درخت حوزه‌های تخصصی

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.

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.

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.