Literary translation

L'article présente les premières traductions tchèques de Jules Verne publiées au XIX e siècle, entre 1870 et 1900. L'étude cherche à répondre à certaines questions concernant l'histoire externe de la traduction ou « l'archéologie de la traduction » dans les termes d'Anthony Pym : qui étaient les éditeurs des premiers romans de Jules Verne présentés au public tchèque, quels titres introduisirent-ils, quelle fut la structure des traductions de cette littérature pour la jeu-nesse à l'époque ? La recherche fondée sur la méthode statistique laisse de côté l'analyse détaillée des traducteurs de notre corpus, auxquels sera consacrée une autre recherche plus approfondie. Mots clés. Jules Verne. Traductions et éditeurs tchèques. Archéologie et sociologie de la tra-duction. Abstract. The First Czech Translations of Jules Verne (1870-1900). Archaeology of Translation. The article presents the first Czech translations of Jules Verne published in the nineteenth century, between 1870 and 1900. The study seeks to answer several questions concerning the external history of translation or archaeology of translation in terms of Anthony Pym: who were the publishers of the first novels of Jules Verne presented to the Czech public , which titles did they introduce, what was the structure of translations of this literature for youth at the time ? The study is based on the statistical method and leaves aside the translators of this corpus, a subject that will require another detailed research.

Bu eleştiri yazısındaki kaynak metni, Rudyard Kipling’in 1910 yılında, o zamanın İngiliz milliyetçiliği ve yayılmacı ideolojisiyle kendi toplumu için yazmış olduğu “If–” başlıklı şiiri oluşturmaktadır. Kipling’in İngiliz çocukluklarına hitaben, hayatta onları bekleyen zorluklarla nasıl baş edebilecekleri konusunda yazdığı bu öğretici şiiri,  yayımlanmasından 66 yıl sonra, 1976 yılında Türkiye’de siyaset adamı, şair-çevirmen Bülent Ecevit’in “Adam Olmak” başlıklı Türkçe çevirisiyle de okunmaya devam etmiştir. Bu çeviride, Ecevit’in erek metninin başlığına da yansıdığı gibi, çevirmenin hem kendisinin hem de ideolojik bir parçası olduğu erek toplumun ve kültürün o günkü koşullardaki beklentileri, ihtiyaçları doğrultusunda, kaynak metne göre bazı çarpıcı değişiklikler yaptığı, daha doğrusu, Popoviç’in deyimiyle “seçeneksel deyiş kaydırmaları”na başvurduğu görülmektedir. Böylece, bu eleştiri yazısının amacı, çevirinin kaynak metnin bir kopyası olmadığı ve kaynak kültür veya kaynak toplumdan ziyade çevirinin amaçladığı erek toplumun, erek kültürün koşullarının yönlendirdiği bir gerçeklik olduğu düsturuyla hareket ederek, çevirmenin bu çevirisindeki erek-odaklı yaklaşımını betimlemektir. Bu betimlemede, erek metindeki “seçeneksel deyiş kaydırmaları”, iki metin arasındaki sosyo-kültürel farklılıklar artalanında, çevirinin amacı (skopos) da göz önünde bulundurularak açıklanmaya çalışılmakta; böylece, çevirmenin stratejileri iki metnin, Nord’un deyimiyle, “metin-dışı” ve “metin-içi” bağlamları göz önünde bulundurularak tartışılmaktadır. Sonuç olarak, Ecevit’in Türkiye’nin 1970’li yıllardaki çalkantılı siyasal ortamında kendi toplumu için ürettiği bu şiir çevirisinin, erek kutup bağlamında zaman, yer ve kültürün yani sosyo-kültürel kısıtlamaların çevirmen ve çeviri edimi üzerinde ne kadar etkili olabileceğini gösteren güzel bir örnek oluşturduğu gözlemlenmektedir. Kipling’in kendi toplumunun o zamanki ideolojisini yansıtan şiiri, “Adam Olmak” başlıklı, House’un deyimiyle, “örtük” erek metinde adeta Ecevit’in kendi toplumunu, halkını yine onların yararına birleştirmeye çalışan, kendi “halkçı” ideolojisinin bir söylemine dönüşmektedir.

Repetition is a common literary device that can be used to create associative networks within a text, parallel structures suggesting similarities in meaning, or a wide span of effects ranging from monotony to excitement. If repetition is a common literary device, then it follows that its translation is a common challenge for the literary translator. However, translators tend to avoid repetition and by doing so often fail to recreate the function the repetition fulfils in the source text. Using Michael Cunningham’s literary travelogue Lands End: A walk in Provincetown and its German translation as a case study, in this paper I will have a closer look at the literary function of repetition and how omitting the repetition in the target text can affect the text’s meaning potential. In addition, I will discuss alternative solutions that maintain the literary function in the target text. In particular, I will argue that the target text does not necessarily need to mirror the linguistic form of the source-text repetition, but can employ other stylistic means to recreate its literary function in the target text.

Le texte romanesque français, quel que soit son genre, contient un tas de caractéristiques esthétiques qui présentent parfois, un obstacle pour le traducteur lors de sa traduction vers l'Arabe, dont notamment les expressions idiomatiques, car elles sont intimement liées à la culture de chaque société et possèdent un caractère implicite et une structure unique, telles que celles que nous avons repérées dans le roman de Joseph Andras intitulé « De nos frères blessés » et traduit par Salah Badis.
Le traducteur, donc, a recouru à différents procédés pour traduire les expressions idiomatiques du Français vers l’Arabe, à savoir l’adaptation, à travers laquelle nous avons ressenti un des aspects de la société algérienne. Il a également employé la paraphrase pour transmettre l’acception de certaines expressions, comme il a utilisé des expressions de l’Arabe ayant les mêmes effets stylistique et esthétique que celles dans la version originale, en se basant sur l’équivalence. Le traducteur a traduit un bon nombre d’expressions idiomatiques littéralement en assumant pleinement son choix et en précisant que ce n’était aucunement par fidélité de sa part, mais en vue d’enrichir la langue arabe par de nouvelles expressions.
Les mots clés : roman historique, révolution algérienne, expressions idiomatiques, équivalence, traduction littérale.

The current case study attempts to unravel the problems encountered by the translators of Midaq Alley and Palace Walk when rendering Arabic religious politeness expressions from Arabic into English. Besides, the study aims to investigate the translator's orientation and the strategies adopted in dealing with the aforementioned utterances. Regarding methodology, the researcher applied Halliday's model in discourse analysis, a qualitative research method investigating an exploratory case study. The researcher applied Nida's orientation in translation: formal and dynamic equivalence. The analysis included investigating the co-text of the original text to reveal whether or not the translator used the same co-text. The corpus included 14 utterances of both novels of Mahfouz: Midaq Alley and Palace Walk, and their translations by Le Gassick, Hutchins and Kenny respectively. The findings of the study indicated that the pragma-religious failure conducted by translators was specifically socio-pragmatic. Besides, translators seemed to misunderstand the implied meaning, thus rendered a different illocutionary force. Moreover, the translators in both novels adopted the formal equivalence in their translation more than the dynamic one. In this sense, a translator is required to isolate the religious linguistic material from its situational context to provide an effective rendering. Accordingly, adopting the dynamic equivalence could resolve the problem under investigation. The present case study is an attempt to open the door for other researchers to seek alternative strategies to cope with this laborious task for literary translators of novels in particular.

As a lover of Hopkins’ verse and a poet and translator of
Russian poetry into English myself, the small contribution I can offer
to Hopkins scholarship consists primarily in communicating an
appreciation of what he might have sounded like had he composed in
Russian...

Over the decades of language study and teaching linguists and scholars have come up with communicative competence (CC) theory. Currently, intercultural competence, a complementary subcategory of CC has been prioritized by a myriad of studies. Striving to replicate the previous findings of Sercu et al (2005), and observing the effects of intercultural awareness among Iranian EFL teachers on language pedagogy, the following steps were taken: a. Checking the teachers' intercultural awareness via a questionnaire by Sercu (ibid), b. Holding an intercultural workshop teaching 12 rules of it advocated by Byram (2000) and observing the manipulation of intercultural techniques, finally, c. pretesting and post testing the experimental and the control group. It is found that raising intercultural awareness amid Iranian EFL teachers had paramount effect on the learners' intercultural competence.

Translator behavior criticism theory is regarded as one of the main current translation studies theory in China. It is proposed by Professor Zhou Lingshun in 2010 and now it has been 10 years. This article starts from translators' position as the center, which provides the background for this theory. Then it moves on to make clear the main proposals and practice of this theory, especially his "truth-seeking and utility attaining" continuum mode of evaluation. Through this continuum mode, one can measure the degree of rationality of a translator's behavior by taking various factors into consideration, hence the evaluation of the translated version. After that this article talks about the significance and limitations of this theory. His theory is a breakthrough in translation studies, but still needs to be further polished.

This research examines the translation of the swear words of a Turkish film (GORA, 2004) into English subtitles. So far, the most closely related research on translation of swearing in the Turkish Soler-Pardo, 2015). The main reason for this paper is the current research gap in translating the Turkish swear words into another language (English). Throughout this research, the English subtitle translation of Cem Yılmaz's GORA (2004) was picked on Netflix and parts which contained swear words were documented on a .txt file, were marked and analyzed using swear words categories of Pinker (2007). Ameri & Ghazizadeh's (2014) swear word translation model, as well as Harvey's (2000) technique of 'functional equivalence' (2000, pp. 2-6) presented by the four main culture-based concepts of translation technique was used for the analysis. This article aims to explore and answer the following questions; (i) How have the Turkish swear words in GORA (2004) been translated into English? (ii) How and for what reason did changes in translation occur? The hypothesis of this research is as follows; (a) there will be a loss of meaning and function due to smoothing during the translation of swear words; (b) cultural contraction will be observed during the translation of swear words. The findings confirm the hypotheses and support that the words of curses are either completely omitted from the frame or changed in meaning by being softened. This shows that the translations also adopted a target language-oriented strategy during translation.

This research will explore the result of studying different aspects of identity seeking and establishing it as a liminal-prone one in a hybridized atmosphere among the colonized in terms of post-colonial discourse, based on Bhabha's theories in his book, The Location of Culture, and on Isabel Allende's novel, The Japanese Lover (2015). This study strives to expose the way through which the colonized characters' identities in the novel undergo radical transformation through the third space which is heavily laced with qualities like ambivalence, stereotype, mimicry, and unhomeliness. Isabel Allende is an author whose novels mostly are an attempt to delineate the process of identity shaping particularly in the USA, since identity has always been an obsession for human which is defined based on different properties, one of which refers to the nation, culture and the territories based on Bhabha's notion of hybridity which stems from confrontation of the cultures of the oppressor and the oppressed in the process of colonization. Generally, subject of identity in post-colonialism discourse is one in which people especially the colonized seeks for attachment. It will be divulged through this analysis that how liminal quality which is created as the consequence of colonial discourses will result in creating a space in which the oppressed one undergo radical changes in forming identity and how their identities are susceptible to alteration and likely to be unstable and fugitive.

Translation is an important practice which aids in developing a mutual understanding between cultures. But the performance of translation varies from culture to culture. Orientalism, a book by Edward Said tackles cultural studies within which he has challenged the idea of orientalism or the distinction between East and West, as he views it. It has been translated by the scholars belonging to different cultures worldwide. The present study discusses the variations of the two translations of Edward Said's book Orientalism undertaken by Kamal Abu Deeb (the professor of Arabic literature) and Muhammad Enani (the famous Egyptian writer and translator). The focus was led on exploring the differences and similarities of the Target Text (TT) and comparing them to the Source Text (ST). Whereas, comparison and analysis constituted mainly of stylistic, structural and theoretical features. In addition, this study sheds light on the reasons behind the appearance of the second translated version by Enani. The data were collected from the first chapter of each book and analyzed by using a descriptive method based on theories and strategies of translation. The findings of the study indicate the differences in choice of translation methodologies made by the two translators, as revealed by their different approaches of translation; Abu Deeb used literal translation method which made the text obscure and hard to understand. On the other hand, for retranslating Orientalism, Enani used idiomatic translation method and domesticized the text in order to make it accessible and easy to understand by the Arab Reader.

The perpetuity and popularity of Saadi is a clear point that most scholars acknowledge, but the philosophy and mystery behind these features have received little attention. The present study, investigated the factors involved in Saadi and his Golestan's perpetuity and popularity using a descriptive-analytical method and a critical and comparative point of view. To do so, first, by referring to Saadi's Collections and using critics views the causes and factors behind Sadi's works presented in three linguistic, literary, and intellectual areas. Then, a linguistic feature of Saadi's Golestan, that is, his accuracy in employing pluralization signs has been critically analyzed as one of the factors for the perpetuity and popularity of this work by extracting examples from the preface and first chapter of this book. The present study shows that using Persian pluralization signs for all Persian words and some Arabic words, choosing Persian words instead of Arabic words which eliminates the use of Arabic rules of pluralization, using irregular and feminine Arabic pluralization signs which are embedded in Persian texts and are not difficult for Persian-speaking audiences, using Persian signs to pluralize Arabic nouns and localizing foreign words, considering the fluency of pronunciation and rhythm of the words in the selection of pluralization signs, and finally, the induction of Saadi's global thought and philanthropy in the form of plural names, are some of the delicacies that appear in the plural words used in Saadi's work. This feature distinguishes Saadi from the writers who use Arabic pluralization signs in order to show their interest in Arabism and consider these characteristics as reasons for the perpetuity and popularity of Saadi's works.

Per la seconda volta in Italia, dopo Tommaso Iorco, quest'importantissimo inno del Rg Veda viene tradotto in lingua corrente italiana. Tradotto dal sanscrito originale, appoggiandosi alla versione inglese di Ralph T. H. Griffith (1896) ed anche alla parziale traduzione di Raimon Panikkar in "Veda-Mantramañjarī" BUR, 2016, da lui operata solo relativamente alle strofe più importanti. Segue commento dell'autore, Kenan Digrazia, che evidenzia la tesi di come ci si trovi, in quest'inno, di fronte alla testimonianza dell'unicità monoteistica dei culti antichi, precisamente in quella fase storica ove emerge il politeismo come trasformazione successiva. Il commento è anche spirituale, nel rispetto della tradizione indiana, e comparativo con la tradizione biblica occidentale.

When we read words on paper in Western-influenced languages, we read in a linear way: from left to right, from top to bottom, line by line, from beginning to end. But reading on the Internet is often done in a non-linear way; web pages usually contain more than one readable item, so the reader is tempted to jump around and not concentrate. When reading web pages, we tend to read more quickly and less deeply than when we read on paper. Báo Giấy (Poetry Journal in Print) seeks to allow both kinds of reading.
The world is becoming ever smaller, and every civilization is reaching out to others because we are all in the same race; human. Humanity requires understanding and peaceful exchanges which will enrich our lives. In the age of the Internet, poetry has become a simple and convenient means to rapidly discover and begin to understand the cultures of many different peoples.
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The present article conceptualizes the process of rewriting the given text in the target language (TL) as regeneration of the text across languages. Shedding light on similarities and differences between producing a text across languages i.e. transwriting and within a language i.e. writing, it is argued that translation is a creative process almost exclusive to linguistic and textual levels.