مجله پژوهش های ترجمه در زبان و ادبیات عربی
پیاپی 25 (پاییز و زمستان 1400)

Divan-e- Hafiz be-Al-Arabiyyate She'ran (Hafez's Divan in Poetic Arabic) is a poetic translation of four hundred and ninety ghazals by Hafez. This study aims to examine the external music or the prosody of this translation based on the subtleties of the Persian and Arabic prosodic system. Factors such as meter, differences in the number of prosodic elements, meter change, poetic necessities, modifications, or addition or subtraction of words for prosodic reasons were evaluated and criticized. For a deeper analysis, the first twenty ghazals of Hafez's Divan were investigated, while other ghazals, especially Molamm'at, were also considered to confirm the findings. The data were analyzed using a descriptive-analytical method with a prosody-based approach. The results showed that the syntax and sometimes even the rhetoric of Hafez's poetry has been influenced in this translation by external music, which has resulted in modifications and overabundance of poetic necessities in the target language. The changes that the prosody of Persian poetry have found over time, as required by Iranian taste, are not easily translatable. Alterations in the meter of the most Molamm'ats in the present translation seem to be a testament to this claim.

Quranic “Lexicology” as one of the most important subjects, has always been the focus of Quran researchers. Since there is no proper “method” to explain this subject, Modulation has often faced challenges, such as inaccuracy in Semantics, incompleteness of the concept, and so on. For the same reason, it is necessary to provide a coherent, complete, and logical method for this subject. Therefore, this study is to present a proper model. Firstly, it proposes a comprehensive and complete method, secondly, by using the analytical-descriptive method, it analyzes the meaning of the words derived from the root word “sharā”, on which there are different ideas. After that, the contemporary Persian equivalences of the word “sharā” in the Quran, and the strict adherence of Quran translators to the verses including this word, are examined (scholars such as Āyati, Elāhi Ghomshei, Rezāei, Sha'rāni, Saffārzadeh, Safavi, Fooladvand, Fayz al-Islam, Meshkini, Mesbāhzadeh, Moezzi, and Makārem). The present study concludes that the core meaning of the word “sharā” is “to exchange”, which according to the context of the verses, means “to give” or “to take”, although the above-mentioned translators have been incapable of expressing this kind of meaning. Nevertheless, some of the translators such as Āyati, Elāhi Ghomshei, Sha'rāni, and Fayz al-Islam, have referred to this meaning in some verses, using similar terms.

Focusing on the translation of classical Arabic poetry into Persian classical poetry, this article examines the interactions that take place between the expressive construction and the rhythmic construction of poetry in this type of translation in order for the translation product to convey both the content of Arabic poetry and simulate its classical poetic form. The questions are as follows: In this type of translation, what are the effects of the interaction between expressive construction and rhythmic construction on the relationship between Persian poetry and Arabic poetry? After studying some examples of translations by analytical-descriptive method, it is concluded that in this type of translation, rhythmic construction occurs in Persian poetry independent of Arabic poetry; due to the observance of rhythmic requirements, the expressive construction of Persian poetry often distances itself from the expressive construction of Arabic poetry. Also, sometimes Persian poetry differs from Arabic poetry in the way of arranging speech in the form of verses; the relationship between Persian poetry and Arabic poetry in terms of expressive construction is realized if the expressive changes in the translation were understandable and in line with the transfer of the themes of Arabic poetry, and rhyming often causes expressive changes in the translated product. Finally, there are three dominant tendencies in this type of translation: formal re-creation, dynamic re-creation, and free re-creation.

One of the problems for translators is the adaptation to military ranks. The difficulty of a translator is doubled when the number of military ranks in the source and target languages is not the same; as a result, these terms remain unequal in one of the two languages, because there are differences in the military structure of the armed forces of countries that ignoring them can create problems for translators. After describing Iran's military ranks and comparing it with Arab countries, the present study examines general and specialized dictionaries and investigates how to find their equivalence, using a descriptive-analytical and comparative method. The results indicate that most of the general dictionaries did not have sufficient knowledge of specialized fields and did not study the terms of this field carefully and specialized dictionaries could not be equivalent due to the fact that they were written by military people and had no information about the structure of Arab countries. The best way to choose an equivalent for the terms of military ranks is "equivalent selection after recognizing the pattern of military ranks of Iran and Arab countries.

The language of Hafez's poetry is very delicate and mysterious. In his sonnets (Qazals), the words have been accurately selected with great aesthetic taste. In such a way, all the words are somehow connected and intertwined with each other. One of the linguistic features of Hafez is the collocation of oppositions together. Oppositions used in Hafez's poems not only have explicit and implicit semantic connections but also are related to other words. Therefore, understanding the conceptual relationship of words, and in particular, oppositions, plays a great role in discovering the meaning and the elegance of Hafez's poetry. Hence, in this study, an attempt has been made to select examples of "gradable, complementary, symmetrical, directional, lexical, and implicit” oppositions in Hafez's sonnets. Also, the conceptual relationship with other words of the verse will be analyzed and its semantic and aesthetic function will be explained. Subsequently, Ali Abbas Zoleikhe's translation of semantic oppositions and their functions will be discussed and criticized. The results of the research indicate that the oppositions in question, especially implicit oppositions, have created many clear and hidden rhetorical meanings in poetry and the slightest change in the oppositions and balance of words leads to the reduction of coherence and meaning of the verse.

Relying on Newmark's theoretical framework, the present study examines the quality of transferring the unit of culture and the performance of translators in translating the novels Miramar, Zaqaq al-Muddaq, and the Nile Trilogy by Najib Mahfouz, The Season of the Hijrah to the North, and Ars al-Zain by al-Tayyib Saleh and Daruz al-Bulgrad by Rabbi to measure the degree of conformity of translation with the components of this theory. After reviewing and adapting the original text and Persian translation based on Newmark theory, it was found that in translating these novels, the methods of transmission, localization, and cultural equivalent have been most used in transmitting the unit of culture. Cases have not been successful in conveying cultural categories. Many cultural categories, including the names of food, clothing, antiquities, institutions and organizations, customs, etc., without explanation in the footnote, are only transferred to the target culture and make it difficult for the reader to understand, which is one of the weaknesses of translators.

Youssef Hussein Bakkar (1942-present) is a writer, researcher, and literary critic among scholars who have attempted to criticize Arabic translations of Khayyam's quatrains through his knowledge of translation techniques. The present study aims to descriptively-analytically criticize his views on these translations based on seven features (rationalization, clarification, theological terms, qualitative ennoblement, quantitative impoverishment, idiom destruction, language system destruction), which are the deforming view of Antoine Bremen (1942-1991), the French pioneer theorist. The findings of the study indicate that Bakkar used his criticism in his reviews and his views are often humorous, devoid of reasoning, and do not follow any particular theory. Adopting a linguistic approach by Bakkar shows that his critique of the method is consistent with the components of Antoine Berman's theory, but Bakkar’s linguistic approach lacks the application of theoretical issues. He does not present his views in a coherent, solidly structured theoretical framework.

Cultural elements as major parts of texts play an important role in conveying the main concepts to the readers. Understanding these concepts is the main concern of translators of different scripts. Therefore, a translator can convey not only the meaning of the text but also the sentiments of the author to the readers using cultural synonyms. To this end, in this paper, we analyze the “Kharidar Eshgh” novel by Mohammad Ali Behzad Rad using the cultural pattern of Mark Newman. Moreover, we investigate how a translator deals with cultural elements and how he/she approaches finding the equivalent of cultural expression in Arabic and Persian language. We use a descriptive-analytical method in our research and we show that the translator of this novel has concentrated more on interpreting the meaning of text rather than conveying the author’s sentiments and feelings. Hence, word-by-word translation in some cases led to the ambiguity of translation. Furthermore, the actual meaning of expressions and metaphors have not been apprehended properly and inappropriate synonyms for words have been chosen. Among cultural components in this novel, cultural contents, proverbs, and ecology have the highest frequency, respectively.

The marked information structure is one of the topics addressed by functional linguists which has also attracted the attention of translation theorists. Among the marked syntactic structures are topicalization and focalization, in which the topic and focus are removed from their original position in the sentence and placed in another position, for example, at the beginning of the sentence. Considering that in terms of information structure, shifting in sentence elements and marking creates more semantic load; understanding this issue is especially important in translating religious texts and requires more accuracy of the translator and knowledge and observance of the structure of the two languages of destination and origin. Because two propositions may have the same meaning in appearance but have different meanings in terms of communication and verbal. The present study, based on the method of content analysis and with a comparative approach, and relying on Lambreckt's theory, has examined and analyzed Garmaroodi's translation of Jihad's sermon in terms of translation of marked structures. The results show that the translator has not been very successful in translating these structures in general and has translated most of these structures into Persian as unmarkers. Of course, this has not harmed the fluency of his translation, but undoubtedly, has damaged the precise transmission of some of the communicative meanings of the text, from the point of view of information structure due to the change of structures from marking to unmarking.

Vernacular translation of literary works invites inevitable semantic, syntactic, rhetorical, and ideological shifts within a text. This process of stabilizing originates mostly from the translator’s conscious intention and is reliant on the target language’s innate nature. Among the most notable theories in this regard, is J. C. Catford’s theory (1965), which analyzes semantic and syntactic shifts in two general categories and four sub-categories. This study attempts to compare and investigate Abdolmona-em’s and Al-Attar’s stabilizations in the Arabic translation of Forough Farrokhzad’s “Tavallod-i-Digar,” based on Catford’s theory. The results of this study suggest that in comparison with other transformation modes, transformations on a syntactic level are of high impact on the translations by both aforementioned translators. Maryam al-Attar’s translation includes fewer structural stabilizations because of reduced concern about the primary language’s structure and emphasis on literal translation, and this culminated in the complexity and unfamiliarity of the end product. On the contrary, Abdolmona-em’s translation appears more smooth and natural, as it suggests suitable equivalents and emphasizes the expression and stabilization of semantic and syntactic structures. Furthermore, the exclusions and redundant extensions in Al-Attar’s translation have often brought about interpretative and thematic transformations in the poem.

For almost a decade, translation theories have been used to evaluate the translation of the Qur'an. The purpose of choosing a theoretical framework for research is to achieve a scientific and non-tasteful assessment, but by examining these evaluations, it turns out that in some cases evaluations are out of the theoretical framework or have a misunderstanding of the theory. In order to examine these evaluations, the present study analyzes five studies based on Naida's theory in the field of Qur'anic criticism as a case study to examine the slips of researchers in applying this theory. The research uses a descriptive-analytical method along with critique. This research shows that critics sometimes make mistakes in understanding the formal and dynamic equivalent meaning and have found wrong examples in translations. In some cases, despite the fact that Naida's theory has been used as a basis for the assessment, the critique still moves in a different direction from this framework, which in some cases is due to the incompatibility of the theoretical framework with the research data.

The connection between Arabic and Persian languages has had a long history, and the cultural interaction and interference between these two languages have reached the highest point.  Translation has been considered a medium by which a message can be transferred from one language to another with the least impairment. Interjections are language items through which emotional feelings like happiness, sorrow, pain, and regret or unemotional feelings like onomatopoeia are conveyed. This article analyzes the interjections in the translation of the novel “The length of the Night”, which contains a considerable number of interjections. The correspondence between the Arabic and Persian words is analyzed through a one-to-one comparison between the original and the translated text. The results showed that the translator has used good correspondences for the translation of interjections in most cases, and has been able to transfer the message to the target language accordingly. Though, in some cases, he has only achieved partial correspondence and failed to achieve correct correspondence in some others.