ترجمه

This article is an in-depth analysis to investigate the what- and how-patterns of semiotic manipulations in the two Persian translations of Oscar Wilde’s playscript “Salomé”, by Abdollah Kowsari (2006) and Abolhassan Tahami (2019). In this research, the dual research question has focused on examining the nature of semiotic manipulations present in the two aforementioned Persian translations. As such, this study particularly aims to identify the probable patterns of manipulation in translating certain proper names and key lexical signs that are of crucially semiological and onomatological import in a literary text. Establishing a supra-textual connection between the literary text and its original context, such semiological and onomatological items need to be retained in the translated text as well. To address the research question, the research methodology has focused on a pro-translation reading of the original text, i.e. the English-version text of “Salomé” playscript, what has been followed by an after-the-event reading of two Persian translations of the same work under a compare-contrast procedure. The analysis of the critical cases sampled from the two translations under study supports the main finding that both translators have domesticized, neutralized, or in cases excluded the certain proper names and key lexical items, i.e. signs and symbols, from the translated text. This approach has resulted in the de-foreignization of the original text during the translation process. Another significant research finding of the study underlines the point that the manipulations done in the semiological and onomatological structure of such a work of drama have led to a breakage between the text of the Persian translation and the original culturallingual context.

Seamus Heaney, the poet from the Northern Ireland, has introduced the notion of the Redress of Poetry in his critical works. He defines this notion as a context or skill that helps the poets to represent the adversities of their nations in a sophisticated and artistic way. As this poetic idea is similar to Linda Hutcheon's theory of adaptation, the current study attempts to show this resemblance through a reading of Heaney's translation of Dante’s dialogue with two eternally non-repentant souls narrated in the Inferno section of the Divine Comedy. Heaney has published this translation / adaptation in the last part of his collection, Field Work. The mechanisms, function, and significance of the notion of redress in Heaney’s poetic practice, the exploration of the connection of poetry and the contemporary Irish history, and the drawbacks and strengths of this poetic method are among the central topics discussed in this paper. Finally, through placing Heaney's poem in the framework of his critical theories and combining the two with Hutcheon's theory of adaptation, it is concluded that the poet is trying to find a pathway to represent and convey to his audience the suffering of the Irish people and artists through the translation/adaptation of Dante's poem.

In the language of the Qur'an, the infinitives are used as raised and raised. The infinitive appointed and raised have a difference in meaning, sometimes raised is used as a news or starter, and sometimes as appointed as a substitute for the verb or emphasis of the present article with a descriptive method and using the "component analysis" model of meaning, to compare He has discussed the two structures of the infinitive Salam and Al-Naz' and their semantic difference in the Qur'an, and by comparing two selected translations from the literal and the semantic, he has tried to show how the translators have acted in the translation of the two infinitives, and whether for these two infinitives, especially for installed mode, have they achieved an exact equivalent in Persian language or not? The results of the investigation of these two infinitives show that one should not have the same judgment about the infinitives, both in terms of semantic function and in terms of translation. Salam indicates the beginning and salam indicates its response, and salam unlike salam is almost untranslatable. There was. Foladvand in the translation of Salam and Meibdi in the translation of the punishment had a better performance. The future study can be a part of the descriptive studies of the translation from Arabic, especially the verses of the Qur'an. In addition, the present study can be useful in explaining the challenges of translation from Arabic and providing some solutions to solve it.

From the point of view of the science of semantics, eltefat means departure from what is expected as a natural form, and from the point of view of innovative science, rhetorical change deepens this meaning, and this method is one of the characteristics of the Qur'anic discourse, which, with the information structure of the discourse, constructs the originality and perspective. The speaker has a link. The main components of speech act in this industry are classified in three levels: listening, speaking and speaking. The present study tries to use the descriptive-analytical method and based on the definition of semantics of , eltefat and the use of speech act components, to deal with the typology of the application of this industry and to examine the content and situational context of the text of , eltefat verses in the Holy Quran in the translation of Nasser Makarem Shirazi. To answer these two questions, which of these three components is used more in , eltefat of the Holy Qur'an and how did Makarem Shirazi transfer its translation? The findings of the research show that among the three components of speech act: the speaking level is the most frequent and the speaking level is the least frequent, and Makarem Shirazi translated the verses based on the art of alliteration and word for word, and in some verses, he avoided the translation of alliteration.

The process of translation, usually causes a number of challenges to translators when it comes to holy texts, especially Nahj al-Balaghah, which also has a literary-historical aspect. One of these challenges is the translation of structures such as "tamyyiz" in Arabic, for which there is no equivalent in the Persian language. Tamyyiz by making the noun ambiguous and then revealing the ambiguous concept, it gives it a confirming meaning, however, it is not considered as a part of the sentence. In this regard, translators find it necessary to make changes in different lexical-grammatical parts - a rule given by translation theorists - so that, in addition to the fluency of the translation, it is a measure for the acceptability of a work. One of these prominent theories in this field is the theory of J.C. Catford (1965) which is considered a standard in two general groups of lexical and grammatical changes. We have tried, in this research, to criticize the structure of tamyyiz in Nahj al-Balaghah, in Hossein Emadzadeh's translation, by relying on the framework of this theory, in a descriptive-analytical method. The conclusions of this research show that although the translation has been successful in most of the cases, according to Catford's different levels of formal changes, including lexical, grammatical and structural equivalence. However, in some passages, due to misplaced additions, and incorrect understanding of the meaning of the sentence, or its emotional-motivational aspect, a proper translation has not been done, and hence, the coherence of the passage with the preceding and the following sentences has been lost.

The Persian translation of The Adventures of Hajji Baba of Ispahan by James Morier is undoubtedly one of the masterpieces of Persian literature. Mirza Habib Esfahani translated this work into Persian from the French translation of the book. The fact that a translated work, through an intermediary translation, can meet such a reception by the readers in the literature of a language is considered one of the rare and exceptional cases. Since the publication of this work, researchers of language and literature, translation, and other fields of humanities have studied its various aspects. However, so far, no research has studied the reception of this translation by Persian readers from a historical perspective. In this article, based on Jauss’s concept of “Horizon of Expectations” and using the descriptive-analytical method, the researcher has tried to investigate various aspects of the reception of this translation by the Persian readers before and after the Islamic Revolution through reviewing the works and examining the existing texts. To do so, from among the studies available on this work, which comprised about 50 Persian articles and books published since 1942, ten significant works (5 published before and 5 after the Islamic Revolution) were selected, and the expectations within them were examined and analyzed using the qualitative content analysis method. Next, the various themes of the Persian translation receptions discussed in these ten works were extracted and compared. The findings of the study indicated that during both periods, the Persian translation of The Adventures of Hajji Baba of Ispahan was of interest to the literary taste and in line with the expectations of the readers, including those of writers, critics, and researchers. It continues to be widely received by the readers, which has made this work enduring and popular.

The book Al-Faraj  Bad al-Shedda is one of the narrative works that revives a large part of ancient popular culture and literature In this book, more than two hundred life stories of people caught in problems are depicted in the form of stories. These people have been saved by trusting God in facing the problems of life. One of the appropriate models of translation criticism is Katarina Reiss's model, which has received less attention from researchers. Considering the comprehensiveness of translation criticism techniques in Katarina Reiss's model compared to other translation models, the present study can be used as a suitable example and model by researchers in the field of translation criticism in Arabic language and literature. This research tries to provide a general analysis of the Persian translation of the book Al-Faraj Bad al-Shedda from two linguistic and meta-linguistic perspectives by using Reiss's model in the Arabic text. Because the difference in the structure of the two languages is significant and this issue can be useful in translation research and linguistic studies.

Criticism and evaluation of translation is one of the most important fields of study, which measures and recognizes the quality level of translated texts. This evaluation requires linguistic researches of prominent theorists. One of the most important linguistic models introduced and known is the translation model of Mrs. "Carmen Garces". The present research, with a descriptive-analytical method, aims to investigate and evaluate the novel "Fi Qalbi Anthi Ibriya" by Khawla Hamdi translated by Ms. Asmaa Khajazadeh, using the model proposed by Carmen Garces as a measure and model for evaluating the quality of translation. Ms. Carmen Garces proposes four levels for measuring and evaluating translations, which are: 1- semantic-lexical level; 2- syntactic-word-building (morphological) level; 3- Discursive-applicative level; 4- Stylistic-semantic level.The current study examines only two levels of semantic-lexical and syntactic-lexical construction. Then it deduces that: the most prominent components of semantic-lexical levels in this translation are cultural or functional equivalents, syntactic expansion, syntactic contraction, ambiguity, and in the same proportion general or vice versa, and at the syntactic-lexical level, the most prominent components are literal translation, adaptation, changing syntactically or grammatically, changing the point of view, explaining or expanding the meaning, reducing and eliminating which change the type of sentence in translation.The adequacy and acceptability of a translation is based on counting its positive and negative features. Therefore the higher the number of positive features of the translated text, the higher is its adequacy and acceptability. It can be said that Khawajazadeh's translation conforms to the model of Garces and it has good adequacy and acceptability.

Hafez"s poems have a worldwide reputation among researchers and poets and have fascinated many researchers. Gertrude Bell, traveler and orientalist, is also one of these enthusiasts. But, after a short acquaintance with Persian language and literature, he became fascinated with Persian culture and language and found a deep and unbreakable connection with Khwaja Shiraz, and from this passerby, he turned to the translation of forty-two ghazals and one quartet by Hafez. Bell believed that Hafez"s words and thought have a different meaning for western readers than what eastern readers get from it, and that the ethics of Hafez"s time are different from the moral system of our time, and that the customs and conduct of the East do not have much affinity with the West, and that The reflection and perpetuity of every belief and opinion of Divan Hafez depends on the reader"s reading, and probably each reader will reach a different result. Since Gertrude Bell in her comments and description of Hafez"s poetry, sometimes talks about contradictory words and in some cases she does not specify her position regarding the Sufi or non-Sufi interpretation of Hafez"s sonnets, therefore, in this research, we focused on it. According to the model of Andre Lefebvre"s seven techniques of translation, we will investigate this issue.

This research was done in a descriptive-analytical way. The authors have tried to analyze 15 ghazals from the Sufi and non-Sufi readings of Bell"s translation with the method of content analysis and library method, which is more related to the subject of the research and for the purpose of this article. have been more appropriate

In the translation of this sonnet, the number of verses has increased, as if the translator was trying to explain and understand the subject better. Some verses have been moved in the translation.

Bell"s interpretation of the sonnets and his reading in the translation of Hafez"s poems is mostly a non-Sufi reading and does not attempt to show Hafez"s thought mystically and Sufily. He likes the outward meaning and gets a lot of pleasure from it. In these 15 analyzed ghazals, Bel had a Sufi interpretation in the translation of 6 ghazals, and in 9 translations, his interpretation of Hafez"s speech was non-Sufi. Bell"s reading of Hafez and his sonnets, according to his own words, is not Sufi and does not introduce him as a religious teacher.

One of the fields of comparative literature is interdisciplinary studies. Interdisciplinary studies make connections between disciplines. The link between literary criticism and literature and translation is one of the interdisciplinary fields. This article deals with the Orientalist analysis of Burton's translation of One Thousand and One Nights. The main problem of the research is what was the reason for Burton's attention to One Thousand and One Nights and devoted attention to One Thousand and One Nights and why he chose to translate it? The aim of the article is to show that Burton's translation of Arabian Nights aligns with the tenets of Orientalism, suggesting that in translating One Thousand and One Nights, he viewed the West as superior and perceived the East, as portrayed in the stories, as lesser. The research method employed in this article is descriptive, analytical, and based on library resources, while the theoretical framework draws on Edward Said's Orientalist theories. The findings of this study indicate that in translating One Thousand and One Nights, Burton projected a sense of Western superiority and Eastern inferiority, using translation as a means to explore the East rather than appreciating its literary merit, a standpoint rooted in imperialism. This research showed that the translation of the Thousand and One Nights reflects Burton's orientalist attitudes and imperialist prejudices, and shows that he considered the translation as a tool for the superiority of European ideas against eastern culture and presents the East as an essentialist geography of lust to the world.

Rhetorical figures are the artistic use of language that, through the selection of specific linguistic and grammatical structures, assist poets in expressing their ideas and thoughts. These figures are highly structure-oriented and are lost in translation to another language. The loss of literary devices in the translation of poetic texts becomes even more perplexing because, in poetry, not only the meaning but also the form is important. And, since what is lost most in the translation of poetic language is the form, it is clear that poetic devices are also lost to a great extent. However, there are translators who are fully aware of the style, context, and form of both source and target languages and skillfully recreate these specific forms in the target language. Among English poets, Shakespeare has ingeniously and efficiently used literary devices in his theatrical and poetic works. Among Shakespeare's non-theatrical works, the two poems Venus and Adonis and The Rape of Lucrece, which have recently been translated into Persian, have significantly utilized literary devices. A general evaluation of the Persian translation of these selected devices in these two poems, based on functional equivalence, shows that the Persian translator has made great effort to translate these devices into Persian in an efficient manner and within the framework of a functional equivalence. This article aims to examine and evaluate a selected number of these devices in the Persian translation of the two poems within the framework of functional equivalence.

The story of Yusuf, the messenger of God, has been narrated in Holy Quran completely. God has entitled this story as "احسن القصص" which means the best story of all. A part of this story is related to the event in which Yusuf and the Egyptian women faced with each other (completely narrated in the 31th verse of Yusuf sura). In this part which has been narrated in Persian literature for years, we have often talked about orange or Bergamot orange. However, by observing nearly 63 translations of Quran, we can clearly see that only 5percent of the translators have translated this word as Bergamot orange and 95 percent of them have translated it as a kind of cushion or food. in this field, we can regard the theories below. 1. Due to the logic and the techniques of Quran`s storytelling, the best equivalent for the Arabic word " متکا" which has been written in the 31 verse of Yusuf sura in Quran, is Bergamot orange. 2. By surveying this verse we can figure out another verbal miracle of the Holy Quran in which God mentions the simultaneity of Yusuf`s lifetime and the importation of the Bergamot orange to Egypt . 3. The fact that Zuleikha suggested the Egyptian women in the meeting to eat Bergamot orange signifies the costliness and novelty of this fruit and it also shows her deceitfulness. 4. In Yusuf`s lifetime there was no orange and they only ate Bergamot orange

Nowadays, the translation from Persian to Arabic, is a scientific, cultural, economic, political, and media necessity that plays role a lot in the transferring of culture of Iran. The importance of this argument will be double, when it comes to the literature of “Holy defense” and interpreter`s the translator with heavy responsibility. For this purpose, it`s know that, the best equipment of appropriate translation is the evaluation. Therefore, one of the greatest contemporary theologies in the failed of the translational studies, is Peter Newmark who has the complete theologies in the translation of cultural elements. He divided the cultural varieties in five branch and presents seventeen processes to their translation. In the present study the authors is considered in study the quality of translation of the book “The leg that remained” that`s the records of Sayed Nasser Hosseini poor during the period “Holy defense” from secret prisons of Iraq based on following theory. The most important results of present research, which written by using a descriptive – analysis method, indicates the story “The leg that remained” has all of five parts of cultural variety of Newmark, and the translator for translation of this story used a lot of methods of transferring native, reduction and expansion, cultural equivalents and notes that`s dedicated himself first to fifth`s degree. However is possible the extra using of translator to using of the method of reduction and expansion and in some cases, the false equivalences, will be the sign of cheap translation. Is recommended to edit in the new edition base on getting analysis and suggesting.