Translation Of Fiction Research Articles

Khartoum

30 WLT SUMMER 2021 a POETRY SAMIA HALABY, CENTERS OF ATTRACTION / COURTESY OF THE ARTIST Khartoum by Salma Khadra Jayyusi Innocent when questioned, quick to take flight when afraid, magnet for the heart approaching like a Nazarene lamb You sleep “I do not tire, I do not turn away, I do not intrude” You run off, fleeing from injury, “stretch out, horizon, I am limbs that will not rest” You run off, “my face, a gazelle that migrates my body, a gazelle that dances” You run off, I run off, sink into love, all presence a tent that does not stay put I hoist my home across the horizon, raise my signposts in the wind You give home to the lost, a stranger beyond limit intimate as the body’s vein a level field we ascend toward you, and you do not weary we descend upon you, and you are untouched vast heart, I dove into your spaces to the point of drowning and you are unaware Your stars fold over me the memory of my love who died my love who never dies memory stretches out across my vision I sleep, it gives leaf in dream. I wake, a loved one’s face across each door your twilight, a searching eye we watch how the houses light up with their folks how friends arrive bring life to corners how the ceremonies begin we see how the houses settle down their lanterns raised their children roaming Your night is mute your sun fiercer than any I have known gentle-eyed gazelle your breeze is hotter than drunken fits of grief your full moon the most naked of moons your twilight a cavern I sit at its threshold without moving my gaze on the distance large black eyes cross my path the thoroughbred beckons, and the dark-browed rider Nearby, chattering fountains overflow I do not drink. Then we converse we are without purpose what do you want of me, what do I want? maybe nothing a time will come when I miss the ebony forest for the scorching suns are a legend the trickster morning pure gold Only now the eyes of the evening remain fixed on the porches the valley of silence is ripped by a lover’s call for help, one instant he lives another he dies. Dusk remains a wall a thousand gates lost to their keys gazelle with gentle eyes. Translation from the Arabic By Lena Jayyusi Salma Khadra Jayyusi is a renowned Palestinian poet, critic, and literary historian whose books of poetry and criticism have been published worldwide. She is the founder and director of PROTA for the translation of Arabic literature into English and of East-West Nexus for studies of Arab civilization and its legacies. With forty books to her credit, she has earned numerous awards for her contributions. Lena Jayyusi is a professor emeritus of communication studies and writes on media, memory narratives, language, and visuality. Her translations of Arabic poetry and fiction include the medieval epic folktale The Adventures of Sayf Ben Dhi Yazan (Indiana University Press, 1991). Visit worldlit.org to read additional poems by Jayyusi. ...

Psycholinguistic Peculiarities of Employing Antonymic Translation (based on translation of modern fiction for young adults)

Psycholinguistic Peculiarities of Employing Antonymic Translation (based on translation of modern fiction for young adults)

Modern Chinese Fiction (1919–1949) in Russia: Early Translation, Publication and Research

The article provides an overview of early Russian translations and publication of modern Chinese fiction (1919-1949). The approaches to the early study of the works of prominent representatives of modern Chinese literature are examined and the reasons why Soviet society is interested in their heritage are identified. Since the 1920s, well-known works of renowned Chinese writers have been frequently translated into Russian mainly by young sinologists. Most of them had been to China and had developed a direct understanding of the development of modern Chinese literature, translating primarily from Chinese and using English translations for various reasons occasionally. The Chinese and Soviet cultural activists also played an important role in the spread of modern Chinese prose in the USSR. At the same time, a serious study of modern Chinese prose began, and until the end of the 1940s was actually at the initial stage, being mainly of a socio-political nature as the study was determined by the state of the ideological atmosphere in Soviet society. Early researchers paid the most attention to the works of Lu Xun, referring to his ideological outlook and artistic merits. Overall, the early translation and study of modern Chinese fiction revealed to the Soviet reader the ideological and social aspects of the works of modern novelists belonging to the left flank of Chinese literature, and laid the foundation for more extensive and in-depth research of modern Chinese literature during the next phase.

Лінгвістичні особливості рекламних текстів та їх перекладу

The article is devoted to the study of linguistic and stylistic features of advertising texts and factors influencing their translation. Various means of translation of advertising texts and expediency of using lexical-semantic transformations are analysed. The work considered such issues as the structure of advertising texts, the peculiarities of their construction. All the above-mentioned statements are illustrated by the examples of the English-language advertising texts, isolated from the mass media, and the author's versions of their translation. Advertising is an integral part of our daily lives and culture. Advertising texts, as ways of a certain communicative influence on members of the cultural and linguistic community, are the objects of linguistic, psycholinguistic and sociolinguistic research. As one of the functional tools of economics, the advertising text has a huge psychological impact on the recipient. Modern advertising reflects all the radical changes in IT and the media, in social and economic relations, in the current understanding of culture, laws, social order and the role of man in it. Considering the linguistic and stylistic features of advertising texts, it should be noted that advertising has a variety of forms, which in turn is one of the factors that determine its widespread use in various fields of human activity from the commercial to the social sphere. In this case, the translation of advertising in contrast to the translation of fiction differs in form, language and pronounced communicative tendency. It is also emphasized that in the process of translation advertising texts the interpreter must solve not only linguistic problems due to the differences in semantic structure and features of the use of two languages in the communication process, but also the problems of sociolinguistic adaptation. Thus, the relevance of this study is the importance and prevalence of advertising in modern society, as well as the need for a deeper analysis and understanding of its spheres of influence, which largely determine the linguistic and stylistic features of advertising texts. The article also considers the linguistic features of modern English-language advertising slogans, because in many respects they explain the variety of slogans and the principles of their formation. In addition, the relevance of this study is that now advertising – is much more than just a process of trade. Advertising is increasingly influencing people's minds, changing their normal lifestyle. Solving the tasks in the course of our work we extensively used the comparative method, which can identify the nature of the English advertising slogan. The scientific novelty lies in the identification of linguistic and stylistic features of English advertising slogans, as well as methods of their translation.

Hidden Histories, Traveling Time: Science Fiction Translation as Cognitive Estrangement

Hidden Histories, Traveling Time: Science Fiction Translation as Cognitive Estrangement

Translating hierarchy in Hideo Yokoyama’s Six Four

ABSTRACT Within the framework of world literature, crime fiction can be translated, read, and studied by new target audiences to expand their knowledge of different cultures. The translation of Japanese crime fiction into English poses many challenges, especially regarding the socio-cultural aspects. The representation of Japanese social and organisational hierarchy through socio-linguistic features in the character interactions is particularly complex for readers with different linguistic and cultural backgrounds to understand, and may lead to a reliance on stereotypes. Therefore, a translator needs to give careful consideration to this issue. This paper explores the strategies for translating the hierarchical features of character interactions employed by the translator of 64 (Six Four), a novel by award-winning crime fiction author Hideo Yokoyama. Through this analysis, we propose a guideline to assist translators adopt a conscious approach to translating hierarchy, which will provide readers with a more nuanced understanding of how hierarchy functions in Japanese society. We demonstrate that the translation of crime fiction has the ability to enable readers to overcome barriers resulting from linguistic and cultural differences to gain a new understanding of different societies.

Looking through the lens of Bourdieu: A corpus-based Study of English Romance Fiction Translation

Habitus is one of the key concepts of the Bourdieusian sociology which Translation Studies has benefited. Based on the Bourdieusian sociological model, this study investigated the translatorial habitus of the Iranian translators of English romance novels as far as the translation strategies of culture-specific items (CSIs) are concerned before and after the Cultural Revolution of 1980 in Iran. The research data include 4282 sentences containing CSIs extracted from Rebecca, Sense and Sensibility, and The Great Gatsby, and their two Persian translations. The extracted data were analyzed, adopting a consolidated typology of translation procedures for CSIs. The strategies employed for translating CSIs are presented with frequencies and percentages using descriptive statistics. Moreover, the results were corroborated with a qualitative analysis of some archived interviews printed in Motarjem [the translator] journal. The investigation revealed three essential findings: a marked source-oriented tendency among Iranian translators of the English romance novels when translating CSIs in the Pre-Cultural Revolution era, maintaining the same tendency in the Post-Cultural Revolution era, and finally a growing tendency in moving from Pre- to Post-Cultural Revolution era. The results of the Chi-square test highlighted a significant difference between various strategies used in two eras.

Cross-cultural communication - lost in translation: A corpus study (based on the material from the Russian-Polish corpus)

The article is devoted to cross-cultural communication and its implementation in Polish translations of Russian fiction. Nowadays, both the study of national specifics relating to the worldviews of speakers of different languages, and the analysis of the way those worldviews are reflected in translation, are becoming more relevant. This article aims to study the properties of cross-cultural dialogue, which is mirrored in parallel fictional texts. The research material came from the Russian-Polish corpus. The analysis indicates that nationally specific features can manifest themselves on different levels of the language system - in vocabulary, phraseology, word formation, morphology, and syntax. The translation of sentences which include units representative of the Russian linguistic worldview demonstrates both cross-cultural successes and failures (omission of elements symbolic of Russian culture, their inaccurate interpretation or replacement with items typical of the Polish worldview). The existing printed and electronic dictionaries, as well as online translators, do not fully meet current requirements, including those related to conveying Russian cultural and linguistic senses by means of the Polish language. The practice of translating literary works from Russian into Polish demonstrates the need for further investigation of the worldviews of both nations.

ВІДТВОРЕННЯ ТРОПІВ У ПЕРЕКЛАДІ З АНГЛІЙСЬКОЇ МОВИ КИТАЙСЬКОЮ ПОЕТИЧНОГО ТВОРУ Е. А. ПО “DREAMS”

Translation of fiction, and in particular — translation of poetic works plays an extremely important role in modern translation studies. In the process of global more and more people are learning foreign languages and showing a deep interest in the cultural heritage of other countries, including literature. This explains the increased interest of readers in the poetry of foreign authors. The complexity of literary translation is due to the fact that the translator must not only have the basic translation skills, but also must have the creative abilities and background knowledge to fully reproduce all the artistic means that are found in the original text. The objective of the article is to analyze the reproduction of tropes in translation of the poetic work of E. A. Poe “Dreams” from English into Chinese to identify tactics, techniques and transformations allowing to reproduce artistic means in translation. According to the results of the study, it was found out that in the poetic work “Dreams” the following artistic means were employed: epithet, metaphor,personification, comparison and rhetorical question. Despite the difference in the mentalities of the English and Chinese people, the translator used the tactic of national coloring preservation while rendering in translation all the above-mentioned artistic means. This tactic made it possible to fully implement the desired emotional impact on the target audience and convey the mood and attitude of the original author. In the five cases out of the twelve, the translator resorted to the transformation of the addition to deepen the emotional impact on the recipient. It may be concluded that the translator hasn’t only achieved the goal but also managed to preserve the main function of the work of art — an aesthetic impact on the reader, and besides successfully re-created eleven of the twelve artistic means at work.

Agatha Christie’nin Have You Got Everything You Want? başlıklı kısa hikâyesi örneğinde mekanın çevirisi

Agatha Christie, a well-known English crime novelist, was not only a frequent visitor of Istanbul, but she also used it as a setting in her work. “Have You Got Everything You Want?” (1934) from her short story collection entitled Parker Pyne Investigates is one of her narratives mentioning Istanbul. Even though Christie did not focus on Istanbul in her text, its translator can be said to have rewritten it, creating a different meaning for the city in the translation entitled İstanbul Yolunda Bir Macera published as a free supplement to Hareket Newspaper in 1963. “Segmentation of the text” and “evaluation of the proper names in the text”, which are two of the operations of analysis used in the studies of the Paris School of Semiotics and compiled by Sündüz Öztürk Kasar within the framework of her approach to semiotics of translation (Öztürk Kasar, 2009), are used as the analysis steps in this study. In order to evaluate the translation, “Systematics of Designificative Tendencies” (Öztürk Kasar & Tuna, 2017, p. 172) propounded by Sündüz Öztürk Kasar is used. The “over-interpreted” (Öztürk Kasar & Tuna, 2017, p. 172) signs and discourses can be said to reflect Istanbul’s Turkish and Islamic identity, and the translation seems to have been influenced by nationalist sentiments. This translation of the city leads us to consider the translator’s visibility in this text, believing that the invisibility of the translator (Venuti, 1995) is also related to the reading activity. This study suggests that translation of crime fiction in Turkey needs further research especially to help visibility of crime fiction translators.

Arsène Lupin, Gentleman Cambrioleur adlı eserin Osmanlı Türkçesi (yeniden) çevirileri üzerine betimleyici bir çalışma

Türk kültür ve edebiyat dizgesine çeviri yoluyla giren polisiye türünün doğuşu ve gelişimi açısından çeviri etkinliğinin önemi yadsınamaz niteliktedir. Özellikle II. Meşrutiyet’in ilanından itibaren Batı dillerinden Osmanlı Türkçesine çok sayıda polisiye roman çevirisi yapıldığı söylenebilir. Nitekim polisiye edebiyat alanının önde gelen uzmanlarından Seval Şahin, “Auratik Hırsızın Tarihsel Sermayesi” adlı çalışmasında bu edebî türün, çok sayıda polisiye roman ve hikâyenin yayımlanmış olduğu II. Meşrutiyet Dönemi’nde altın çağını yaşadığını vurgular (2011: 16). Maurice Leblanc tarafından kaleme alınan Arsène Lupin, polisiye romanlar arasında Türkçeye en çok çevrilen eserlerden biri olarak kabul edilmektedir. Bu makalenin amacı, Arsène Lupin, Gentleman Cambrioleur adlı eserin Osmanlı Türkçesi (yeniden) çevirileri üzerine betimleyici bir çalışma yapmaktır. Söz konusu eserin 1908-1928 yılları arasında yayımlanmış olan beş farklı çevirisi makalenin temel inceleme nesnesini oluşturmaktadır. Fazlı Necip (1325) [1909], Osman Vefik (1325) [1909], Süleyman Tevfik (1333) [1917], Mustafa Remzi (1341) [1925] ve Hasan Bedreddin’e (1926) ait olan bu çeviriler, çeviri tarihimize ışık tutabilmek amacıyla yan-metinsel ögeler bağlamında betimlenecektir. Bu amaç doğrultusunda, çeviri eserler ve bu eserlerde yan-metinsel ögeler olarak yer alan ön söz/son söz ve kitap kapakları hakkında genel bilgi verilecektir. Makalenin sonunda ise kaynak metnin ilk bölümünü oluşturan “L’arrestation d’Arsène Lupin”in Osmanlı Türkçesi çevirilerde nasıl öykülendiği üzerine karşılaştırmalı bir inceleme yapılacaktır.

ОСОБЛИВОСТІ ТА СКЛАДНОЩІ ПЕРЕКЛАДУ КВАЗІРЕАЛІЙ У СЕРІЇ ФЕНТЕЗІ-РОМАНІВ ДЖ. Р.Р. МАРТІНА «ПІСНЯ ЛЬОДУ І ПОЛУМ’Я

The article presents the results of the peculiarities and difficulties of the author's realia translation analysis, which create the nominative space of the unreal world of fantasy novels. The essence of the «quasi-realia» concept and their functional field within the literature of the fantasy genre is revealed. As is known, in the field of translation of fiction it is especially difficult to convey the specific units of the original text, which denote atypical, nationally and culturally marked concepts – realia that are obscure or completely unknown within the linguistic culture of the target audience. However, if some additional information and reference sources can be used for the translation of ordinary realia, in the case of author’s realia, on the basis of which a completely new fantasy world is created and depicted, the translator faces a task of a double complexity – to reproduce not only the plot, style and author’s intentions, but also completely build the whole onomasticon of unreal space by means of the language of translation so that it appears in the imagination of the target readership as detailed, alive and connotatively rich as it appears in the English one. In view of this, the main focus in this work is made on the definition and analysis of translation inaccuracies made in the transmission of a number of fantasy quasi-realia. The study presented in the article is based on the classification and substantiation of inaccuracies in the transfer of quasi-real lexical units in the Ukrainian translation of the world-famous series of fantasy novels «А Song of Ice and Fire» by George R.R. Martin, made by Natalia Tysovs’ka and published by the publishing house «KM-Books». The identified inaccuracies are correlated with inappropriately used translation transformations, in particular lexical and lexical-semantic changes of the original quasi-realia, the use of which led, for example, to the loss of the connotative component of original units, complicating or distorting their plan of content, superimposing real-world names on objects and phenomena of unreal space, as well as violations of the general logic and systematic transmission of quasi-realia, typical in the analyzed world.

Translational Style: A Corpus-Based Comparative Analysis of English Translations of Urdu Fiction by Memon and Naqvi

The present paper comparatively analyzes English translations of Urdu fiction by Umer Memon and Saeed Naqvi to identify translational stylistic features. The data for this paper consists of two corpora; the first corpus comprises Memon’s translations (TR1) and the second corpus consists of Naqvi’s translations (TR2). To validate the results, the paper takes Corpus of Canons of Western Literature (CCWL) as a reference corpus. Open class lexis is taken as a stylistic marker. All the three corpora are tagged through Stanford tagger (Toutanova, 2003), and the frequencies of open class lexis are acquired by using AntConc (3.4.4). It is found that TR1 and TR2 show almost the same stylistic qualities on the use of proper nouns, lexical verbs, past tense, comparative and superlative adjectives, and comparative and superlative adverbs. However, the variance occurs in the use of count nouns and proper plural nouns. This paper will contribute to better understand the stylistic features of English translations of Urdu fiction and the trending modes of English translation itself.

PROBLEMS OF RECREATING NATIONAL PECULIARITIES OF FICTION TRANSLATION

In this article, the problems of re-creation of nationality in the translation of works of art are studied and additional ideas are given. Problems arising in the process of translating samples of Uzbek literature into English, Russian and other languages were considered. Theoretical information on the reconstruction of history and nationality is provided. National words are an integral part of the language of the fiction, through which the author creates the image of the hero, helps to accurately describe the national identity of the people. Because of this reason, national words are one of the aspects of fiction translation that bothers the translator, complicates the translation, and often confuses him.

Translation and canon formation

Abstract As an essential part of the “Globalization of Chinese Culture” strategy, the translation of Chinese fiction into English has gained more significance and deserves more academic attention. Through making a survey of Chinese fiction in English translation from 1978 to 2018, the article not only presents different trajectories of the development of Chinese fiction in English translation in mainland China and the English-speaking countries but also shows that different canons of Chinese fiction in English translation have been formed in the course of this development. Reasons for the formation of the prevailing canon(s) are explored and explained from perspectives taking into account concrete factors such as ideology, poetics and patronage as well as influences of the literary award mechanism. Based on this description and explanation, the article concludes with a few suggestions for the future development of cultural activity of introducing Chinese literature into English-speaking countries.

The Issues of Word Choice in Fiction Translation

The Issues of Word Choice in Fiction Translation

When the audience changes

AbstractMuch is expected to change when a work of fiction is translated from one language and culture to another, but the intended reader is not. This paper deals with the issue of the change of the intended reader from adult to child/adolescent in translations of fiction from English into Slovene. The intended reader is most likely to change in translations of comics/cartoons, fantasy, and realistic fiction with child or animal protagonists. The reasons for the change can be both textual and extra-textual: on the one hand, books are categorized as children’s books by libraries, award boards and marketers, as well as by the publisher’s choice of translator, while, on the other hand, individual translation decisions on the microlevel can help move a book from one category to another.

Fiction translation expectancy norms in Iran: a quantitative study of reception

Fiction translation expectancy norms in Iran: a quantitative study of reception

Conversational maxims in fiction translation: New insights into cooperation, characterization, and style

This paper analyses Grice’s maxims in two Arabic translations of Animal Farm to gain insight into the communicative principles underlying character-to-character, narrator-to-reader, and translator-to-reader interactions in fiction translation. Compared to the original, the translated character-level interactions show a more frequent use of maxim hedges, more awareness of or commitment to maxims, more informative responses, and more manifestations of interpersonal relationships, politeness and propositional attitudes. They also show a preference for observing rather than flouting maxims and hence for explicating rather than implicating a meaning. By contrast, there are fewer narrator-reader implicatures, a reduced persuasive power and hence a lesser reader engagement. The overall results point to a higher level of explicitness and informativeness that contributes to the conciseness and simplicity of the translational language and style. Compared to the original writer, translators provide more contextual knowledge and show more awareness of conversational maxims during the re-narration and mediation process.

Nationalism in Lin Shu’s Translation of Haggard’s Adventure Stories

Sir Henry Rider Haggard’s adventure stories are the great and influential contributions in the numerous works in Lin Shu’s translated novels, which are also popular in late Qing China. Moreover, the nationalism started from the late Qing period, which has great influence on the national renaissance in terms of dealing with the national crisis and inspiring the national spirits or reform and exploration. In practice, the translation works have great contribution, among which Lin Shu’s fiction translation is of highest value. His translation works are analyzed from the aspects of source text selection, translation principle and skills. As a translator, Lin interfered with the original text by his prefaces and epilogues in the process of translation. It is necessary to discuss reasons why Lin Shu translated large amount of Haggard’s adventure stories from the perspective of nationalism on Lin’s sense of mission in translation during then society. It also tries to figure out the great influence and meaning of Lin’s translated novels from Haggard’s adventure stories in the academic circle of late Qing China.