Naturalness in Literary Translation

Babel ◽  
1997 ◽  
Vol 43 (1) ◽  
pp. 60-75 ◽  
Author(s):  
Abdul-Baki As-Safi ◽  
In‘am Sahib Ash-Sharifi

Abstract The present article investigates the concept of naturalness in literary translation. The aim of the investigation is to delineate an integrated approach to 'natural' translation, the essence of which lies in creating a compromise between accurate rendition and literary reproduction. Such a compromise entails attaining an artistic verbal smoothness which transcends the level of ordinary language. To this end, natural translation calls for a utilization of the target language's resources that will make the translation read like an authentic target language (TL) work, while preserving the content intact. The article thus identifies naturalness as the achievement of authentic TL style, and unnaturalness as the hybrid language of literal rendition, i.e. translationese that may be unacceptable or unintelligible. It detects the actualization of an authentic style of Arabic rendition on several levels: lexical, sentential, cohesive and idiomatic. On the lexical level, naturalness is delimited in terms of proper choice of appropriate vocabulary. On the sentential level, well-formedness is posited as the feature of naturalness which outlines a rhetorically natural sentence, besides other concomitant features. On the cohesive level, the features of a natural target text are based on the use of cohesive devices to a greater or lesser degree than the source text in general and on the propriety of their use in particular instances. At the idiomatic level, we mention idioms and proverbs but concentrate, with examples, on collocations. Résumé Cet article examine la notion de naturel dans la traduction des textes littéraires dans le but de cerner une approche intégrée de la traduction 'naturelle' qui consiste essentiellement à obtenir un compromis entre un rendu fidèle et une reproduction littéraire. Ce compromis exige une fluidité verbale artistique qui dépasse le niveau de la langue ordinaire. La traduction naturelle doit donc utiliser toutes les ressources de la langue d'arrivée pour que la traduction se lise comme ouvrage littéraire rédigé dans cette langue d'arrivée, tout en respectant fidèlement le contenu. Dans leur article, les auteurs définissent donc le naturel comme l'obtention d'un style authentique dans la langue d'arrivée, et le manque de naturel comme un langage hybride avec un rendu littéral, c'est-à-dire des traductions susceptibles d'être inacceptables ou incompréhensibles. L'article analyse comment mettre en oeuvre, à différents niveaux, un style authentique en arabe: lexicologie, phraséologie, cohérence et usage d'expressions idiomatiques. En ce qui concerne le niveau lexicologique, le naturel se définit comme étant le choix correct d'un vocabulaire approprié. Au niveau phraséologi-que, des phrases formées correctement sont la caractéristique du naturel qui fait apparaître, à côté d'autres propriétés, la rhétorique naturelle de la phrase. Au niveau de la cohérence, les caractéristiques d'un texte rédigé avec naturel dans la langue cible sont basées sur des mécanismes utilisés plus ou moins intensivement que dans le texte d'origine en général et sur leur utilisation appropriée dans certains cas particuliers. Au niveau des expressions idiomatiques, les auteurs mentionnent de telles expressions ainsi que des proverbes, mais se concentrent, en donnant des exemples, sur des collocations.

Babel ◽  
2018 ◽  
Vol 64 (1) ◽  
pp. 135-168
Author(s):  
Kenneth Grima

Abstract The process of literary translation includes the source culture-specific elements that constitute an integral part of the source text. This paper aims to identify and analyse various translation strategic processes that could be adopted in translating cultural factors within the parameters of a Maltese bilingual, but not necessarily bicultural, context. Each of the suggested strategic procedures is presented in useful flow-chart formats, varying from source language/source culture to target language/target culture bias approach in order to keep cultural losses to a minimum whilst maximising cultural gains and, therefore, to make the transformation of the source text into the target text successful. Such flow-charts are aimed to provide the literary translator with a rapid means of achieving an adequate and satisfying suggested solution for a quality cross-cultural transposition of the cultural elements encountered within a bilingual context. In certain instances, it is also suggested that some strategies are used concurrently with others. To achieve this aim, an extended practical translation exercise by the author himself is used. This paper also helps to strengthen further both the level of research in narrative translation studies in general, and the research done in Maltese narrative literary translation from a cultural point of view.


2005 ◽  
Vol 1 (2) ◽  
pp. 1-18
Author(s):  
Robert A. Dooley

Many Bible translations, including one in Mbyá Guarani of Brazil which this article takes as a case study, use natural target-language discourse patterns on &lquo;micro-levels” (within a thematic unit and usually within a sentence or two) but source-text patterns on “macro-levels.” Questions arise: Why should such a strategy be used? Why might it work? On macro-levels, how can readers understand what is presented with source-text patterns? And on micro-levels, how can a translation claim to communicate the author’s original intent when its discourse functions—not just its forms—are radically different from those of the source text? This article explores such questions and proposes answers using concepts from such diverse areas as general cognition, text processing, genre innovation, information structure, indices of markedness and reader confidence.


2019 ◽  
pp. 1-9
Author(s):  
Bal Ram Adhikari

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.


2019 ◽  
Vol 2 (1) ◽  
pp. 42-61
Author(s):  
Andra Iulia Ursa

The following paper deals with a view on the concept of fidelity in literary translation with an analysis of the Romanian poet Mircea Ivănescu’s work on the overture of episode eleven: “Sirens” from James Joyce’s “Ulysses”. Mircea Ivănescu is a postmodernist poet who prefers to employ an ordinary language when writing. Moreover, he is a self-taught man of letters who didn’t even get a degree in the languages he translated from. When speaking of his work as a translator his attitude is often sceptical. However, “Ulise” is an acclaimed Romanian translation and critics have repeatedly praised Ivănescu’s translation skills and use of language. For that reason, the paper focuses on the concept of fidelity in translation and on the effort of the Romanian poet to efficiently render Joyce’s writing style in the target language and at the same time to preserve the original meaning of words. The paper is not intended to elicit the imperfections of the translation but rather to illustrate the intricacy of the task, the problems of non-equivalence that are difficult to avoid by any literary translator and some potential approaches.  


2019 ◽  
Vol 8 (4) ◽  
Author(s):  
Alsu A. Khafizova ◽  
Natalia V. Antonova

The present article studies peculiarities of colloquial vocabulary of English, Russian and French languages on the material of fictional texts and their translation, particularly works by S. Maugham and their translation into Russian and French. Special attention is paid to the problem of preserving stylistic component when translating from one language into another. Since the languages demonstrate their own specific features in the aspect of word choice determined by cultural nature, development of functional styles and peculiarities of linguistic and stylistic norms, translators have to face certain difficulties when transferring the source text into another language. One of the problems in this aspect is that translator has to find not only corresponding lexical or phraseological units to preserve semantic components of the original, but also follow the stylistic mode of the text and at the same time do not shift away from stylistic norms of the target language. The article shows how translators cope with this problem and try to solve both tasks.


2013 ◽  
Vol 24 (29) ◽  
pp. 87-97
Author(s):  
Gintarė Aleknavičiūtė

Literary translation is one of the most widely discussed topics in Translation Studies. There are different opinions and approaches to literary translation. On the one hand, some theorists and translators suggest that linguistic aspects such as syntax, lexis, etc., are of great importance to literary translation; one must keep to the rules of the target language without digression from the original meaning, after all. On the other hand, some scholars believe these factors are insignificant, because turning translation into a linguistic exercise undermines the more important textual, cultural, and situational factors (Leonardi 2000). However, the application of Grice’s Cooperative Principle to literary translation allows the mixture of both the linguistic aspects and all that is left beyond the meaning. The study was inspired by Kirsten Malmkjaer, Gideon Toury and Kristina Shaffner’s debate on Norms, Maxims and Conventions in Translation Studies and Pragmatics (Shaffner 1999). The aim of the article is to analyse the Lithuanian translation of D. Brown’s The Da Vinci Code within the framework of Grice’s Cooperative Principle and the strategy of domestication by reviewing domestication and foreignization and introducing Grice’s Cooperative Principle. The research proves that even though it is virtually impossible for a translator to convey the meaning of the source text exactly as it is given, the insufficient use of domestication in the Lithuanian translation of The Da Vinci Code emphasises the presence of the translator and disrupts the ease of reading.


2021 ◽  
Vol 2 ◽  
pp. 158
Author(s):  
Sigit Suharjono

The work of translation is not a matter of only transferring words from one language to another. It is a communication bridge through which a translator must pick up and carry the message of the whole text that the writer is trying to communicate in the given situation of the source-text readers and deliver it to the target-text readers in their adopted and adapted situation. This is the point at which a translator often misses what is in the writer’s mind because s/he is unable to get into the writer’s mind to reveal the hidden message. As a result, the way the readers of the target text think and feel about what they read is often not the same as the way the readers of the source text do. This paper is aimed at finding out problems related to non-equivalence from the word level to the pragmatic level based on Baker’s that may be found in a literary translation of the first chapter of Pena Beracun by Suwarni A.S from Agatha Christie’s novel ‘The Moving Finger” and discusses the translator’s choices of the target text equivalence for the source text. The method of this study is a library research. The data was collected from two sources: Pena Beracun, an Indonesian translation of ‘The Moving Finger’ by Agatha Christie and its original English novel. The data collection technique was done by comparing the two sources to find non-equivalence problems from the word level to the textual level.  The problem(s) in the translator’s choice of TL equivalence for SL, which may range from choosing the equivalence at word level to the choice of textual equivalence was identified and discussed by referring to the strategies as proposed by Baker (2011).  Lots of cases of non-equivalence problems are found in the translation of the first chapter Pena Beracun by Suwarni A.S from Agatha Christie’s novel ‘The Moving Finger’ which range from non-equivalence at word level to textual level. Most of the problems of non-equivalence are related to collocation and fixed expressions. The translator’s strategies to overcome the problems are directed more to the acceptability and naturalness in the target language, giving style to the literary use of language.


2016 ◽  
Vol 5 (3) ◽  
Author(s):  
Leena Kolehmainen ◽  
Helka Riionheimo

This article approaches literary translation from a contact-linguistic perspective and views translation as a language contact situation in which the translator “moves” between the source and target language. The study touches upon the possible linguistic effects of the source text on the translated text and relates the translation-mediated cross-linguistic influence to other language-contact situations. The study investigates the use of Finnish passive in a corpus of literary texts consisting of Finnish translationsfrom Estonian and German and comparable non-translated Finnish literary texts. The translated texts are compared with non-translated ones by using corpus-linguistic tools, and the results are related to a previous contact-linguistic study on the use of the Finnish passive in spoken interviews of Finnish migrants in Estonia. The main objective is to test methodological tools that could be used for this kind of comparative purposes.In addition, the study approaches the question whether translation as a type of language contact affects the use of the Finnish passive in a similar way as an oral language contact situation. All in all, the study shows that there are some features that differentiate the investigated literary translations from non-translated Finnish texts but the evidence is not unambiguous. The article discusses the possible reasons for the mainly non-conclusive results of the analysis and points out factors that should be taken into account in future studies, such as the size of the sub-corpora and the possibly biased text or genre specific stylistic characteristics. The methodology clearly has to be adjusted and more in-depth methods developed in order to acquire a fuller picture of the Finnish passive in literary texts and to confirm what is author, translator, genre or source-language specific in the use of the Finnish passive.


2021 ◽  
pp. 165-176

The article discusses the problems related to the specification of the levels of linguistic personality of a literary translation. Translator’s linguistic personality is a subtype of a linguistic personality, which is always limited to a special social function and conditioned by the ideas, style, linguistic peculiarities and preferences of the source text author. Therefore, a literary translator represents the reality that was perceived through the prism of a source text author’s mentality and cognitive experience, but with the attraction of own cognitive baggage and understanding of the foreign culture. The topicality of the research is conditioned by the necessity of definition of key components of s linguistic personality as essential elements of a literary text translation from the point of view of pragmatics. Moreover, the development of linguopersonology contributed seriously to the development of anthropological linguistics, therefore, the literary translation, being a part of anthropocentric paradigm, needs more detailed elaboration of a linguistic personality of a literary translator as this sphere is insufficiently researched. According to the understanding of a literary text as a complicated and multilevel phenomena representing a secondary objective reality and involving various contexts, it is necessary to take into consideration that a literary translator is also a secondary linguistic personality whose main goal is to represent an adequate text in the target language. Basing on the functional approaches, the levels (which are: linguocreative, pragmatic, cognitive, ideological and socio-cultural) reflecting the specificity of literary contexts were defined and justified. Each level is illustrated with the relevant examples that provide practical application of the developed theory. It is also emphasized that the differences in perception of a linguistic picture of the world by different cultures may affect the adequacy of translation, therefore, only linguistic knowledge is not enough for developing good translation skills in the sphere of a literary translation.


Author(s):  
Melati Desa

ABSTRACT   : Language and culture influences each other and its effect is reflected in not only the way humans think, but could also be seen in a full load of figurative elements in creative writing, such as metaphors. Thus, the report examines the aspects of the transfer of meaning in the live metaphors in Haru No Yuki, literary Japanese texts written by Yukio Mishima (1925 – 1970) translated to Malay by Muhammad Haji Salleh (1993) as Salju Musim Bunga published by Penataran Ilmu. This report studies on the equivalence of the meaning of translated live metaphors from the source text to the target text. From the study of the equivalence of meaning can be evaluated that, if there is any type of losses of meaning in form of under translation, over translation or wrong translation. The retention of live metaphors in the target text produced an ideal translation. Universal live metaphors maintained by the translator, this approach produced an ideal translation in form of meaning and accepted by the culture and speakers of the target language. The conclusion of this report shows that, one of the factors in producing quality translations is to understand the elements of the original cultural metaphors contained in the source text. Keywords: live metaphor, personification, ideal translation, equivalence of meaning ABSTRAK         : Bahasa dan budaya saling mempengaruhi dan kesannya dapat dilihat bukan sahaja dalam cara manusia berpikir malah dalam penulisan kreatif yang memuatkan unsur figuratif, metafora misalnya. Justeru, kajian ini meneliti aspek pemindahan makna dalam terjemahan metafora hidup dan personifikasi yang terdapat dalam teks kesusasteraan Jepun, Haru No Yuki hasil penulisan Yukio Mishima (1925 – 1970) diterjemahkan oleh Muhammad Haji Salleh (1993) menjadi Salju Musim Bunga (SMB) terbitan Penataran Ilmu. Kertas kerja ini mengkaji keselarasan makna terjemahan metafora hidup dan personifikasi daripada teks sumber kepada teks sasaran. Daripada kajian keselarasan makna dapat dinilai sama ada berlaku peleburan makna metafora apabila terhasilnya terjemahan kurang, terjemahan lebih atau terjemahan salah. Kaedah pengekalan metafora hidup dalam teks sasaran didapati menghasilkan terjemahan ideal. Metafora hidup yang bersifat universal dikekalkan oleh penterjemah, pendekatan ini menghasilkan terjemahan ideal dari sudut makna dan diterima oleh budaya dan penutur bahasa sasaran. Sebagai kesimpulan, kajian ini menunjukkan bahawa, salah satu faktor dalam usaha untuk menghasilkan terjemahan bermutu adalah dengan memahami unsur metafora budaya asal teks sumber.   Kata kunci : metafora hidup, personifikasi, terjemahan ideal, persamaan makna


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