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Iranian Journal of Applied Linguistics، جلد ۲۵، شماره ۲، صفحات ۱-۱
عنوان فارسی
چکیده فارسی مقاله
The novel Les Miserables (Hugo, 1985) is one of the most universally translated works, and there are a number of adaptions in several languages. One recent adaption is the Persian musical play performed in Iran. In this performance, culture-specific items (CSIs) were translated differently since visual and aural elements were added to the stage. The present study aims to investigate translation strategies used in the above adaptation to indicate what translation solutions are possible when the medium changes. After watching the ninety-minute recorded play in VOD format, culture-specific items were selected purposively corresponding to those in the novel. Subsequently, they were analyzed based on Newmark's model (1988). The findings showed that the most frequent translation strategies applied were adaptation, followed by communicative translation, and literal translation. Compared with the original performance, some scenes were deleted from the recorded play. Hence, there was no exact one-to-one correspondence with the original text of the book. While instances of censorship contributed to some of these omissions,  probably one reason for the issue is the publishing regulations administered in Iran for VOD formats of the plays. These results suggest that while target language-oriented strategies dominated the entire translation approach, the translator of the play tried to familiarize the audience with French culture through literal translations and with the help of visual and aural aids. Since the audience were presented with pictures and songs, it was easier for them to locate themselves in the era of the French Revolution and French customs.
کلیدواژه‌های فارسی مقاله
عنوان انگلیسی Translation of Culture-Specific Items: A Case Study of Les Miserables’ Persian Musical Performance
چکیده انگلیسی مقاله
The novel Les Miserables (Hugo, 1985) is one of the most universally translated works, and there are a number of adaptions in several languages. One recent adaption is the Persian musical play performed in Iran. In this performance, culture-specific items (CSIs) were translated differently since visual and aural elements were added to the stage. The present study aims to investigate translation strategies used in the above adaptation to indicate what translation solutions are possible when the medium changes. After watching the ninety-minute recorded play in VOD format, culture-specific items were selected purposively corresponding to those in the novel. Subsequently, they were analyzed based on Newmark's model (1988). The findings showed that the most frequent translation strategies applied were adaptation, followed by communicative translation, and literal translation. Compared with the original performance, some scenes were deleted from the recorded play. Hence, there was no exact one-to-one correspondence with the original text of the book. While instances of censorship contributed to some of these omissions,  probably one reason for the issue is the publishing regulations administered in Iran for VOD formats of the plays. These results suggest that while target language-oriented strategies dominated the entire translation approach, the translator of the play tried to familiarize the audience with French culture through literal translations and with the help of visual and aural aids. Since the audience were presented with pictures and songs, it was easier for them to locate themselves in the era of the French Revolution and French customs.
کلیدواژه‌های انگلیسی مقاله adaptation, censorship, culture-specific items, omission, translation strategy
نویسندگان مقاله | Aysa Arjmandpour
Kharazmi University


| Hossein Bahri
Kharazmi University
نشانی اینترنتی http://ijal.khu.ac.ir/browse.php?a_code=A-10-1389-2&slc_lang=en&sid=1
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زبان مقاله منتشر شده en
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