فصلنامه مطالعات زبان و ترجمه
سال پنجاه و ششم شماره 4 (زمستان 1402)

Nowadays, translation studies can be used as a tool for analyzing literary texts in the field of imagology. Among literary texts, plays play an important role in presenting the image of the national identity of each country. Molière presented the image of French national identity in the 17th century in her plays.This research aims to study the transformation of images in the translation of The Misanthrope by Mirzahabibullah Esfahani. For this, we will adapt Ditze's point of view in the field of imagology and Etkind's opinions regarding translation. By analyzing and comparing the images of the source text with those of the target text, we will examine the changes that have occurred. This research shows that the translator modified some images intentionally or not. His translation falls into the categories of translation-approximation and translation-recreation according to Etkind's opinion

Interest in computer-assisted interpreting tools has increased as a result of the desire to prevent cognitive saturation during interpreting. The present study examined the quality of interpreting numbers by Microsoft Translator and professional simultaneous interpreters. For this purpose, a collection of political speeches delivered at the United Nations was gathered. The results showed that there was no significant difference between Microsoft Translator and professional interpreters in terms of interpreting numbers. There was a significant difference in the error categories across the types of numbers, indicating that interpreting errors varied depending on the type of number. The findings of this research suggest that Microsoft Translator could be a useful tool for assisting human interpreters during simultaneous interpreting. In other words, Microsoft Translator could provide a quick and accurate interpreting of numbers, alleviating the cognitive burden on human interpreters and enabling them to focus their attention on other aspects of the conversation.

Considering the rapid progress of technology in the fields of cognition, robotics, and artificial intelligence, as well as the abundance and easy access to educational materials in cyberspace, traditional education no longer meets the actual needs of society. Informal education has overcome formal education by placing a greater emphasis on techniques and skills. In this article, two types of education were introduced: a) Mindsetting education (including mind-filling education and mind-developing education) and b) Brainsetting education (including brain-exercising education and brain-generating education). The first relates to thinking and thoughts, and the second is knowledge and skills. In fact, with the advent of intelligent educational systems, there has been a shift from soft, mental, and human approaches to more hard, cerebral, and machine approaches, which teachers and educational specialists need to consider.

Through using different vehicles and implements, poets and authors in the School of Naturalism could reflect life’s events and its circumstances in detail. Among the most significant subjects and topics propounded in this school are war, poverty, prostitution, bloodshed, and murder. Naturalists are poets and authors who reveal life as it is and insist on the ugly faces and aspects of life to indicate how human beings are useless creatures who are surrendered to genetics and the environment. This study uses naturalistic qualities and common themes found in War Poetry to compare the poetry of two renowned poets, Qeysar Aminpour from Iran and Wilfred Owen from England. For this, “A Poem for the War” composed between 1979 and 1984 by Aminpour and “Dulce et Decorum Est” (1920) by Owen are selected among others. The major qualities examined in this article are as follows: the descriptive details of war and its circumstances; the use of simple and colloquial language; cacophony, and harsh and tough language; and the picture of war’s indecencies, ugliness, and terrors. Results reveal that war poetry in England is basically anti-war, although some epic-tone and passionate poems were written by poets such as Robert Brook and Siegfried Sassoon at the beginning of the First World War, however, war poetry in Persian rests on mysticism and it is epic-tone. Nevertheless, in both poetry, war is viewed as cruel, painful, and full of Naturalistic qualities.

This research aims to investigate the extent to which word choice in translation is influenced by intra-textual or extra-textual factors, or whether the use of bilingual dictionary equivalents is adequate for the translator. To this end, the translation of two common adjectives, “Good” and “Bad”, in the novel The History of Tom Jones, a Foundling was analyzed. The findings revealed that word choice in translation is predominantly intra-textual, and that extra-textual word choice, i.e., word choice based on bilingual dictionaries, is not effective in translation - especially in literary translation. The translator mainly relies on the text and the relations in it to select the appropriate words, and this is more evident in the case of some linguistic features of the text. One of these linguistic features is the collocational relation between words, which plays a crucial role in determining the meaning and affecting its textuality.

Theatrical performances, such as lamentation have always been part of Iranian society and have a long history. However, theater as a cultural and modern phenomenon was introduced to Iranian society in the late Qajar period. In theater, the content of the show, the performance or acting style, and the language used to convey concepts are three crucial elements. Historical studies and translation studies have so far addressed various aspects of theater translation. Nevertheless, the role of language and translation in theater in Mashhad, especially from the Constitutional Revolution to the Islamic Revolution, has been virtually ignored. This paper aims to examine the language and translation as two main elements of theater in Mashhad and analyzes what changes Mashhad’s theater experienced from the first performances in the late Qajar period to the Islamic Revolution. In doing so, drawing on a library method, primary sources, including all Mashhad newspapers from the Constitutional period to the Islamic Revolution, such as Aftab-e-Shargh, Azadi, Bahar, Chaman, Khorasan, Seda-ye Khorasan, Nava-ye Khorasan, etc., were investigated and all the themes related to the theater were extracted. Then, using research and secondary sources, the results related to language and translation were presented in a descriptive-analytical manner. Findings suggest that the early forms of theaters in Mashhad were performed in Turkish. Then Turkish translation was replaced by theaters in Persian. In the first Pahlavi era, the translation of Russian works flourished in Iran, and the translation of prominent Turkish, English, and French works was also added to this trend since 1951. During this period, the quality of translation significantly declined as adaptation or free translation became the norm in play translation. In the 1960s, with the emergence of new theater groups in Mashhad, Persian became the dominant language of this art in Mashhad.

This study explores the use of nicknames among trilingual youth, investigating the influence of identity, culture, language, and attitudes on their propensity to assign nicknames to others. This research is cross-sectional and uses survey research. Results reveal that nicknames mirror the intricacy of social relations in a trilingual society. Young people’s attitudes towards others’ titles are predominantly negative, while their views on their own titles are more positive. Physical attributes form the basis for the most common nicknames. In this trilingual village, nicknames are primarily given to incapacitated individuals, those with differing religious beliefs, and those who do not share commonalities with the dominant language (Georgian, the native language of the dominant group) and ethnicity. The dominant language group is more inclined to assign titles. Most titles are based on descriptive phrases rather than verbal, prepositional, or adverbial phrases.