عناصر فرهنگی

Translation is the process of transferring linguistic data in many literary texts, especially fictional works, due to the existence of various specific cultural elements of the source culture, it acts as a bridge for cultural interactions and their ability to select the correct or more correct equivalent in the target text can be considered as a factor in assessing the success or failure of the translator. Newmark, more than other theorists, was aware of the importance of this issue and, in addition to categorizing concepts, provided solutions for replacing cultural elements. The novel "Safar" by Mahmoud Dowlatabadi, with its internal content and narrative movement within the framework of traditional Iranian culture, encompasses all the cultural elements that Newmark considers, and the translator of this work into Arabic has faced multiple challenges in this regard. This article, using a descriptive-analytical method and relying on Newmark's theory, attempts to analyze and criticize the translator's selection of cultural elements and to evaluate and even perform a stylistic analysis of the translator's performance in using Newmark's solutions. The results show that the most frequent cultural elements were related to material culture and proverbs, and the translator used a combination of more strategies than other methods in translating cultural elements. It can be said that the reason for the translator's frequent use of this method is the large number of some cultural concepts, including material culture and proverbs, and also to eliminate ambiguity and provide explanations in footnotes for better familiarity of Arabic-speaking audiences.

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%.

One of the challenges in translating literary texts is the cultural elements, and this is especially important in the translation of dramatic literature due to the use of drama, i.e., performance on stage. Among the approaches to translation that take into account the purpose of translation and the function of the text in the target language, and give a special place to the audience's understanding in the translation of dramatic texts, is the Skopos theory. This research aims to extract the cultural elements in the play „The Man Outside“ based on the division of cultural elements into two categories of tangible cultural elements and intangible cultural elements, and according to them, evaluate the performance of the translator from the perspective of Skopos theory. The result of this research shows that although Golshiri's translation has been used in theatrical performances, his transfer of tangible cultural elements is not in line with the goal of the play, which is performance on stage.

In this research, we try to figure out the transfer and also to discuss cultural concepts in literary translation by taking into account the linguistic and cultural differences. Therefore, as the corpus of this research, we will examine some examples from the translations of two works by Eric-Emmanuel Schmitt in different eras and we will analyze the methods that are used by translators for translating some of cultural elements, relying on the theory of Peter Newmark. The applicability of this theory over time and the perspective of its efficiency based on three indicators which are objectives, possibilities and obstacles will be examined. With the expansion of mastery over artificial intelligence and the application of a new generation of translation software by young translators, which always provide more accurate versions of the original content in more languages, we are witnessing the emergence of a generation of translators who ignore the relevance of translation theories regarding the representation of cultural themes. Since the meaning of words or phrases is derived from the culture of a language, understanding the meaning requires complete knowledge of the culture of the language which it originated from, so the translation software alone cannot be effective in obtaining accurate translation. Thus, in this essay, we try to indicate for the next generation of translators the importance of the application of translation theories in the field of literary translation, especially concerning translating cultural elements.

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.

The importance of learning Persian for non-Persian speakers has a significant impact on the compilation of educational materials based on the needs of Persian learners. Since language teaching is mainly associated with the introduction of cultural issues into the knowledge of the language learner, the contribution of educational books to the transmission of cultural concepts is undeniable. This research aims to investigate the amount of reflection of cultural content and elements based on the cultural patterns of "Cortazzi and Jin" (1999) and “Adaskou et al." (1990) in "Parfa 1" textbook. The research method is a statistical analysis of the content of this book based on the integration of the mentioned patterns. Based on this, Cortazzi and Jin (1999) have considered the cultural content of language teaching books into three types: source culture, target culture, and international culture. Noteworthy is that Parfa collection is designed for general Persian language teaching purpose for adult speakers. Accordingly, during the current research process, Iranian culture is determined as the "target culture" and the source and international cultures have been classified under a same group, entitled "other cultures". On this basis, by combining the cultural pattern of Adaskou et al. (1990), the four elements of this concept, including "aesthetic elements", "sociological elements", "semantic elements" and "sociolinguistic elements", are used as the base of statistical analysis for examining the cultural content of "Parfa 1" with an emphasis on Iranian culture as the target language. The research results show that the main cultural elements represented in the culture of the target language are: 1- Aesthetic elements (art, literature, music and media), 2- Sociological elements (everyday life), 3- Semantic elements (cultural conceptualizations of various issues) and 4- Sociolinguistic elements (the way of using language according to social cultural conditions).

The novel "Kiss the Lovely Face of God" is one of the successful fiction works of recent years in Persian literature, which attracted the attention of Iranian readers and translators of other languages. Due to entering various social and cultural situations in the modern and urban areas of Iran, this novel contains many cultural components that challenge translators. Going through these cultural components requires exact interaction and familiarity with contemporary Iranian culture. This work was translated into Arabic twice in 2014. "Ivir" offers seven strategies for translating cultural elements, including borrowing, defining, literal translating, replacing, word-building, and deleting and adding. In this study, the performance of two translators of the novel "Kiss the Lovely Face of God" in the transfer of cultural elements based on "Ivir" approaches has been investigated. By analyzing and comparing the two translations, it is clear that the most used method is the replacing strategy, which is sometimes accompanied by defining and adding.

Culture is an inseparable part of education in all respects. One of the fields in which culture plays an important role is second language acquisition. English language has become the language of science and technology and that of disseminating knowledge. Hence, English for Specific and General Purposes (ESP and EGP, respectively) is now a subfield in applied linguistics, helping English learners communicate their knowledge through English. The issue of communication leads the field to have a special connection with culture. That said, the purpose of the current study was to investigate the cultural content and cultural elements of the EGP and ESP textbooks used to teach ESP in economic and management, accounting, and psychology in Iranian universities. Using Cortazzi and Jin’s (1999) framework for cultural content, and Adaskou, Britten, and Fahsi’s (1990) framework for their cultural elements, the ESP and EGP textbooks were exqamined. The results indicated that there were statistically significant differences between the cultural content and elements included in the EGP and ESP textbooks; the EGP textbooks contain more cultural content and elements. Thus, it can be concluded that the ESP textbook designers need to pay more attention to the inclusion of cultural content and elements in the ESP textbooks if they want to improve the disciplinary abilities of the ESP students in communicating about the disciplinary notions of their majors.

Translation of literary texts as the most dynamic current in literature more than other types contains cultural and indigenous elements, and this has a special Place in translation research from the perspective of theorizing and translation strategies. The story of Marzbannameh is one of the literary texts in Persian literature and as a magnificent work, it has many cultural components that face many challenges in translating the translator. This book was translated into Arabic in 852 A.H by Ibn Arabshah with a destina tion-oriented approach. Since transferring all the semantic layers of a word from one language to another is a difficult task and no exact equivalent can be found for each of the cultural elements in the target language, the exact explanation of each word according to the semantic realm and cultural content requires an independent solution. Therefore, Ivory’s solution is the basis of this research. Ivory is one of the theorists who has provided a suitable model for translating cultural elements, which includes borrowing, definition, literal translation, replacement, word formation, deletion, and addition. Due to the volume of the book, the seventh, eighth and ninth chapters were examined as a body of research. The result of the research shows that the translator has used a more integrated method in translating cultural elements and by applying this approach has provided the ground for the Arabic reader in the form of understanding the unfamiliar textual world and this has provided his success in this regard.

Culture–specific items or realia refer to cultural items and native concepts in different societies, which frequently pose a great difficulty for translators. Concerning the transfer of realia from the source language into the target language, it is considered a great achievement for translators to preserve much of their semantic and cultural load, not least in literary translation. The present research is based on the ideas of Sergey Vlakhov and Sider Florin, the famous Bulgarian translation theorists, who classified realia into geographic, ethnographic, sociopolitical, and military categories and proposed a number of strategies to translate them properly from one language into another. Relying on a comparative and analytical–descriptive methodology, this research studied how sociopolitical realia had been rendered in the Russian translation of Simin Daneshvar’s novel Savushun. According to the results, approximate translation–specifically the functional analogue–was found to be the most frequently used strategy while transcription, transliteration, and contextual translation had been used the least. Many cases were found in which the cultural and even semantic, linguistic, and stylistic load of the words and phrases had been lost. In general, the success of Russian translators to transfer the cultural load of sociopolitical realia in to the target text is considered relative.

The resistance of cultures to translation is one of the challenges that translators face. The untranslatable elements referred to in translation studies as "Realia" are words and terms specific to each country and region that relate to the daily life, history, culture, geographical and spatial location of a particular people and country, and have no equivalent in another language. Examining Realia's translation in the film, especially the subtitle, which has many features and limitations, helps a lot in making the translator and his choices. In this study, we selected the French subtitle of Asghar Farhadi's film "Seller" and examined and analyzed it in terms of translating cultural concepts based on the Realia model. Comparing the film with its translation shows the strategies of unfamiliar translators with special occasions and in the face of cultural words and expressions in the destination country and plays an important role in teaching translation and translator training. It also examines the emergence and agency of the translator in the transmission of cultural concepts. Finally, solutions to improve the Realia model with Persian cultural elements are presented.

Conceptual frames are packages of knowledge that represent the worldview of people, including beliefs, values, emotions, prototypes of people and objects, order of events in particular situations, social scenarios, permissible thought structures,and metaphors and metonyms (Fillmore & Baker, 2009). All the experiences and assumptions that we have about the background as well as appendices of our experiences are rooted in our conceptual frames. Accordingly, we have a schematic knowledge of various issues, such as marriage, government, religion, weekends, military ranks, colors, and the like. Frames are based on our knowledge of a phenomenon and its cultural implications, and have little to do with words (that is why it is difficult to understand a joke that belongs to an unfamiliar culture). As a result, mere attention to linguistic forms prevents a comprehensive understanding of the text.  Meanwhile, each word invokes a frame and represents a part or aspect of that frame and at the same time the very same semantic frame provides the background knowledge with which we understand the meaning of relevant words. For example, understanding words such as principal, teacher, and student requires activating the frame of "school". Additionally, a particular word causes the audience to focus on a specific part of the frame and consider its scenario from a certain angle. Therefore, invoking a frame is a cognitive act by which the interpreter (almost unconsciously) understands the input information.The present study aimed at studying the use of conceptual frames in rendering the cultural elements of Charming, in its Persian dubbed version. Accordingly, the following questions are posed:(i) Which conceptual frames have been used to express cultural elements in Charming?(ii) Which translation strategies have been used to render cultural elements in the Persian dubbed version of Charming?In the meantime, the study holds the following two hypotheses:(i) There is a significant difference between the conceptual frames in the original version of Charming and its Persian dubbed version.(ii) The differences are rooted not only in cultural dissimilarities between the two languages ​​but in the personal choices made by the translator.

The present research, using the descriptive-analytical method, aims at investigating the application of conceptual frames in rendering cultural elements to provide more practical methods in translation of culture specific items. The corpus of this research consisted of an America-Canadian animation, namely Charming and its Persian dubbed version by Nama Ava. Charming is a 2018 Canadian-American computer-animated musical comedy film which is a rich source of a wide variety of  conceptual frames (e.g., the postmodernist attitude in making the animation gave it a considerable capacity to trigger the pre-existed frames in the mind of its audience under intertextuality). On the other hand, the Persian dubbed version of the animation is taken from Nama Ava which is among the most authentic Persian internet sites providing translation services for audio-visual products.For comparing purposes, firstly, the classification for conceptual frames as well as definitions for each type were presented and discussed under the taxonomy proposed by Lopez (2002). According to her, the main categories of frames include visual, situational, text-type, social, institutional and generic frames. Secondly, and after recognizing the frames in the original version of charming, they were matched with their (possible) counterpart Persian frames proposed by the translator.Thirdly and based on a comparison between the original English frames and their equivalences in the Persian dubbed version, the strategies applied by the translator to render the recognized and discussed cultural elements.

The results indicated that the most frequent frames in the English version of Charming were social (126 cases), institutional (41 cases), text type (33 cases), situational (29 cases), generic (11 cases) and visual frames (9 cases). In the meantime, the strategies used by the translator to render the original frames in the Persian dubbed translations were transliteration, loan translation, addition, description, omission and cultural equivalent among which addition as the least and cultural equivalent as the most frequent strategies were recognized. The findings also show that the dominant attitude in transferring the source frames in the Persian dubbing is domestication.

This paper concluded that, firstly, there is a considerable difference between the conceptual frames in the original version of Charming and its Persian dubbed version. Accordingly, out of 249 cases of conceptual frames in Charming, 174 cases have been rendered differently or have not been rendered at all. Secondly, the reason behind this lack of transfer or different rendering of the original frames in the Persian dubbed version is twofold: a) differences between English and Persian culture, and b) the choices made by the translator despite the similarity of frames between the two cultures. Here, the translator has preferred to use a different conceptual frame, remove the source frame, add the TL frame to the source text, or neutralize the cultural element of the source frame in the TL. That is to say the translator, instead of focusing solely on linguistic forms of the SL, has tried to render the function of the original by activating appropriate frames of the Persian culture in the mind of the TL audience or omitting the SL frame for cultural reasons.

One of the local authorities that reigned in the coast of Persian Gulf at southern area of Iran was Kurdan Government, known as Shabankareh. They were from Kurdish race and governed in the area from 421 until 756. The above-mentioned race considered as Kurdish and were recorded in history from the Sasanian duration. After entrance of Islam to Iran, they had the main role in Iran history specially in southern areas and succeeded to establish their government in the fifth century. Consequently, they were extinct by Al-e-Mozaffar in the eighth century. The Kurds of Shabankareh maintained their government by independency or obedience during their 331 years of power. This research addresses the answer the main characteristics of Sabankareh governors. The pivotal hypothesis is that the cultural element has played the main role for Shabankareh governors. Despite many other researchers’ ideas, the findings show that cultural element and belongings changed into a consistent element for Shabankareh governors.

Nowadays, experts in the field of translation studies agree that translation is one of the most characteristic patterns of interaction between two cultures that cannot be limited to a purely linguistic process. In the field of translation, theorists such as Berman, Venuti, Schleiermacher, Ricoeur ... emphasize representation and alienation of the other and consider it as a superior strategy. They warn the translator against any "sacredness of the mother tongue" and believe that he should introduce the other culture to the target language readers without any interference. But in reality this is not always the case. Sometimes the translator uses semantic substitution instead of acquainting the destination reader with the foreign culture. Sometimes it even involves deleting and changing content. Can alienation be considered a superior strategy regardless of the situation? What factors prioritize strategies? Is not choosing such a so-called superior strategy simply rooted in the translatorschr(chr(chr('39')39chr('39'))39chr(chr('39')39chr('39'))) view of the translation process? What factors influence translator choices and differentiate different translations of a work? What effects can these choices have on the target language reader? This article examines the factors affecting translator choices in translating culturally oriented elements.  It then examines the impact of these choices on target language readers.

Translation has integrated with the language since its existence, and it remained an indispensable means to establish and strengthen communication between countries around the world. Therefore, the translation and in particular the translation of cultural elements in a text are of great importance in the exchange of various ways of thinking and living in the world. The objective of this research is to assess and examine the quality of the transfer of specific cultural elements in the translation of the book “Vous n'êtes pas sans savoirs” written by Houshang Moradi Kermani and translated into French by Dr. Mitra Farzad, For this reason, we benefit from theorical frameworks of Peter Newmark who is best known for his theories on the transmission of cultural elements, and his theories are mostly about translation and intercultural issues than any other and by comparing the two texts we analyze the methodes and their frequency The most important aims of this descriptive-analytical research indicate that in translating the terms and cultural elements of this book, the translator has used the method of reduction and expansion and descriptive equivalent to convey his meaning to the French-speaking audience, which is an indication of audience-oriented or destination-oriented translations. It is the source of fidelity to the culture and the source text.

Habitus is one of the key concepts of the Bourdieusian sociology from which translation studies has benefited. Based on the Bourdieusian sociological model, this study investigated the translatorial habitus of the Iranian translators of English romance novels as far as the translation strategies of culture-specific items (CSIs) are concerned before and after the Cultural Revolution of 1980 in Iran. The research data include 3429 sentences containing CSIs extracted from A Farewell to Arms, Wuthering Heights, and The Notebook, and their two Persian translations. The extracted data were analyzed, adopting a consolidated typology of translation procedures for CSIs. The strategies employed for translating CSIs are presented with frequencies and percentages using descriptive statistics. Moreover, the results were corroborated with a qualitative analysis of some archived interviews printed in Motarjem [the translator] journal. The investigation revealed three essential

a marked source-oriented tendency between Iranian translators of the English romance novels when translating CSIs in the Pre-Cultural Revolution era, maintaining the same tendency in the Post-Cultural Revolution era, and finally a growing tendency in moving from Pre- to Post-Cultural Revolution era. The results of the Chi-square test highlighted a significant difference between various strategies used in two eras.