nightmares and creating a sense of hatred and horror in the reader It often has a complex and systematic network of imagination., The story series "Alan Afham" by Ahmad Khalid Tawfiq, the originator of the horror genre in Arabic fiction It is a clear example of the function of imagination and its structures in horror stories. In the present study, an attempt is made by relying on a descriptive-analytical method and by referring to the structures of Gilbert-era's system of imagination, the dynamic dimensions of imagination can be discovered in describing the events and terrifying scenes of the "Alan Afham" series Shows the final impression the time and horror of its passage is the most important factor in the horror of the events of this story series This creates a kind of homogeneity between the images of the fall, the darkness and the animal, which Increases the reader's sense of fear and, consequently, his attraction to the continuation of the "Alan Afham" stories The issue that has been able to introduce Ahmad Khalid Tawfiq to the Arab world as an innovative and successful writer of the horror genre.

A word in the source language has different implicit and indicative meanings, in such a way that it is difficult to choose words with the same meaning and equivalent, even in a foreign language. Also, if this word has a special cultural value, it becomes much more difficult to transfer all its semantic layers to another language, especially about culturally heterogeneous languages and because different languages have different cultural, social and religious aspects, there are countless criteria in the translation of such cultural elements.

The Persian text of the novel Doord Mirrors is expressive of customs and full of cultural elements. For this reason, we analyzed the cultural elements of this novel by relying on the descriptive-analytical method. The aim is to identify cultural differences and how to reflect changes in the context of speech in narrative works and to examine the translation of cultural words and expressions based on intercultural and interlinguistic differences. Evir's classification is based on words and since cultural elements appear first at the level of language vocabulary, we have chosen this model to investigate the translation of cultural elements in Doord Mirrors. For this purpose, based on Newmark's classification and Hashemi and Ghazanfari- Moghadam's portfolio, we extracted cultural elements and showed their number in the form of a diagram. Then, we evaluated its translation method based on the model of Evier (1987) and showed it in the form of a table and the questions put forth are: What are the basic strategies of the translator and the level of success in transferring the cultural elements of the novel Aineh Darar to the target language? Which one of the strategies of the Ivir model is used more frequently in the translator's translation?

Peter Newmark has divided the cultural elements into five categories according to the patterning of Naida's cultural vocabulary and Ivir proposed seven methods for translating cultural elements. It is believed that the translator tries to bring these two languages and two cultures together with one of the following strategies: 1. Transference, 2. Definition, 3. Literal translation, 4. Substitution, 5. Lexical creation, 6. Omission, 7. Addition. Hashemi and Ghazanfari-Moghadam (2013) in the article "Indigenization of Newmark's five-fold model of cultural elements" have pointed out that in the analysis of some data. There are cases that do not fit into any of Newmark's classification. They added four more classes to this classification, which are:A. colloquial phrases and idioms ;
B. units and figures ;
C. Address titles and items ;
D. Visual, auditory, tactile and fragrance items .
They both believe that there is no suitable branch to address titles in Newmark's classification and in the Persian language. The use of these items is more varied according to the degree of importance and adherence to religious and political issues, for this reason, the use of these forms can be categorized as "geographical and social dialect and accent”. We also put units and figures in the category of political and administrative affairs regarding the "phrases and terms" that Hashemi and Ghazanfari-Moghadam added to this classification, we can place it together with the "ecology" class under the main class group entitled Environment and Place. Therefore, in the classification of the desired samples in this research, we used the

Salim Abdul Amir Hamdan stayed in Iran for a long time, learned the Persian language and because of her interest in contemporary Persian literature, published translations of the works of writers such as Hoshang Golshiri, Mahmoud Dolat-abadi, etc. For this reason, in some cases, she was able to pass the cultural elements of the novel through the cultural filter. He based her equivalence on substitution and tried to recreate the message approach in the form of the target language. In this novel, according to the amount of use of cultural elements, the component of idioms with 95 items has the highest frequency and the component of cursing and swearing has the least frequency with no items. Substitution with a frequency of 50% and 57% and borrowing with a frequency of 20% and 23% are the most used solutions by translators in translating cultural elements. And this shows that Salim Abdul Amir Hamdan did not use the combined method of borrowing with definition and did not define (clarify) the phrases for the reader in the text or footnote, but the positive point of her translation is the little use of literal translation and the negative approach of removing and not using the addition component.

Peter Newmark has divided cultural components into five groups: Ecology; material culture; social culture; institutions and customs; Gestures and habits in speaking. Hashemi and Ghazanfari-Moqadam in the article "Indigenization of Newmark's fivefold model of cultural elements" have pointed out that in the analysis of some data, there are cases that dont fit into any of Newmark's classification branches due to cultural differences between different languages. to compensate for it, four more classes have been added to this classification: colloquial phrases and idioms; units and figures; address titles and items; visual-auditory, tactile and perfume items. The purpose of this study is to investigate the culture-dependent categories in narrative works and also analyze of various meanings which is overshadowed by cultural and ecological differences in narrative works. In a descriptive-analytical manner, it examines the cultural categories of the novel "Al-Amir Ehtejab" to show how well the method of using cultural filter fits with the texture characteristics of the destination system and the translator has been more successful in translating which of these components. The results indicate that the idioms component has the highest frequency with 81 items and the songs and melodies component has the lowest frequency with no items. literal translation with 41% and equivalence with 34% is the most used solution by the translator. And it can be said that Hamdan's success in translating the components of animals, addresses and swearing is more due to the use of the dictionary equivalent method.

Translation of humor in the form of dubbing and subtitles, it is a serious challenge for translators in this field. According to Chiaro, most jokes have a cultural approach and a particular joke may not make any laughs to a person unfamiliar with the culture.the translator sometimes has to avoid social criticism, remove or modify parts of the comic. by comparing the methods used to translate humorous phrases, the results show that translators face these challenges, they display different methods and functions. this research is a descriptive-analytical method examining the methods of translating humorous phrases in the persian movie "Marmoolak" (The Lizard) according to Chiaro's theory to evaluate what the translator has done in the face of the problems of humorous translation. to this end, identify all humorous dialogues and the source and destination text were completely matched, it was then divided into separate tables. the results show that the method of "deletion" with (31%) and "replacement" with (29%) are the most widely used translation methods. and the method of "literal translation" with (17%) is the least used translator method in the subtitle of this film. it should be noted that where the translator uses the delete method, it takes the script text out of humor.

The model of critical analysis of translation, which redefines translation based on the concept of "filtering", is fundamentally based on Halliday's theory of Systemic Functional Linguistics (1978), and filters a communicative event linguistically, culturally, and ideologically. In particular, whenever a translator feels the need to apply cultural filtering, it can be expected that the result of his/her work will be relatively inclined towards acceptable translation. The present study descriptively-analytically seeks to evaluate the application of cultural filter in Salim Abdul Amir Hamdan's Arabic translation of Houshang Golshiri’s Prince Ehtejab and Lidded Mirrors, which is full of idiomatic expressions, and to indicate to what extent the use of cultural filtering by the translator of these two works fit with the structural features in the target system. Therefore, we divided the approaches employed by the translator of these two novels into 4 parts: Negative approach (omission of idiomatic expression) 2- Application of cultural filtering using the "equivalence-finding" approach 3- Application of cultural filtering using "equivalencing" approach 4- Literal translation of the term of source in the target language. The findings of this study show that the translator implements almost the same cultural context in the target system. Furthermore, among the approaches used, cultural equivalence-finding (59.2%) has the highest frequency, and omission (2.3%) has the lowest frequency.

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Algerian French Novels are representative of the battles of warriors and sufferings of the people of this country under the yoke of colonialism, as well as the crimes of the French. Al-Tholasiyah is one of the splendid novels in the field of Algerian resistance literature in French, while the spirit and thought of the Arab society known as the "Memories of the Algerian Nation" is obvious. “Al-Dar Al-Kabira” as the first part of this novel, represents a clear picture of the life of the Algerian people during the beginning of the national awareness and this house is the motivating mystery of resistance and revolution seeds. This research as a descriptive-analytical approach is supposed to investigate the Algerian War of Independence in this novel, and to explore the components of war, the colonialism situation in the deprived areas of Algeria, and the occupation device of French colonialists. The results of this study show that fatherland, suffocation and tyranny, criticism of political and economic distress, forces of fighting people, calling for perseverance and encouragement to struggle, war and hope for the future are among the most important sparks in the fight against colonialism in this novel. Mohammad Deeb reveals the signs of colonized and tyrant countries, for instance the constant presence of police forces in the Darsbitar neighborhood, intimidation of young and old people and their arrest without return, distress, economic and political crisis of society, hiring of Algerian workers with low wages, people’s panic of riot and war anxieties and so on.

One of the appropriate solutions in translating the linguistic prohibitions of literary texts from Arabic to Persian is the use of "theological aesthetics" techniques. This technique is used by linguists as a verbal strategy in studies of language prohibitions. translated.Since one of the ways to culturally evaluate literary works translated into Persian is to recognize and analyze the methods of verbal aesthetics in its unpleasant interpretations. In particular, the translation of the linguistic prohibitions of the novel "The Beginning and the End" by Najib Mahfouz should be explored and words and sentences should be prohibited as much as possible and strategies should be provided for their equivalence. This novel was chosen; Because there are relatively many forbidden expressions of language in it.In this study, we use the division of forbidden language types in Sharifi and Darchinian (2009) research, which refers to items such as words related to the private relations of men and women, girls and boys before marriage, and so on. After considering the theoretical and practical framework for finding the manifestation of the forbidden language in Persian, we use the division of good taste and colleagues (2018).The results of research in 5 main strategies in translating the linguistic prohibitions of the initial and final novel, the results show that: replacement with (33%) and preservation, with (32%) the most frequent and "elimination" with (4%) the least frequent trick in The proposed translation of this novel.

There are many commonalities in translation between language and culture. Folk words become popular in a certain period and, after a short period, they are whether forgotten or enter into the colloquial and official language. The use of slang manifests itself in the form of breaking words, reduction, repetition, change, heart, increase and decrease of phonemes, colloquial words, prayer, oath, curse, etc. In the present study, we used the descriptive-analytical method to equate and localize the components of slang in the field of vocabulary and syntax, i.e. terms, allusions, homogenization, street and market words, phrases, prayers and curses, spelling, etc., against each of the Arabic words and expressions. For this purpose, we chose the famous Arabic author Naguib Mahfouz for the collection of stories Al-Hob Fawqa Hadabit al-Haram. The results show that regarding the components in the translation of the collection of stories, "semi-complete sentences" (due to the abundance of such forms in the original text) and "displacement of sentence elements" and then more slang expressions and slang words were used. It is worth mentioning that the component of "oath" (due to its lack of use in the text of the story) and then the component of omission had a small amount in translation.

There is no doubt that a considerable part of famous animations have been formed for educational and entertaining purposes, and the creators of these works, relying on the literary language, introduce their target community (children) to the world of humor and its expression techniques. The more humor is norm-breaking in these visual-verbal genres, the more audience it would attract. This feature also applies to dubbing animation and highlighting its verbal humor. Therefore, the more the translator/dubbing team is aware of the subtleties of the target language, the more prominent its role can be in achieving this goal. Zootopia (2016) is one of the most successful animations, which in addition to creating attractive and exciting scenes, has a language that, according to many critics of children's films, is also a successful example of children's humor. The popularity and influence of this animation caused scientific groups to take the responsible of translating and dubbing it into Arabic and Persian. In this research, based on the descriptive-analytical method and based on the strategies of humor translation by Magdalena Panek (2009), an attempt is made to comparatively study the strategies of verbal humor translation in Arabic and Persian dubbing of Zootopia. The results show that literal translation in Arabic dubbing (34%) and paraphrasing in Persian dubbing (32%) is the most frequent strategy in translating the humor of the target language. Also, the significant difference between the use of modulation strategy in Arabic dubbing (2%) and Persian dubbing (19%) shows that the Persian translation and dubbing group had more emphasis on harmonizing the structure of animation’s humor with the target culture and language. Therefore, Arabic dubbing has been more successful in localizing humor than its Persian counterpart.

Bremen refers to any omissions, additions, changes in the author's style, changes in the structure of the language, rhetoric, and even changes in punctuation and paragraphing as a text distortion system. There are thirty-three verses in al-Nisa sura in this verse, considering this importance as well as the title of the surah and the gender of the translator, we chose Tahereh Saffarzadeh's translation as well as Antoine Berman's model for being comprehensive in this thesis. This study was organized according to six of the thirteen elements of the destructive-analytic method. Saffarzadeh's translation of Sura Nisa is based on sex components of Anton Bremen's text distortions rationalization, clarification, periphrasis, glorification, removing qualitative richness, removing quantitative richness were explored. It should be noted that due to the socio-cultural and discursive differences, adherence to Breman's beliefs in all cases is extremely difficult. Therefore, the present study does not examine all the components of Breman's theory but examines the components of which better examples can be found in the translator's translation. The research method is based on contrasting the target text with the source text. The target text is collated line by line with the source text, examples were extracted concerning each component and in the end, the proposed translation is provided as far as possible. The results show that among the sex components rationalization, clarification, periphrasis, and destruction of rhythm are the most frequently distorted factors in the translation of Saffarzadeh, and in the three areas of removing quantitative richness, glorification and removing quantitative richness have the least deviation from the original text. From a structural and thematic perspective, the translator has also provided a faithful translation to the original text and has attempted not to omit any words, but in many cases has done word for word 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

With the expansion of linguistic relationships among nations, the cultural impact has a natural effect and causes the creation of a mutual relationship between language and culture. Considering this case the most affected language can be more exposed to the entrance of vocabularies and language interpretations. So the role of the translator as the agent of transferring the culture of the source language to the target one is salient. In some Arabic works, there are words and structures which are considered as cultural taboo. Moreover, the translator should apply the most appropriate strategies that on the one hand can reduce the negative meaning of the taboo and on another hand can be loyal to the source language. It seems that euphemism is a good way for translation of taboo. This research tries to investigate taboos in the novel "alhava" written by "hayfa baytar" based on the descriptive analytical method and provides the most suitable translation for them relying on euphemism linguistic tools. The results indicate that by applying euphemism for translating taboos in the of novel effects on preserving and strengthening of social self-concept contact of the Persian audience. The furthermore respectively semantic implication (23%) semantic extension (20%) and metonymy (18%) are the most frequent mechanism in translation taboo words.

Novel “The Harafish” is a part of fifth stage of liter stages of novelist” Naguib Mahfouz” and shows portal of life in Egypt in period of “Mamlukian”. It pays attention to topics of existence-death and fate in form of complex and pervasive relation connected to man and world. This novel looks at religious songs that were prevalent in this time and were seen in abbey and its senses were covered back of Persian words. Naguib Mahfouz studied poetries of Hafez and liked it despite of its complexities and philosophic mining. He wants to express his thoughts in mystery and put up vague or he wants to create literary invention. We saw “Naguib Mahfouz” took effect from thoughts of “Hafez” and could use some of his poetry. “Naguib Mahfouz” used it in Persian language without translation. And “Naguib Mahfouz” was not successful in understanding of some of its meaning.

One of the difficulties for translators is facing with the same words and their application in language.Translator uses them interchangeably only under the pretext of semantic similarity between words. The usersentence does not have the correct meaning, because of the hidden differences in their underlying meaning. Accordingly, choice of equal and suitable words is the biggest challenge for translator beside acquaintance of translator with the language and culture of other nations and it is his skills.On the other hand, sentence meaning in a dramatic narrative text is including: A set of logical meanings of sentence forming elementsand the meaning ofspeech is the sense that every sentence is allocated to its according to the purpose of the speaker of expression that sentence. Because the roles and dialogue changes with regard to persons and positions in sentence and text, the translator must see what equality is more suitable for desired. Interpretation in the form of the chosen expression or structure for translation of the sentence (Arabic) in Persian language. In this article, we review examples of translation of the narrative and dramatic textsbased on the finding of lexical equals and we search lexical differences (including: Referential, Experimental, Semantic units, Conference, Implied, and Polysemy) and verbal (including: meaning of the words and meaning of the sentence). Finally, we suggest our translation for any of the dramatic and storied sentences. The results show that there are different ways for finding of equivalent that in the meantime, dynamic finding equal is more impressive.

Literature plays various roles، the major function being expressing reality through the forms of the novel and the short story. Naguib Mahfuz، one of the outstanding Arab novelists، has special talents in this respect. He expresses social problems critically. The sexual crisis is one of the plights which is both discussed and challenged in his novels and short stories. He investigated sexual crises، especially among women، socially، philosophically، and psychologically، and considered that problem as political symbolism and not as his main theme.

Short story is built on a single story that have a single impact and it is a short detail of human life.The length of the short story and the time to read does not take from the listener and the reader but a short time. And that is one of the updated arts that have emerged in the modern era and Arabs did not know this kind of story in past ages and it has no roots in the heritage of storytelling and in fact, the Arabs took it from Western literature after their relationship and their contact with the West.And the Egyptian short story has grown following the events of the First World War and it appeared with the emergence and generation of numerous conflicts in the world and the subsequent 1919 revolution after a break from French translations of short stories and explicit excerpts.And among the pioneers of the story of the early Arab is Jorji Zeydan, the forerunner of the historical story, and Jebran, the forerunner of the stories, and Mikhael Naemah, with whom have been completed the elements of the artistry stories and the pioneer character, Professor Mahmood Teymoor, the prominent short story writer.