scholarly journals Image in Translated Novels from English into Persian

2016 ◽  
Vol 6 (4) ◽  
pp. 50
Author(s):  
Gholam-Reza Parvizi
Keyword(s):  
Aesthetic Experience ◽  
Translation Studies ◽  
Literary Translation ◽  
Literary Studies ◽  
Theoretical Frameworks ◽  
Translation Strategies ◽  
The Aesthetic ◽  
The Mind

The question of image in literary studies and in recent years in Translation Studies is one of the most problematic innature. In the present study an attempt was made to define the nature of translating linguistic constructions – evokingimages in the mind of reader – in English novels and their rendered versions in Persian translations. In this studyseven types of images (visual, auditory, olfactory, gustatory, tactile, kinesthetic and organic) in two English novelsand their rendered versions in Persian were analyzed based on two theoretical frameworks, the first one is Jiang’sImage-Based Model to Literary Translation (2008) by which the nature of translation of images were examined andthe other is Chesterman’s translation strategies (1997) which help to systematize translation strategies adopted bytranslators in rewriting the images in English novels. The results have shown that in most of the cases the images thatare intended by original author have been changed in the translations, and the aesthetic experience of the ST reader isdifferent from that of the TT reader.

5. The futures of comparative literature

2018 ◽  
pp. 113-122
Author(s):  
Ben Hutchinson
Keyword(s):  
Comparative Literature ◽  
Vital Role ◽  
Aesthetic Education ◽  
Literary Studies ◽  
Life Of The Mind ◽  
The Aesthetic ◽  
The Mind ◽  
Forms Of Knowledge

Comparative literature is both central and marginal to literary studies: central because it draws on almost every discipline in the Humanities; marginal because it is not tied to any single tradition, risking being ignored by all of them. For all its past struggles and present debates, comparative literature has an increasingly central role to play in the Humanities’ future. ‘The futures of comparative literature’ explains that in this age of specialists, generalists continue to play a vital role in shaping and supporting the life of the mind. International, interdisciplinary forms of knowledge remain the very essence of modernity. Now more than ever, the aesthetic education of comparative literature is indispensable.

scholarly journals Aesthetic Progression in Literary Translation

2009 ◽  
Vol 53 (4) ◽  
pp. 860-871 ◽  
Author(s):  
Qiuxia Jiang
Keyword(s):  
Aesthetic Experience ◽  
Literary Translation ◽  
Distinctive Features ◽  
Translation Model ◽  
Cognitive Linguistic ◽  
Cognitive Activities ◽  
The Aesthetic ◽  
Successful Production

Abstract The exploration of aesthetic progression in literary translation is a new area yet to be developed. Considering the fact that cognitive linguistic theories have not been fully exploited in literary translation, the present study proposes an image-based translation model out of the assumption that literary comprehension in translation involves not only cognitive activities such as identification of distinctive features and their distribution, but also the aesthetic experience; and successful production in translation does not rise from correspondence finding of individual words or sentences, but is procured by means of a mentally formulated image gestalt, an integrated entity of both linguistic organization and visualized scene.

scholarly journals TRANSLATING DRAMA: ANALYSIS OF DAVID EDGAR’S PLAY “ TESTING THE ECHO”

2019 ◽  
Vol 11 (1) ◽  
pp. 78-86
Author(s):  
Yulia Aleksandrovna Borisenko ◽  
Stanislav Sergeevich Makarov
Keyword(s):  
Detailed Analysis ◽  
Translation Studies ◽  
Point Of View ◽  
Literary Translation ◽  
Effective Strategy ◽  
Translation Strategies ◽  
Translation Analysis ◽  
Interdisciplinary Character ◽  
Complex Culture

The article focuses on one of the problems of literary translation - the translation of dramatic texts. The article examines this type of texts in terms of the specificity of the genre and type of literature, their structural and other specific characteristics. Special attention is given to existing approaches to the development of translation strategies in drama. Different approaches to dramatic texts in linguistics and translation studies are analyzed, such as communicative, cultural, and hermeneutic ones. The play of the contemporary British writer David Edgar “Testing the Echo” was selected for a detailed pre-translation analysis, identification and solution of the most significant translation problems. The choice of the play was determined by the presence of complex culture-specific situations (interesting from the point of view of translation), the unusual principle of plot construction, as well as the lack of a translated version of the play. A detailed analysis of the play is preceded by the summary of the plot and some information about the main characters. The paper discusses the most “problematic” extracts from the translation point of view, accounts for translation decisions and lists some of the transformations that had to be resorted to in the process of translating. As a result, a conclusion is made that translation of drama has an interdisciplinary character, involving both theatrical and literary issues. Thus, the most effective strategy of translating drama is a combination of concretization and adaptation.

scholarly journals AESTHETIC EXPERIENCE AND AESTHETIC JUDGMENTS: THE FEATURES OF THE RELATIONSHIPS

2020 ◽  
pp. 187-194
Keyword(s):  
Aesthetic Experience ◽  
Aesthetic Judgment ◽  
Human Existence ◽  
Inner Life ◽  
Complete Absorption ◽  
The Aesthetic ◽  
State Of Affairs ◽  
The Mind ◽  
Relationship Of ◽  
Aesthetic Judgments

The article examines the essence and relationship of aesthetic experience and aesthetic judgment. It is argued that philosophical aesthetics deals with constants that are fundamental to aesthetic experience. Such constants are phenomena and characteristics that have a fundamental ontological status in the aesthetic sphere. It was found that the ontological characteristic of aesthetic experience is that it is not reducible to “pure” rationality, that is, it is not something that is “adapted” to complete and final comprehension by the mind alone. Therefore, a complete “absorption” of aesthetic experience by a certain semantic structure is impossible: such experience always goes beyond any discursive boundaries and simultaneously opens them. In addition, aesthetic experience serves as one of the means of a person’s “contact” with the world and society. Forming on the material of sensations, aesthetic experience extends from the most general ideas about the universe to the inner life of a person. The analysis also showed that the formulation of an aesthetic judgment is based on the concepts of the perfect and the imperfect. In turn, the mastery of such concepts is carried out in the process of correlating a certain aesthetic fact with the existing value scale. That is why aesthetic judgments have signs of normativity. They also create the basis for a common worldview and attitude, lay the foundation for mutual understanding between people of a certain culture. The study showed that the process of aesthetic assessment is a constant correlation of the existing state of affairs with something ideal (within a certain value scale), this is a permanent “demand” for perfection, as well as a tireless search for an opportunity to fulfill this “demand”. At the same time, ethical experience is dissociated from “pure” pragmatics, which personifies vital necessity, because the aesthetic sphere is always associated with a certain “redundancy” in human existence. Also, the results obtained in the course of the study suggested that philosophical aesthetics, which takes into account and investigates the specificity of the phenomenon of corporeality, as well as such phenomena of human existence as affective sensitivity and sensitive rationality, is able to overcome the limitation of “an-esthetic” naturalism in aesthetics.

The Translator as a Creative Being with special regard to the translation of literature and LSP

Babel ◽  
1998 ◽  
Vol 44 (3) ◽  
pp. 234-243 ◽  
Author(s):  
Irma Sorvali
Keyword(s):  
Individual Differences ◽  
Present Article ◽  
Translation Studies ◽  
Point Of View ◽  
Literary Translation ◽  
Language Transfer ◽  
Translation Process ◽  
Translation Strategies ◽  
Interview Method ◽  
Il Y A

Abstract The translation process is studied from the translator's point of view. The translator is considered as an individual, i.e. as a creative being, and the process proper is thus seen as a typically human one. Translation strategies have been described in various ways within the framework of translation studies (TS). Transfer as such has very often been studied by linguistic analysis, but this is not sufficient to characterize the process itself. Other kinds of information are needed, which we can best obtain by interviewing translators. The interview method has not been widely used in TS, but it can provide very useful material on the creative nature of the translation process. Aesthetic and emotional values are of great importance in literary translation, but it is very difficult to measure them. Translators chiefly engaged with language written for special purposes (LSP) can be interviewed in a more objective way. Every translator has his principles of translating, and these can display very great variation, due to the creativity of the translator, but there are also phenomena that are common to all translating and all language transfer. There are thus individual and inter-individual differences, but also similarities. It is these differences and similarities that are described here. Résumé Le processus de la traduction est étudié du point de vue du traducteur considéré comme une entité individuelle, c'est-à-dire comme un être créatif, et par conséquent, le processus de traduction est considéré comme étant une activité typiquement humaine. Dans le cadre des études consacrées à la traduction (ET), les stratégies de la traduction ont été décrites de plusieurs manières différentes. En tant que stratégie, le transfert a souvent été étudié par le biais de l'analyse linguistique, mais en soi, cette approche est insuffisante pour caractériser le processus de traduction. Les ET n'ont pas souvent eu recours à la métode d'interview qui s'avère pourtant très utile pour faire apparaître l'aspect créatif du processus de traduction. Dans la traduction littéraire, les valeurs esthétiques et sentimentales sont très importantes mais il n'en demeure pas moins qu'elles sont aussi très difficiles à mesurer. Les traducteurs qui traduisent essentiellement des textes rédigés dans un but spécifique (TBS) peuvent être interviewés d'une manière plus objective. Chaque traducteur applique ses propres principes de traduction qui peuvent grandement varier selon la créativité du traducteur, mais il y a cependant des phénomènes communs à toutes les traductions et a tous les tranferts linguistiques. On peut donc affirmer qu'il y a des différences individuelles et inter-individuelles mais aussi des similitudes. Ce sont précisément ces differences et similitudes que l'auteur souhaite décrire dans le présent article.

scholarly journals Variables as Contextual Constraints in Translating Irony

Linguaculture ◽  
2015 ◽  
Vol 2015 (1) ◽  
pp. 98-123
Author(s):  
Oana Babîi
Keyword(s):  
Oscar Wilde ◽  
Translation Studies ◽  
Jonathan Swift ◽  
Literary Studies ◽  
Aldous Huxley ◽  
Theoretical Frameworks ◽  
Translation Process ◽  
Literary Genres ◽  
Normative Factors

Abstract The translator’s role and responsibility are high in any act of interlingual communication, and even higher when irony, an indirect and deliberately elusive form of communication, is involved in the translation process. By allowing more than one possible interpretation, irony is inevitably exposed to the risk of being misunderstood. This paper attempts to capture the complexity of translating irony, making use of theoretical frameworks provided by literary studies and translation studies. It analyses if and how the types of irony, the literary genres and the cultural, normative factors, perceived as potential contextual constraints, have an impact on the translator’ choices in rendering irony in translation, taking illustrative examples from Jonathan Swift, Oscar Wilde, Aldous Huxley and David Lodge’s works.

scholarly journals Translation Strategies for Phonographic Deviations: A Psycholinguistic Approach

2020 ◽  
Vol 28 (2) ◽  
pp. 148-163
Author(s):  
Oleksandr Rebrii ◽  
Ganna Tashchenko
Keyword(s):  
Experimental Data ◽  
Comparative Analysis ◽  
Communication Strategies ◽  
Translation Studies ◽  
Literary Translation ◽  
Main Method ◽  
Translation Strategies ◽  
Cultural Approach ◽  
Control Units ◽  
The Subject

The article proposes a psycholinguistic approach to investigating translation strategies on the basis of information obtained in the course of the retrospective experiment designed by the authors and defined as ‘Partial Delayed Report of Problems and their Solution’. The aim of the research is to expose and describe translation strategies for resolving such a variety of translation difficulties as phonographic deviations. The object of the research is translation strategies as a mental by nature and complex by structure plan for the translator’s actions. The subject of the research is specifics of the above strategies’ formation and implementation in literary translation. The main method of the research is retrospective experimental technique ‘Partial Delayed Report of Problems and their Solution’; other methods employed include algorithmic modeling (for prospected translation strategies and substrategies) and comparative analysis (for control units in the source and target texts). The material of the research was twofold: (1) the fragment of Charles Dickens’s novel “The Posthumous Papers of the Pickwick Club” and its translations carried out by 21 semi-professional subjects of the experiment; (2) the subjects’ reports in the form of the answers to the questionnaire completed and submitted after the translation. Since strategies in translation studies are mostly dealt with within cultural approach, the authors turned to the concept of communication strategies as a foundation of their own psycholinguistic model of translation strategies for phonographic deviations. The analysis of the experimental data supports the conclusion that the translator initially forms a strategy (conscious mental plan) of overcoming a certain variety of translation difficulties (such as phonographic deviations) and then implements it as a sequence of moves (substrategies) aimed at providing for the most natural for the target reader translation variant.

Towards a Methodology for Investigating the Style of a Literary Translator

Target ◽  
2000 ◽  
Vol 12 (2) ◽  
pp. 241-266 ◽  
Author(s):  
Mona Baker
Keyword(s):  
Original Writing ◽  
With Original Writing ◽  
Social Groups ◽  
Translation Studies ◽  
Literary Translation ◽  
Literary Studies ◽  
Methodological Framework ◽  
Creative Writers ◽  
Traditional Sense

Abstract Translation studies has inherited from literary studies its preoccupation with the style of individual creative writers and from linguistics the preoccupation with the style of social groups of language users. It also inherited from both disciplines the association of style with ‘original’ writing. Little or no attention has been paid so far to the possibility of describing the ‘style’ of a translator or group of translators in terms of what might be distinctive about the language they produce. This paper offers a first attempt to outline a methodological framework for investigating the question of style in literary translation—not in the traditional sense of whether the style of a given author is adequately conveyed in the relevant translation but in terms of whether individual literary translators can be shown to use distinctive styles of their own.

scholarly journals Sympathy for the Devil - The Creative Transformation of the Evil

2020 ◽  
Vol 4 (2020.01) ◽  
pp. 4-14
Author(s):  
Rainer Matthias Holm-Hadulla
Keyword(s):  
Aesthetic Experience ◽  
Social Activity ◽  
The Body ◽  
Scientific Model ◽  
Self Reflection ◽  
Creative Transformation ◽  
The Social ◽  
The Aesthetic ◽  
The Mind ◽  
The Devil

Mythologies, religions, philosophies, and ideologies show that all cultures are concerned with human destructivity. The same is readily apparent in many modern creative works of eminence. In their famous song, “Sympathy for the Devil,” Mick Jagger and the Rolling Stones refer to Goethe’s Faust, where the Devil is characterized strangely as “a portion of that power/ which always works for the Evil and effects the Good … a part of Darkness which gave birth to Light”. These verses remind one of ancient myth but also of modern ideas of the interplay of creation and destruction. The poetry of Goethe, the scientific psychoanalysis of Freud, and the aesthetic enactments of Madonna Ciccone and Mick Jagger show that the creative transformation of destructiveness provides a chance to cope with evil. Through his poetic and autobiographic self-reflection Goethe described how men are composed of constructive and destructive forces, light and dark, good and evil. This dialectic of drives and activities is also fundamental for the Freudian scientific model of the mind and its interrelation with the body and the social environment. Humans can only survive when they transform their destructive inclinations into constructive activities. The creative transformation of destructiveness is also a central issue in today’s pop culture. Paradigmatically the song ‘Sympathy for the Devil’ describes the atrocities humans are able to commit. The song is exemplary for the transformation of violence into music, dance, and shared aesthetic experience. This is also valid for the provocative enactments of Madonna. Behind her sometimes seemingly shameless enactments one can find a serious working through of depression and aggression. Fundamental elements of aesthetic pleasure in art, science, and social activity stem from the creative transformation of human destructiveness.

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