Metaphor is the key figure of rhetoric that usually implies a reference to figurative language in general. Therefore, it has always been attended to carefully by linguists, critics and writers. Traditionally, being originally a major aesthetic and rhetorical figure, it has been analysed and approached in terms of its constituent components (i.e. image, object, sense, etc.) and types (such as cliché, dead, anthropomorphic, recent, extended, compound, etc. metaphors). However, recently, and in the light of the latest developments of cognitive stylistics, metaphor has received yet greater attention from a completely different perspective of conceptualization and ideologization. Consequently, this change of perspective has its immediate effect on translation theory and practice, which has to be approached equally differently now with respect to translating metaphor. This paper is an attempt to consider the translation of metaphor from a cognitive stylistic perspective, viewing it primarily as a matter of conceptualization of topics, objects and people. All metaphors are in principle reflections and constructions of concepts, attitudes, mentalities and ideologies on the part of the writer / speaker. Hence, any metaphor is conceptualized in terms of source domain and target domain in different texts, especially literary discourse. In translation, an instant positive response to this conceptualization of metaphor is anticipated by translators into the target language, on the basis of the two domains, the source and the target. The conclusion aimed at by the paper is to turn focus to metaphor as a concretized, conceptualized, useful and updated cognitive figure of rhetoric both in theory and practice of translation. This will unearth yet unexplored dimensions of meaning, analysis, comprehension, interpretation, appreciation and translation of metaphor in both languages, the SL and the TL.
<p><em>This paper is intended to lay some grounds for aspects of literary translation both in theory and in practice. It provides definitions for basic terms and concepts of the major topics and issues pertaining to literary translation. Among the terms and concepts essential to the readers/students’ background knowledge in this connection are: Literature, literary language vs. non-literary language; the literariness of literature, literary translation vs. non-literary translation, the literary translator and methods of literary translation. The paper ends with setting forth a creative literary stylistic method of translating literature. These points are scrupulously elaborated and updated to reflect the latest in the field.</em><strong><em></em></strong></p><p><em>The ultimate objective of this paper is to provide a view of a number of means and requirements of a good literary translation today, and finally set forth a relatively creative approach to literary translation based on a literary stylistic method.</em><em></em></p>
One of the most complicated issues in translation is idioms. Although there are thousands of them and occur in all types of texts and contexts, their translation from English into Arabic has only received cursory attention. This paper is an attempt to fill the gap to some extent in the translation of idioms (English-Arabic). It studies the main problems of translating idiomaticity and the extent to which it is retained or distorted and why. Two major translation procedures, evasion and invasion, are suggested. They are alleged to be a framework through which translators can translate idiomaticity, in their desperate endeavour to transfer it into the TL to achieve the maximum possible degree of equivalent sense, aestheticity, connotations and effects. Therefore, two main evasion procedures are suggested: (1) dissuaison from idiomaticity (due to (i) the translator’s incompetence, (ii) zero language equivalence, or (iii) avoidance of taboos); and (2) preference of insensible sense. Also, three invasion procedures are proposed: (1) equivalent idiomaticity; (2) enforced idiomaticity; and (3) abortive idiomaticity. It is claimed that the latter group of procedures, especially (2) is creative and does justice to both texts, the SL and the TL in translation. The article concludes with a summary idiomaticity, and criteria for tracing its equivalence in the TL.
The translation of poetry has been and will continue to be an issue of great concern to translators, men of letters and readers. Poetry has been approached differently by translators. They are divided into two major parties: tone insists on translating poetry into poetry with respect to all prosodic features; another suggests translating sense with no concern in prosody, especially rhyme, rhm, meter and foot, especially when the translator is for some good reason, unable to translate a poem into a poen in the target language(TL). Each party has their own justifications for their claim. This Paper attempts to demonstrate the merits and demerits of both approaches at translating one and the same poem in terms of poetic translation for the former, and poetical translation for the latter. The aim behind that is two fold: first to satisfy all types of readers; second, to provide concrete evidence for the argument put forward throughout the whole Paper, which is poetic translation is superceding poetical translation in Arabic for Arab readers who still highly appreciate the aestheticity and poeticity of poetry. At the end of the day, it is left to readers to decide which version to prefer. At times, more than one poetic version of translation are suggested for the same poem by different translators. Still on one or two occasions, a middle way version combining some features of each of poetical and poetic translations, is proposed. It is termed as a 'semi-poetic' translation, with the ultimate objective of drawing a comparison between the different versions of translation of the same poem to give readers the opportunity to judge for themselves which translation they go for and why. Convincing readers is a daunting ask, but rewarding at the end. This pproach is applied to the translation of five English poems into Arabic.
The translation of poetry has been and will continue to be an issue of great concern to translators, men of letters and readers. Poetry has been approached differently by translators. They are divided into two major parties: tone insists on translating poetry into poetry with respect to all prosodic features; another suggests translating sense with no concern in prosody, especially rhyme, rhm, meter and foot, especially when the translator is for some good reason, unable to translate a poem into a poen in the target language(TL). Each party has their own justifications for their claim. This Paper attempts to demonstrate the merits and demerits of both approaches at translating one and the same poem in terms of poetic translation for the former, and poetical translation for the latter. The aim behind that is two fold: first to satisfy all types of readers; second, to provide concrete evidence for the argument put forward throughout the whole Paper, which is poetic translation is superceding poetical translation in Arabic for Arab readers who still highly appreciate the aestheticity and poeticity of poetry. At the end of the day, it is left to readers to decide which version to prefer. At times, more than one poetic version of translation are suggested for the same poem by different translators. Still on one or two occasions, a middle way version combining some features of each of poetical and poetic translations, is proposed. It is termed as a 'semi-poetic' translation, with the ultimate objective of drawing a comparison between the different versions of translation of the same poem to give readers the opportunity to judge for themselves which translation they go for and why. Convincing readers is a daunting ask, but rewarding at the end. This pproach is applied to the translation of five English poems into Arabic.
Among the newly developed ideas in the relationship of translation to style is the strong link between translation and cognitive stylistics. The result of this link is the introduction of cognitive conceptualization to translation as one way of comprehending and rendering meaning of the SL into the TL. On the other hand, it can help solve some problems of legal translation based on cognitive cultural conceptualization of legal terms and expressions. This paper is an attempt to introduce new clues for sorting out a number of legal terminology in the light of latest cognitive approaches to the conceptualization of style which can be applied to legal language in the translation between the two languages, Arabic and English. This is achieved through introducing cognitive stylistic approaches to the conceptualization of the style of legal language in translation and how untrodden ways of legal meanings and implications can be traced and unearthed in the process. The paper ends up with some conclusions about suggesting way-out solutions to several problems of legal translation between the two languages concerned, to be put in use later by legal translators.
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