Abstract

Despite the great importance of gender studies and the significance of discourse markers (DMs) in transferring the intention and message, it is not known whether Iranian male translators are aware of the complexities in the meaning of these linguistic elements and whether there is any difference between male /female Iranian translators in the use of discourse markers and the pitfalls while translating literary texts from English to Persian and vice-versa. In addition, the quality of translations of the discourse markers was not assessed yet. Thus, the aim of the present study was to explore the translation of the use of DMs from English to Persian based on Fraser's (2004) and Farahzad (1992) Model. To fulfill the objectives of this study, the researcher selected the data from the original "The Catcher in the Rey” by Salinger using purposive sampling as well as the equivalent two Persian translations by Ahmad Karimi (1345) and Shabnam Eghbalzadeh (1393). After selecting the texts, they were compared with their translations by the researcher and two other raters. The analysis results revealed that there is no significant difference between Karimi (39 cases) and Eghbalzadeh’s (40 cases) use of DMs with regard to functional appropriateness. With regard to DMs which completely demonstrate source texts orientation, the frequencies of DMS in Eghbalzadeh’s translation is as follows: really (1), before (1), but (11), in the first place (1), in the second place (1), besides (1), when (3), then (2), For one thing (1), for another thing (1), so (3), I mean (3), I guess (2), because (1), at least (1), I don’t know (1), I know (2), sort of (0), for instance (1), though (1), well (1), also (0), Because (1), however, the frequencies of DMS in Karimi’s translation is: Really (1), before (1), but (12), in the first place (1), in the second place (1), besides (1), when (3), then (2), For one thing (1), for another thing (1), so (3), I mean (3), I guess (2), because (1), at least (1), I don’t know (1), I know (2), sort of (0), for instance (1), though (0), well (0), also (1), because (1).

Highlights

  • 1 As one type of literary translation, novel translation has always played a significant role in the field of literature

  • Novel translators have always been faced with translating culturally-bound items of the foreign text into the target system to produce a highly qualified translation (Aixelá, 1996)

  • Farahzad’s (1992) Translation quality assessment (TQA) criteria, namely, functional appropriateness was of concern in the analysis below

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Summary

Introduction

1 As one type of literary translation, novel translation has always played a significant role in the field of literature. Novel translators have always been faced with translating culturally-bound items of the foreign text into the target system to produce a highly qualified translation (Aixelá, 1996). Every translation product has to be assessed. Translated literary texts have been among the genres mostly evaluated in many ways and by various means. Most of the models used for the assessment of translation quality have been proper for examining either covert or overt translations

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