scholarly journals The Domestication in Gabrielle Wahbeh’s Translation of Hemingway’s “The Old Man and the Sea”

2021 ◽  
Vol 10 (2) ◽  
pp. 248
Author(s):  
Ibtehaj Mohammed Akhoirsheda

The Old Man and the Sea is a novel that is written by the American author Ernest Hemingway, . The novel is full of religious utterances and symbols. Different translators have translated this novel into various languages. Gabrielle Wahbeh is a Christian Egyptian writer who translated this novel into Arabic.  By reading the source text and the translated text, I can tell that Wahbe’s translation of the novel differs from the original text in regards to religious terms paraphrasing them. The results show that none of the Arabic idioms used in this study have equivalences in English language and so, what is shown are the paraphrased meaning for each  My study will be based on the comparison and analysis of the translation including some examples from the source text into Arabic. The main aim for this study is to highlight Venuti’s translation strategy “domestication “that has been used in translating this novel into Arabic.   Translation is the process of rendering a unit from one language (Source Language) into another (Target Language). When it comes to idioms (fixed expressions consisting of two words or more giving a meaning different from the meaning of the individual words), the translators are going to face a number of troubles. This study focuses on translating the Arabic idioms . The methodology of this study is based on a number of statements collected verbally or through written texts and expressing the meaning by paraphrasing them. The results show that none of the Arabic idioms used in this study have equivalences in English language and so, what is shown are the paraphrased meaning for each.

K ta Kita ◽  
2020 ◽  
Vol 8 (1) ◽  
pp. 101-115
Author(s):  
Deby Angelia

This research wanted to help the reader to understand about the classification of translation strategies in the novel The Fault in Our Stars. The writer used Larson’s (1998), proposes three strategies to translate figurative language. The writer was interested in analyzing the figurative language because there are many kinds of implicit meaning in figurative language; she felt that it was interesting to be analyzed. Besides, the writer chose a novel because it explains the story more detail than others such as movie. She chose The Fault in Our Stars novel because the story is quite touched and there are a lot of figurative languages on its novel. The writer hope that the translated meaning of figurative language can be the same as the original text.  Keywords: Translation, Translation Strategy, Figurative Language, Source Language, Target Language.


Author(s):  
Елена Викторовна Иванова ◽  
Екатерина Владимировна Оботнина ◽  
Марина Юрьевна Евпак

Введение. Проанализированы способы передачи стилистической конвергенции при переводе с русского языка на английский. Явление конвергенции стилистических приемов недостаточно подробно изучено ни стилистикой с точки зрения ее языковой реализации, ни переводоведением в плане передачи в переводе всего объема семантической, стилистической и прагматической информации, транслируемой автором с использованием указанного феномена. В научных исследованиях нередко рассматривается проблема передачи того или иного стилистического приема, но не их совокупности, что, несомненно, усложняет работу переводчика. Постановка такой проблемы в рамках данного исследования необходима для определения наиболее эффективной переводческой стратегии передачи конвергенции стилистических приемов в тексте перевода. Цель статьи – выявить и проанализировать способы передачи конвергенции стилистических приемов с языка-источника на язык перевода в плане сохранения ее прагматической функции. Материал и методы. Материалом исследования послужил роман Л. Толстого «Анна Каренина» и его перевод на английский язык, выполненный Маргарет Ветлин и опубликованный изданием Progress Publishers в 1978 г. Объектом исследования является конвергенция стилистических приемов, предметом – способы ее передачи с русского языка на английский. В работе нашли применение общенаучные и лингвистические методы исследования, в том числе описательный и сравнительно-сопоставительный. Результаты и обсуждение. Выявлено, что полное сохранение конвергенции в переводе встречается редко в силу лексических и структурных особенностей двух языков. Из 70 выявленных единиц текста 24 % составляют те, в которых стилистическая конвергенция была полностью сохранена при переводе. Передача стилистической конвергенции методом замещения или добавления некоторых ее элементов при переводе также встречается довольно редко (12 и 17 % соответственно). Наиболее частотным является способ передачи стилистической конвергенции с опущением при переводе тех или иных стилистических приемов оригинала (47 %). Что касается прагматических функций стилистической конвергенции, то они, в большинстве своем, сохраняются при переводе, при этом усиливая или, наоборот, ослабляя стилистический эффект текста оригинала. Заключение. В работе дан краткий обзор истории изучения явления стилистической конвергенции и приведены основные определения данного феномена. В ходе анализа материала исследования рассмотрены стилистические приемы, формирующие стилистическую конвергенцию в художественном тексте, проведен сопоставительный анализ текстовых единиц с применением конвергенции стилистических приемов в тексте оригинала и тексте перевода, выявлены наиболее частотные способы передачи стилистической конвергенции с русского языка на английский. Кроме того, проанализированы прагматические функции стилистической конвергенции и рассмотрены возможности их сохранения при переводе. Introduction. This article carries out the analysis of the ways the stylistic convergence is rendered from Russian into English. The phenomenon of convergence has been thoroughly studied neither by the stylistics as far as its speech implementation is concerned, nor by the theory of translation taking into account all the semantic, stylistic and pragmatic information expressed by the author by means of convergence that needs to be rendered in translation. Quite often, scientific research studies the problem of transferring a particular stylistic device rather than their converged group which obviously complicates the translator’s work. The problem thus stated is aimed at revealing the most effective translation strategy for rendering the stylistic convergence in the target text. Aim and objectives. The aim of the article is to single out and analyze the ways the convergence of stylistic means is rendered from the source language into the target language maintaining its pragmatic function. Material and methods. The material for the study is the novel “Anna Karenina“ by L. Tolstoy and its translation in English by Margaret Wettlin published by Progress Publishers in 1978. The object of the research is convergence of stylistic means, the subject is the ways of its transference from Russian into English. The basis of the methodology lies in the scientific and linguistic methods including the descriptive and comparative ones. Results and discussion. The research has shown that the complete transference of the convergence is rather rare due to the lexical and structural peculiarities of the two languages. Having analyzed 70 text units we have come to the conclusion that 24 % of them are those in which the stylistic convergence is preserved in the target text. The stylistic convergence is rendered by substituting or adding some of its components in 12 % and 17 % of units respectively. The most frequent (47 %) are the cases when some of the converged stylistic means of the source text are omitted in translation. As for the pragmatic functions of the stylistic convergence, they are in most cases retained in the target text enhancing or, on the contrary, weakening the stylistic effect of the original text. Conclusion. The article gives a short historical overview of studying stylistic convergence and covers its main interpretations. The analysis of the research material includes the study of stylistic means that form the stylistic convergence in the literary text, the comparative analysis of the text units containing the stylistic convergence both in the source text and in the target text. We revealed the most frequent ways of rendering the stylistic convergence from Russian into English. In addition, we analyzed the pragmatic functions of the stylistic convergence as well as the ways they can be retained in translation.


Author(s):  
Fahimeh Vamenani ◽  
Moslem Sadeghi

The primary purpose of this study was to examine the frequency of deforming tendencies on Persian translation of Hardy’s Tess of the d’Urbervilles based on Berman’s model. Moreover, the study set out to find out how words have been changed from the source language to fit the target language by adopting deforming tendencies. To achieve the aims of study, the researchers relied on content or document analysis as a qualitative type of study to analyze the strategies which were used in the translation of Tess of the d’Urbervilles novel from English to Persian. The data came from a sample of 300 sentences which were randomly selected from the novel translated into the Persian language by Mina Sarabi.The trustworthiness of the research findings was met through inter-rater agreement and it was reported 0.94. The results indicated that Persian translation of the work suffered from lexical mismatches, destruction of rhythm and destruction of vernacular networks, although destruction of rhythms and destruction of vernacular networks were among the most frequently used deformation tendencies. The findings also revealed that the translation has in one way or another maintained the genre and social stance of the author. Overall, it appears that Berman offers a model which is too severe on keeping the form and syntax of the source text in the Persian translation of Hardy’s Tess of the d’Urbervilles.


Author(s):  
Sheker A. Kulieva ◽  
◽  
Umeda A. Ovezova

Somerset Maugham is one of the most “emotionally intense” authors in English literature. His greatest works always reveal the “inner life of the individual” (E. Etkind), a person’s susceptibility to various transformations under the influence of feelings and states (“Theater”, “Of Human Bondage”, “The Moon and Sixpence”). At the same time, the emotions being retransmitted when translating a literary text is one of the most difficult tasks in translation theory. As representatives of the architectonic to comprehend the world, emotions are always culturally specific and often do not have equivalents in another mentality and another language. Such are, for example, the English-language concepts (which, in turn, “explain” the emotion) “melancholia”, “blues” and others. The purpose of this work is to explain semantically the category of “emotionality” and understand its ideological and thematic significance in a literary text by comparing the material of two languages — the original English and Russian as the target language. The methods we have taken in the process of working on the text: descriptive, explanatory, emotion thematisation, denotative analysis, emotive analysis, hermeneutic, conceptual, and selective (method of sampling passionary couplings that is slots). Research hypothesis: The category of emotionality is involved in the reconstruction of characters’ images at the level of text perception (the theory of respondents). The means to retransmit emotions when translating a text depends on the mental attitudes of different ethnic groups, therefore, it is necessary to identify “intersection points” that are equally acceptable both for the original text and for its translation.


2017 ◽  
Vol 28 (3) ◽  
pp. 300
Author(s):  
Lina Meilinawati Rahayu

Translation of literary work is never simply the business of translating the work in the source language into the target language. Translation is always culture-sensitive, as it also means translating the source culture into the target culture. This study examines two translations of the novel The Old Man and The Sea (1952) by Ernest Hemingway in the Indonesian language. Both are titled Lelaki Tua dan Laut. The earlier  was published in 1973 and was translated by Sapardi Djoko Damono, while the latter was translated by Dian Vita Ellyati and was published in 2010. These two translated versions are compared with each other in order to identify differences in perception and diction. Differences in diction further influence the reader’s perception. Close examination of the two versions discovers contrasting perception and diction. The study finds that Djoko Damono’s translation builds meaning by using Indonesian equivalents to represent the concepts presented in the novel, while Ellyati’s builds meaning through description and explanation of said concepts. Djoko Damono’s translation attempts to maintain poetic expressions through the use of rhyming words; Ellyati’s translation goes for clarity of meaning. Djoko Damono’s translation uses extensive vocabulary with specific meanings, while Ellyati’s chooses to employ words with more generic meanings. These differences indicate that translation work is never final; it is an ongoing, ever changing process.


2020 ◽  
Vol 8 (3) ◽  
pp. 381-391
Author(s):  
Muhammad Hasyim ◽  
Prasuri Kuswarini ◽  
Kaharuddin

Purpose of the study: Not all languages have a universal concept of the same object, and this creates problems in translation. This paper aims to examine the semiotic model for equivalence or non-equivalence in translation which attempts to define the semiotic model, to use the model for translation, and to offer the benefits of this model to solving translation’s problem in equivalence and non-equivalence. Methodology: The data of this research are derived from the novel Lelaki Harimau, as the source language and L'homme Tigre, as the target language. This model is used in the Indonesian novel which has been translated into 14 languages, one of which is in French. The authors use a semiotic approach to analyze the equivalence and non-equivalence in the translation.  Main Findings: This study reveals that the concept of signified in the semiotic theory proposes two models: the first: translation using the same concept in the source text (ST) and target text (TT), which is broadly known as equivalence, the second: translation using different concept between ST and TT, this called non-equivalence. This article not only explores the issue of meaning contextually in translation, but also the use of the semiotic model in translation which shows that the language perspective depends on the relationship between the sign and the object. Applications of this study: The model for this study can be used not only in translation studies at universities but also in providing supporting data for applied linguistic studies. Novelty/Originality of this study: This study provides a novelty in translation research with a semiotic approach. The contribution of this study is that the semiotics perspective suggests that a sign in the concept level (signified) will not be universal due to different cultural backgrounds.


Author(s):  
Svitlana Maslova

The choice of an essay as the object of analysis presents significant difficulties for the researcher, since even the definition of the genre in the theory of literature is still not set; there is no integral concept of the genre, the views of literary scholars on essays are extremely contradictory. Unlike existing theoretical and practical studies on various literary genres, the essay seems to be an insufficiently studied object of analysis in the linguistic and translation perspectives, which determines the relevance of the paper. The objective of the study is to determine the features of the translation of a publicist essay on the example of the translation of the literary work of I. Brodsky “Reflection on a Spawn of Hell” from Russian into English. To achieve this objective, the following tasks are to be solved: 1) to identify the main stylistic features of the essay by I. Brodsky; 2) to determine the specifics of its translation into English. The dominant function of the essay is the influencing one. It is implemented by referring to the emotional-figurative way of the addressee’s perception of the world. The stylistic features of I. Brodsky’s publicist essay, characterizing it as a resource of stylistic expressiveness, fully agree with the influencing function of the type of the text under study: syntactic constructions with inverted word order, rhetorical questions, quotations, complex sentences with a number of homogeneous members, elliptical constructions, gradation, stylistically coloured vocabulary, a combination of stylistically reduced and colloquial vocabulary aimed at achieving maximum expressiveness. The translator renders the stylistic features of the source text by selecting functional analogues in the target language. Difficulties arise when reproducing the cultural realities of the original linguistic culture. The appellative type of the text, which an essay is, requires significant linguocultural adaptation of the realities of the source language to the socio-cultural background of the target language. The translation under study tends to reproduce only the outer shell of definite lexemes and phrases, which are bearers of factual information and have a significant pragmatic potential in the original text. Despite the complexity and cultural richness of the text itself, with its specific words and conceptual system, the translator does not fully pragmatically adapt the significant elements of the source text, which affects the adequacy of its translation. In our opinion, translation errors prevent reproduction of the author’s communicative intentions in full. We consider the prospects for further developments in the expansion of research materials in order to obtain general conclusions regarding the peculiarities of the translation of an essay as a genre and the specifics of rendering the individual author’s style in translation.


IZUMI ◽  
2017 ◽  
Vol 6 (1) ◽  
pp. 30
Author(s):  
Sa’idatun Nishfullayli

In the translation of cultural words, Domestication and Foreignization strategy is a kind of translation strategy that is widely applied by translators. The tendency to use one of these strategies in a translation work can be identified through the analysis of translation techniques. This article discusses the translation strategy of cultural words in Ronggeng Dukuh Paruk which had translated into Japanese, Parukku Mura no Odoriko. Through the identification and analysis of translation techniques, it is known that the cultural words in Ronggeng Dukuh Paruk is translated into Japanese using several techniques: (1) borrowing, (2) paraphrase, (3) using cultural words which equivalence in target language, (4) using generic words, (5) using neutral words . From the results of calculating the amount of usage of each technique, it is known that the borrowing and paraphrase is the most widely used techniques, so it can be concluded that in this translation used the strategy of foreignization. Foreignization is the strategy that focuses on the source text, as an interpreter attempt to maintain the concept of culture As well as the socio-cultural values of Javanese society as in the original novel. The fact raises the assumption that Parukku Mura no Odoriko lacks the tastes of readers in Japan because of the many foreign cultural concepts in the novel thus making the distance between the reader and the translation product itself.


2021 ◽  
pp. 159-168
Author(s):  
Fabio Giraudo

Translating means transposing a text from a source language to a target language. This practice considers that languages are defined as discrete in a reality dominated by continuity: they apply arbitrary cuts that do not correspond among idioms. Quine defined the principles of translation’s indeterminacy: the perfect translation does not exist; each one starts from hypotheses to draw conclusions. A language is more than a vocabulary or a grammar as well as a translation is more than an interlinguistic exchange: they represent the combination between vocabulary and encyclopaedia. The term translation presents a lexical proximity with tradition but also with treason. We cheat in order to get into the text, adapting the piece and the source language to the reader and the target language. A mechanism, in literature, which not only considers ideas but also creativity. The aim is to create a parallelism between two cultural systems and transpose semantic differences and nuances of meaning. The translator is called upon to give evidence of his/her abilities to promote a fruitful dialogue between two systems. These theories guided me during my first translation into Italian of the novel Chamsa, fille du soleil: a linguistic challenge in the understanding of the original text and then a cultural one rewriting it, bringing the Arab world closer to Italian readers. Translation is therefore an act of betrayal, of textual separation, but also a rally point among communities, safeguarding diversity. Finding the compromise among these variations is the real headache of a good translator.


2019 ◽  
Vol 11 (1) ◽  
pp. 49-66
Author(s):  
Sylvia Ijeoma Madueke

Like many postcolonial African novels written in English, Half of a Yellow Sun (2006) written by Nigerian writer Chimamanda Ngozi Adichie presents many instances of literary hybridity. This paper focuses on these occurrences of hybridity and examines their translation from English into French. The paper considers various manifestations of hybridity in the novel and compares them with the novel’s French translation to illuminate translation strategies while analyzing the implications of key translation choices. This paper emphasizes that the translator made a significant effort to employ ethnocentric strategies to preserve the resonances of the author’s culture, especially instances of vernacular language inherent in the original text. The paper also notes seemingly arbitrary choices that exoticize and homogenize the translated text. Despite these instances, this paper concludes that the translation managed to maintain a balance between the source text and the target language.    


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