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.

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.

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.

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.

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.

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.

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.

Translation is a kind of constant struggle with another language and the resistance of two equal linguistic forces, which is done by the translator, and during this process, he always tries to reorganize the text to achieve a coherent whole. Translation has emerged in different periods in different ways and approaches. The close and unbreakable connection between Arabic and Persian literature and culture has led to the emergence of numerous translated texts from Arabic to Persian and vice versa, which provides a suitable field for research. The field of translation between these two languages has been very prosperous since long ago. The translation of literary texts such as Marzbannameh has been one of the most dynamic literary trends in ancient times. A large number of works have been translated from Arabic to Persian and vice versa in different genres, and various books have emerged from this passage,

Over two hundred and fifty years ago, Sir William Jones first translated a ghazal by Hafiz into English, both in prose and verse. Since then, various translators have employed prose, verse, and creative translations to render Hafiz’s poems, either in full or in part. Among these, verse translation—whether in prosodic or non-prosodic poetry—has been the most prevalent. However, only a few translations have successfully conveyed the formal and thematic subtleties of Hafiz’s ghazals. One notable example is Gertrude Bell’s 1897 work, Poems from the Divan of Hafiz. This translation, which includes forty-two ghazals and an additional piece, is widely regarded by both Iranian and non-Iranian specialists as one of the most successful and acclaimed translations of Hafiz’s poetry. Bell’s translation is considered a somewhat free rendition of Hafiz’s ghazals and is complemented by an Introduction and Notes. Esteemed orientalists, including Edward Brown, have praised the Introduction as one of the most informative English writings on Hafiz and his era. However, this Introduction contains several historical inaccuracies. This paper aims to identify and correct these historical errors using authentic historical sources related to Hafiz’s time. Furthermore, it seeks to demonstrate, with evidence, the origins and pathways of these inaccuracies in Bell’s Introduction.

The recent acquaintance of Western societies, especially America, with Rumi and his poems, must have been due to Coleman Barks' translations; A translator who get acquainted with Rumi in 1976 by his friend Robert Bly for the first time.Coleman Barks translated Rumi's poems, while he had no acquaintance with Persian language and literature. He re-translated those poems using previous translations by Arbery and Nicholson.In response to the main question of this research, which seeks the reasons for the success of Coleman Bark's translations, we having studied on a number of Bark's translations which are selected among Barks' various books and comparing those with the original text. Eventually with the help of Andre Lefevre's theory we analyzed those translations, and finally, the reasons are as follow:1. The need of modern American society and readers for the human, universal, and boundless concepts that have manifested themselves in Rumi's poetry as mysticism.2. Barks' clever choice of Rumi, among other Eastern poets, because in Rumi's poetry, themes and ideas is deep and astonishing, and has the potential to be reduced to today's paradigms.3. The style he uses in translating these poems, which is the free style of American poetry, is based on the translation pattern of Andre Lefrvere.

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.

Some linguistic theories have been used in recent decades to analyze the text and to show the coherence of literary works, and the textual coherence theory of Halliday and Hassan (1976) is one of them. According to this theory, one of the main characteristics of the text is "coherence". The degree of this coherence is measured by examining the use of coherence elements in three categories: lexical, grammatical and conjunctive. In this article, we examined and extracted elements of coherence in the text of Ghazli by Hafez and its translation by Konstantin Lipskarov. With this analysis, it was found that the percentage of lexical grammatical coherence in Hafez's sonnet is higher than its translation, but the amount of syntactic coherence in the original sonnet and translation is equal to each other. Finally, with the obtained results, it can be said that the consistency of the Russian translation of this sonnet is acceptable compared to its original.