مجله پژوهش های ترجمه در زبان و ادبیات عربی
پیاپی 19 (پاییز و زمستان 1397)

This research aims at studying and criticizing Mohammad Dashtee’s selections in his translation from Nahjolbalaghe according to meaning and terminology level of Garces translation assessment. For this purpose, Garces thesis has been introduced, then the elements that were applicable to Dashtee’s translation had been explained in details. The main findings of this research based on analytical-descriptive approach show that Dashtee in his lexical selecting is relying usually on the lexical extension at different models and above all on interpretive and ideological explanation. He has removed lexical ambiguities of Emam Ali’s speech or interpreted them according to his opinion, and tried not to be any ambiguous words in his work.

Like any other individuals, a translator has his affiliations and shows his particular cultural and social behaviors. The primary concern of this study is to discover the impact of the political position of a translator on his translation. For this purpose, the Persian translation of Kalila and Dimna (Translated by Nasr-Allah Monshi) has been selected and adapted as the corpus. The result of this research, based on critical discourse analysis, indicates that the translator Nasr-Allah Monshi, who has an important position in the court of Bahram-Shah, He knows that no one allowed to point to or mention the King s weaknesses. Therefore, he tries to remove any negative personality traits such as capriciousness and wishy-washiness attributed to the lion (as a symbol of King). As an official member of the court, the translator never did anything to offend the face of relatives and friends of the King therefor he pictures them as efficient and deserving persons who achieved their positions in the court with hard work and effort while the writer of Kalila and Dimna, Ibn al-Muqaffaʿ pictures them as persons who achieved their positions in the court with chance. This, in fact, reflects the effect of court discourse.

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.

Coherence is a semantic concept that refers to semantic relations in the text and distinguishes it as a text from non-text. Cohesion potentially lies in the language system tools, such as referral, removal, succession, etc., within the language itself. Given the necessity of the principle of equilibrium and equality in the translation process, the reflection of each of the above factors in translating is important in the direction of moving in line with the original text. Since Sahifeh Sajjadieh, as a coherent text, includes various types of coherence, it is expected that the translations made will reflect these elements of coherence. This paper uses a descriptive-analytical approach to study and adapt the components of non-structural grammatical coherence in the text of the Twelve Sufi Sajjadiyah prayers and four translations. From this study, the degree of adherence of the translators to the reflection of these components of the coherence section was examined. Finally, the result of this study was that among the massive components of some translators, in the shadow of the movement, the equivalents and equal to the original text, and the selection of appropriate equivalents, the original has been fully reflected in its translations, in some cases the translators have overlooked this principle, which can be attributed to factors such as the particular style of the translator and the grammatical capacity of the target text.

Narrative work is one of the literary types that have more cultural and indigenous elements than other literary forms, and this plays a key role in the translation research, from the theory of translation and translation strategies. ‘The Blind Owl’ is one of the masterpieces of contemporary Persian literature, which has many cultural components in many places, so that translators are faced with many challenges in translating it into other languages. This prominent novel was translated into Arabic by Ibrahim El Desouki. Ivir is one of the theorists who have presented his own approach to translating cultural elements, which includes transcription, definition, literal translation, substitution, lexical creation, omission, and addition. The present study aims to investigate translation methods of cultural elements of the Blind Owl in Arabic based on Ivir’s approach using the descriptive-analytical method. By analyzing the translation method of the Blind Owl, it is evident that in most cultural cases the translator has preferred to use the mixed method, whether in the combination of replacement and definition, and/or borrowing and definition, and even addition and definition in the footnotes. By analyzing the method of translating the Blind Owl, it is clear that in most cultural cases the translator has preferred to address equivalence by substitution method, although such an approach has some problems. In cases where the translator has succeeded in the translation, it is because he has used footnotes to explicate the cultural elements.

Equivalence means the search for expressions and expression templates and the commanding roles of the target language for the words and constructs of the sentence of the source text. Considering the importance of this issue, the present article carefully evaluates the equivalence of some of the grammatical roles, including the structures used in it, to examine the challenges and differences in the translation from Persian to Arabic. Slow and show problems. In this regard, most examples are from two classic Persian novels, "The Director of the School" from Jalal Al-Ahmad and his "Ayes" from the Bozorg Alawi, which can be said to be indicative of the standard language. This paper, by descriptive-analytic method, examines the process of translation and equivalence of grammar and change of expression based on the theory of formal change of Katford, and it is based on the data that the interpreter should not seek to find a grammatical role Similar to the target language, it should also identify a semantic relation between two or more words in the Persian language. Then, follow the same semantic relation between the words in the Arabic language, which the theory of Katford also confirms the same difference in grammatical roles.