درخت حوزه‌های تخصصی

This study aims to investigate how humorous language and content are rendered in audiovisual translation. Focusing on the animated film Minions , the study compares two Persian dubbed versions produced by Kaszadeh (2015) and Khajavi (2015). The entire film was analyzed, and humorous instances were identified and compared with their Persian equivalents to examine the translation strategies employed. The findings reveal notable differences between the two translations. Kaszadeh predominantly relies on free translation, while Khajavi more frequently employs cultural equivalence. Furthermore, Khajavi’s version demonstrates a higher degree of fluency, suggesting a more effective transfer of cultural nuances and contextual references into Persian. These results underscore the impact of translation strategy choice on the naturalness and reception of humor in dubbed animated films.

Effective feedback has a pivotal role in translator education. However, its implementation has remained unclear as the nature of translation tasks is multidimensional. Thus, this article proposes a framework, which is grounded in the seven principles of good feedback practice identified by Nicol and Macfarlane-Dick (2006), to integrate high-quality feedback into translation classrooms. The seven principles emphasize clarifying performance standards, promoting structured self-assessment, ensuring timely and constructive feedback, encouraging dialogic interactions, supporting learner self-esteem, enabling iterative revision, and examining student performance to refine teaching methods. The customized version for translation classrooms emphasizes the use of rubrics, annotated models, exemplars, reflective journals, peer review, group translation projects, and low-stakes assessment cycles to encourage autonomous and self-regulated learning. The holistic view of the process indicated the reciprocal nature of feedback: while learners benefit from targeted feedback and opportunities for revision and resubmission, instructors also gain insights into students’ needs and the areas that call for pedagogical adjustment. When feedback is systematic ally aligned with the course goals, learning strategies, and metacognitive development, strategic competence, critical awareness, and autonomy in translation learners can be facilitated. In effect, the proposed framework offers a structured model that can enhance both instructional effectiveness and translation learners’ performance, which contributes to the broader systematization of translator education.

This study investigates the way international environmental news is framed in Iran, specifically evaluating the role of translation in promoting public perceptions of global ecological issues. By analyzing articles from the Iranian Environmental News Agency (IENA), the study employs ecolinguistic framework to reveal underlying frames of reconstructing and adapting environmental narratives for Iranian audiences. The depiction of nature includes prominent frames such as crisis, economics, conservation, and the human dimension, with key metaphors such as viewing nature as a victim, climate change as a war, and nature as a resource. However, the frames and metaphors also highlight an intricate balance between human-centered and nature-centered approaches, fostering a matter of urgency in addressing environmental issues and taking the lead toward convening ways toward sustainable practices. Findings reveal that though crisis stories or war metaphors communicate the desperate state of environmental challenges, they may not effectively inspire constructive, non-destructive action, and create a sense of helplessness or fatalism on the part of the readers. In contrast, conservational and human responsibility frames evoke a sense of agency and optimism. The research underscores the importance of translation in mediating global environmental discourse, advocating for more inclusive and ecocentric narratives that connect international and local contexts. Finally, this paper renders its contribution toward a detailed understanding of environmental communication in Iran, enhances global ecological awareness, and promotes sustainability.

This article examines the current state of the translated editions of the ‘complete works’ of Rosa Luxemburg, one of the most influential figures in European Marxism at the turn of the 20th century, with particular attention to the projects undertaken in the United Kingdom, France, and Italy. In recent decades, various publishers and collectives have undertaken projects to recover and translate her theoretical, political and epistolary works, to rescue her legacy in different languages and political contexts. This phenomenon not only responds to academic interests but is also deeply linked to ideological dynamics and contemporary political militancy, making these editions spaces for negotiation between memory, historiography and political action. The study focuses on three paradigmatic cases in Western Europe: the United Kingdom, France and Italy. In the Anglo-Saxon world, the project was promoted by Verso Books under the coordination of Peter Hudis. In France, the work carried out by the Smolny collective and the Agone publishing house has opted for a contextualised edition that emphasises the historical and political dimension of the texts. In both countries, these efforts face financial and logistical constraints, but they have made significant progress thanks to the commitment of translators, editors and activists. In the Italian case, although there is no systematic project for a complete edition, the pioneering work of figures such as Lelio Basso, who played a crucial role in disseminating his thought during the 1960s and 1970s, is recognised.

The present study examines the role of translation in promoting new sciences in Dar al-Fonun, the first modern school of higher education in Iran during the Nasseri period (1831-1896). Amir Kabir, the chief minister under Nasser al-Din Shah – following his modernization programs for the development of Iran subsequent to the Western industrial revolution after which Iran experienced a delay in benefiting from advancement in science and technology during the early 19th century – established Dar al-Fonun school in a Western and European style with the aim of promoting and strengthening science and knowledge so that Iranian specialists could be trained in various scientific fields. As a result, translation became one of the tools for introducing modern sciences to Iran in order to fight against the country’s backwardness in various fields. The period covered by this research is from 1851 to 1896 – from the foundation of the school to the end of the Nasseri era. The results of the study, conducted by using library method, second-hand sources and their content analysis, show that translation in various ways enabled Iranian students to benefit from modern higher education and after graduation, they served as experts in various fields, making a huge contribution to the expansion of modern sciences for the development of the country.

Songs in animated musicals are far from homogenous; they belong to distinct genres, each fulfilling different communicative purposes, emotional tones, and narrative functions. This diversity requires genre-sensitive translation strategies, yet much existing scholarship continues to treat song dubbing as a uniform practice, overlooking how genre shapes translational choices. To address this gap, the present study adopts a functionalist, genre-based perspective, drawing on Reiss’s (1971/2000) text typology, to investigate the role of genre in shaping dubbing strategies in the Persian versions of animated musicals. The corpus consists of six English-language animated musicals and their Persian dubbed counterparts. Songs are categorized into three genres, including background songs, plot-related songs, and entertaining songs, and examined in relation to translation strategies adapted from Gottlieb (1992) and reformulated by Ghomi (2009). The analysis reveals a strong correlation between song genre and translation method, showing that genre-specific function in animated musicals plays a critical role in sustaining narrative cohesion and enhancing audience engagement. By demonstrating how song genre systematically informs translation choices, this study contributes to the expanding field of audiovisual translation and to the specialized area of song dubbing.

This study investigates the localization of the rulebook of the board game Modern Art into its Persian version, by focusing on multimodal translation. Taylor’s (2016) framework was employed to examine multimodal translation of the rulebook by focusing on four types of elements, being linguistic, semiotic, cultural, and narrative. To analyze linguistic changes, translation techniques proposed by L. Molina and A. Hurtado Albir (2002) were used, and the findings indicate that reduction, adaptation, and amplification were the most frequently used techniques. Regarding semiotic changes, the matrix proposed by Kostelnick and Roberts (2011) was applied, and the results revealed significant changes, such as modifications in images and the use of exclamation marks. Cultural analysis demonstrated major changes, including the replacement of all the artists featured in the board game. By contrast, the localized version of the board game did not alter its narrative. Overall, the localized version adapts the artworks and artists while preserving the mechanics and essence of the original board game.

The dominant view of early English Qur’an translations as uniformly literal has obscured significant strategic and ideological diversity, particularly in the handling of metonymic expressions. This study examines how Abdullah Yusuf Ali, Marmaduke Pickthall, and Mohammed Habib Shakir have rendered 50 Quranic verses that contain clear metonymies. Using a qualitative comparative design, metonymies were classified by cognitive type, and translation strategies were coded as preservation of the original vehicle, sense-for-sense replacement, hybrid explicitation, or deletion. Analysis of 150 renderings revealed that, while preservation predominated overall (52.7%), translators diverged sharply. Pickthall preserved the source vehicle in 70% of cases, Shakir in 52%, and Yusuf Ali in only 36%, preferring sense rendering (50%). Strategic choices aligned closely with translator habitus (devotional literalism, reformist rationalization, Azhari pragmatism) and formed a consistent theological-sensitivity hierarchy; divine attributes were almost universally retained, human-submission expressions unanimously domesticated, and cause-effect idioms produced the clearest ideological split. These findings challenge the monolithic literalist narrative, demonstrate translator ideology as the primary driver of cognitive continuity or disruption, and provide a framework for future analyses of figurative language in sacred-text translation.

The article approaches Hollywood remakes of foreign films as intersemiotic translation. Analysing one selected film pair—Seven Samurai (1954) / The Magnificent Seven (2016), the study employed a two-phase methodology consisting of Description-Comparison (phase 1) and Interpretation (phase 2). The first phase identifies shifts in plot structure, narrative techniques, characterisation, and setting, while the second phase interprets those identified shifts through three main lenses: economic motivations (market-driven localisation), creative reinterpretations (auteurist vision), and socio-cultural negotiations (recontextualising identity). The findings of this study reveal that plot structure represented the most common transformation category, followed by narrative technique, characterisation, and setting; thus, the remakes reflect the proliferation of strategic recalibrations by Hollywood filmmakers in pursuit of commercial and cultural resonance within American audiences. The study also indicates that remakes function not merely as adaptations but as forms of intersemiotic translation shaped by market logics, auteurial choices, and socio-cultural repositioning. It contributes to Translation Studies by illuminating the role of remakes in cultural negotiation, originality, repetition, and transnational cinematic exchange.

This study examines hybridity in translation through a case study of Funny in Farsi: A Memoir of Growing Up Iranian in America . It analyzes how references to American and Iranian cultures are rendered in the Persian translation and how these choices shape the hybrid character of the text for different readerships. To this end, the English source text and its Persian translation are compared to identify the translation strategies applied to hybrid elements reflecting Iranian and American cultures. The findings show that material culture, such as food, clothing, housing, and transportation, constitutes the most prominent category of hybrid elements. Transference is the most frequently used strategy overall, particularly for elements reflecing American culture, indicating a predominantly foreignizing approach. In contrast, hybrid items reflecing Iranian culture are more often translated through cultural equivalence and reduction. Interpreted in light of Venuti’s (1995) concepts of domestication and foreignization, the results suggest that the translator preserves the hybrid nature of the memoir by maintaining the foreignness of American elements while reducing familiar Iranian ones.

The diversity between a source language and a target language and the variation in their cultures make the task of finding equivalents a serious challenge. Expressive texts are among the most difficult text-types to be translated. Being deeply rooted in the culture of a nation, classical literary texts are seldom devoid of culture-specific concepts or cultural references (CRs). Sa‘di’s (1208-1291) Gulistan is a prominent masterpiece of classical Persian literature that abounds with CRs. It is translated by many translators. Anderson (1861) and Rosenbaum (2010) are among the earliest and the most recent translators of the Persian masterpiece, respectively. The paper aimed at identifying categories of CRs in translations, determining translators’ most and least frequent procedures and specifying the most challenging categories of CRs for each of them. The study aims at identifying various categories of the CRs in the Gulistan and the procedures employed by the two translators in rendering them. In order to specify the procedures, Davies’s (2003) model and Huber and Kairys’s (2021) taxonomy were used. The findings revealed that ‘substitution’, ‘literal translation’ and ‘generalization’ were averagely the most frequent procedures. Moreover, it was found that the terms belonging to the categories of ‘religion’, ‘garments’ and ‘social life’ were the most challenging concepts for the English translators.

In the domain of Persian literature, the Holy Qur’an has consistently played an influential subtextual role in shaping the formal and semantic aesthetics of literary works. The present study, aiming to analyze intertextual relations, investigates Saleh Hosseini’s utilization of Quranic terms and concepts in his translations of English literary works. To this end, based on Kristeva’s (1966) theory of intertextuality and Genette’s (1982) taxonomy, selected examples from seven translated works were analyzed. Following the examination and analysis of the data, a comprehensive interview with the translator was conducted to triangulate the findings. The results indicate that the translator employed two main strategies—explicit intertextuality (direct use of Quranic terms and verses) and paratextuality (using footnotes and appendices)—to create complex references in translations. This approach, while maintaining fidelity to the source semantic networks, reconstructed the text within the cultural context of the target language, providing a multilayered and polyvocal experience for the target readers. In light of the analysis of the collected textual data and the translator’s responses in the interview, it can be concluded that literary translation, far beyond the mere transfer of words, is a creative, interpretive, and intertextual process that facilitates deep cultural and discursive interaction among various texts.