فصلنامه مطالعات زبان و ترجمه
سال پنجاه و سوم شماره 1 (بهار 1399)

Each translator directs his/her translation choices based on vocabulary substitution and coherence of grammatical structures and by taking into account what intentions the source text holds and the importance of the target culture. Given the fact that the translator is under the influence of an interpolation space between source and target languages, the semantic approach was employed to analyze the process of meaning transfer. Given the semiotic definition of translation, which is understood as an intercultural and intertextual relationship, the purpose of the present study is to show that in the translation of The Prophet, the work by Gibran Khalil Gibran’s work, which was translated by Hossein Elahi Qomshei, the culture of both source and target languages play a role, following two converging and diverging semantic systems. The function of the converging semantic system is to preserve the cultural morph of the source text, and the function of the divergent semantic system is to create intercultural anomalies. The question is, however, how cultural elements could facilitate the transfer of meaning within the framework of a discursive value in the abovementioned translation. The novelty of this study lies on the fact that it studied the cross-cultural elements in this translation from the perspective of the semantic sign.

Effective interaction between teachers and learners plays a crucial role in the learning process. In order to create positive emotions and motivation for learners in the classroom environment, there should be a mutual relationship between the sender of the message, namely the teacher, and the receiver of that message, namely the student. Due to the importance of positive emotions in the learning process, the purpose of the present study is to introduce a teaching model that provides the basis for effective communication between learners and their teacher by means of involving their senses more deeply, which consequently leads to producing more positive emotions. Indeed, the teacher is considered as an envolver who controls the class and is authorized to identify and classify various concepts in the classroom. Should the teacher be able to use creative teaching methods for involving senses more, s/he can get the materials internalized more effectively in the learners’ minds. In such situations, s/he helps the learners as a facilitator in their emotionalization process. Moreover, the teacher can become the transvolver, who encourages the learners to move up the ladder of emotionalziation themselves. The authors of the present study have therefore introduced the teachers' roles as envolvers and transvolvers, and have used the two components of communication and senses to divide teaching techniques into envolving and transvolving categories. Envolving techniques have two subsets of centri-communication and centri-sensory, and transvolving techniques are also divided into peri-communicative and peri-sensory. It is expected that by utilizing such techniques, effective communication between the teacher and the students be established and the content be internalized more effectively in the long-term memory.

Translation of movies, telecasts and any other audiovisual product is associated with special procedures and techniques which become more challengeable and complex when facing the culture and cultural elements. Due to the fact that the translator who writes the subtitles is confronted with myriads of technological restrictions, linguistics requirements and stylistic challenges, the question arises as follows: are subtitles essentially able to reproduce or duplicate the cultural elements? For studying the modalities of the transfer of the cultural messages from the original text (oral statements in Farsi) to the translated formats (subtitles in French) we have proposed a descriptivo-analytic approach applied on a case study. After giving a brief definition and an outlook of the concept, we move toward the possibility or impossibility of transferring cultural elements via the classification of cultural elements furnished by the Polish ethno-cultural theoreticians. Once the classifications are laid out, the analytical study of cultural elements in French subtitles of the “In the Eye of the Wind”, will be implemented. The results will lead us to the initial question: Translatability or untranslatability of cultural elements and the way by which they will be perceived by the audience.

The present paper aims to study part IV of T. S. Eliot’s celebrated poem The Waste Land and its Persian translations from the perspective of translation universals and according to the concept of the collective unconscious. Although there is a rich literature on the definitions, kinds, and functions of archetypes, examining the representation of archetypes in translation studies appears to novel. Archetypes are universal and constant concepts; their expressions in different languages sound similar to some extent. The application of the theory of translation universals in examining the coinages conducted for the translation of archetypes demonstrates that the translation of this part of the poem has been less challenging in comparison with the other parts. The high frequency of archetypes in Death by Water has led to slight changes in its different Persian translations. This part of the poem includes a religious and mythical atmosphere with more archetypes in comparison with the other parts of the same poem. Investigating seven different Persian translations of Part IV of the poem, the present research arrives at the conclusion that the translated texts differ slightly in terms of the number and variety of words, and the phrases and sentences in all Persian translations sound similar to each other and a central cannon constitutes them.

The present article investigated the themes and topics, which were deemed unsuitable to the Iranian society, in an American film series The Godfather, which has been broadcast on Iranian mainstream Television several times. This series contains many controversial issues such as love, violence, religion, and politics that have undergone heavy censorship in order to adhere to the target ideological and cultural norms. The film is however the greatest films of all time. A comparative study of the original and dubbed versions revealed that discrepancies between the two were at visual, content, and auditory levels, and at each level, numerous instances of religious, political, and moral appropriations were detected and classified. For example, scenes or dialogues that promote Christianity and American values, or contain illegitimate relationships, sexuality, violence, dancing, singing, women’s smoking, women’s inappropriate clothes, and alcoholic beverages were eradicated or concealed through substitution strategies. Then, five interviews were conducted with outstanding dubbing artists and dubbing directors to see if they confirm the findings as recurrent censorship themes in Persian official dubbing and to ask why this series was broadcast with such heavy censorship.

This study aimed at developing and validating a questionnaire for measuring Iranian English teacher competencies. Upon the survey of the literature, three constructs, and 42 sub-constructs were identified, and after examining the content validation by a group of expert panelists, the final questionnaire was developed with 36 su-bconstructs. Its reliability was then assured via test-retest method (r= 0.91), and split-half method (α= 0.92). The final questionnaire was filled out by an available sample of 305 graduates of English language. The data were gathered and both exploratory and confirmatory factor analyses were done. The results of the exploratory factor analysis indicated that only three factors of knowledge, skills, and attitudes can be extracted from the questionnaire. Moreover, the results of the confirmatory factor analysis showed that all regression and correlation coefficients among underlying latent variables were standard ones and the suggested model had acceptable goodness of fit index. Therefore, it is suggested that the proposed model of teacher competencies in the questionnaire is supported by both types of factor analyses.

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.