With universals of translation budding into an interesting field in translation studies, discussing the nature of translation universals and explicitation as one of the universals of translation emerges as one important strand worthy exploring. In this paper, first of all, the notion of explicitation in translation is introduced, followed by the probable relations between expertise and explicitation discussed in two Arabic-English translations of the Holy Quran. First, a comparison was made between the original text and the translations in terms of explicitation regarding cohesion in context. Second, the translations were compared by studying cohesive markers. In the third step, the study investigated the relationship among features of cohesion, as verified by Halliday and Hassan's seminal work in this realm, with all instances of explicitation identified on this basis. The fourth stage of the study saw a comparison drawn between the frequencies of explicitation in the translations. The findings pointed to the application of explicitation, somehow affecting the behavior of cohesive markers. Finally, the results of the analysis supported the need for the reasons behind the rate of the relationship between expertise and explicitation in the Arabic-English translations of the Quran. Interestingly, the findings turned out to be in contrast with the hypothesis indicating that the translated texts converted by experienced translators would be more explicit than their original parallel versions. Further, experienced or inexperienced translators transferred most of the ellipsis and substitutions used in the source text in their original form. No clear relationship between the level of expertise of translators and explicitation in translation was discovered. Such detailed investigations of the instances of explicitation in corpora would be attempts to categorize, compare and contrast patterns of occurrence, and provide possible starting points for further similar research.
Humour is bounded by culture or language, and it involves shared knowledge and history between the sender and the receiver, which could make humour subtitling even more complicated. This study aimed at exploring the subtitling strategies used in fansub in the television series The Marvelous Mrs. Maisel, as well as the humour elements of source and target text in each humour, and the translation errors made in English to Chinese fansub. Humour instances were identified and analysed, and the subtitling strategies used by fans were explained. The findings showed the inconsistent quality of fansub could be due to linguistic and technical constraints, insufficient cultural knowledge of the source and target cultures, and deviations from translation norms, resulting in linguistic, pragmatic, cultural and text-specific translation errors. The study could have some theoretical and practical implications for translators, subtitlers, and trainers.
The ideology and worldviews of a community may be shifted and modified through social changes brought about by political upheavals. In a country like Iran, the Islamic revolution (1979/80) has played a major role in re-shaping the ideology of the governing body which among many other things involves modifications in the language policy. After the revolution, Persian speakers were encouraged to be more conservative in their use of language. As a result, those who tended to produce discourse which was more conservative and Islam-oriented became more popular and respected among the Iranian people. Ideology is one of the major factors which influences the manipulation of language use in translation. Prefaces and introductions which form the paratexts to a translated product often contain expressions of a translator’s ideology, and this usually manifests itself in the translation product. This study aims to describe the ideological impact of the social situation both in the pre- and post-revolutionary era in Iran on translations of George Orwell’s famous political novel, Nineteen Eighty-Four (1949) into Persian. This study will, therefore, compare the prefaces in three Persian translations of Nineteen Eighty-Four which were produced before and after the 1979 Iranian Islamic Revolution. The three Persian translations are by Mehdi Bahremand (1976), Zhila Sazegar (1980) and Saleh Hosseini (1982). This study employs Farahzad’s (2012) second dimension of the three-dimensional translation criticism model i. e. paratextual analysis alongside Lefevere’s (1992) theory of manipulation to investigate some of the lexical differences that manifest themselves in the pre-and post-revolutionary Persian translations of Nineteen Eighty-Four which reflect the personal ideologies of the three Persian translators as explicitly or implicitly expressed in their prefaces.
This article introduces the main features of the art of Azerbaijani ashik (aşıq) and also presents the life and a selection of the poetry of Ashik Basti (1836-1936), an outstanding female ashik of Azerbaijan during the nineteenth century. The art of ashik is a genre of Turkic folklore common to Central Asia and especially in Azerbaijan. It takes the form of the oral performance of mostly love narratives and sometimes epic stories accompanied mainly by the saz, a slender-necked lute, alongside other musical instruments. The Azerbaijani ashik, who combines the skills of a singer, dancer, storyteller, poet, word-master and actor, has been the key carrier of the ancient musical traditions of Azerbaijan throughout history. Ashik Basti's "Basti and Khanchoban", an epic literary-musical composition known as the dastan, is presented for the first time here in English translation. The phonic beauty of Ashik Basti's poems is sadly lost in translation but the close literal renditions reveal the resounding cry of the pain of tragic love.
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