Journal of Language and Translation Studies
Year:2016 | Volume:49 | Issue:1 (27)|Papers Count:7

Extended Abstract:1. Introduction:Identity has its roots in a nation’s culture. Persian translators have strived to render a lot of Persian literary works into English in order to introduce Persian culture to the world. However, not all Persian works are rendered for the first time by Persian translators.Normally, native translators are expected to have full familiarity with their own culture. But, the question is whether their acquaintance would result in a more accurate rendition of culture-specific terms or not? Can it be claimed that native translators are more capable than non-natives as far as the preservation of cultural values is concerned?

Extended Abstract:1. Introduction:Modern historiography is based on theory, methodology, and research epistemology. This discussion has recently entered the field of Translation Studies and many Translation Studies researchers have since focused on the concepts of history, historiography, and methodology in translation historiography, enriching the field by offering and promoting different approaches to translation history. Though over the last three decades the focus has turned to translation history and numerous research studies have been conducted in the field, research on translation history cannot be compared to other types of research in Translation Studies in terms of quality and quantity. However, the progress that has been made over the last few decades has been so huge that today many scholars propose to consider translation history as an independent research area.

Extended Abstract:1. Introduction:The issue of translation equivalence has received increasing attention from translation theorists and translators, but it seems that this issue can be investigated at different levels and from different perspectives. Reception Theory which appeared from the second half of the 20th century as an opposition to New Criticism, was to re-define the author-reader-text relation in different forms. In this theory, the author is de-centralized and unfocused and the reader and his perception based on his historical and sociocultural contexts are at focus. In this regard, Wolfgang Iser developed a branch of Reception Theory, i.e. School of Reception Aesthetics, which per se represents the issue of equivalence in case of translation. Moreover, by presenting Conceptual Metaphor Theory (CMT), Lakoff and Johnson (1980) opened a new window towards equivalence theory and dealt with the problem of equivalence at the conceptual level. Following this theory, diverse cognitive approaches such as Tabakowska’s experiential equivalence (1993) and Mandelblit’s Cognitive Translation Hypothesis (1995) were concerned about translation equivalence. Therefore, the main objective of the present study is to investigate aesthetic equivalence using the two theories of Iser’s Reception Aesthetics (1974) and Conceptual Metaphor Theory of Lakoff and Johnson (1980) in order to promote an integrated model out of Mandelblit (1995) and Tabakowska (1993) with aesthetic equivalence.

Extended Abstract:1. Introduction:since the early hegira centuries up to the contemporary era “One Thousand and One Nights” stories have been translated into Arabic. During this period we have been confronted with a great many of the translators doing translation jobs from various source languages into different target languages, thus we are bearing witness to the imposition of variegated tastes and styles into the translations presented of the book. This has resulted in full eradication of the original version, the numerosity of the copies and the substanital discrepancies in the equivalents offered of the story book. The similarity between the basic foundation of the translations put forth by Tesuji and Eghlidi and Mar’ashipur (published by Bulaq institution in Egypt) provides an appropriate and suitable grouding for the research into the way these three translators have made a connection with the original text.

Extended Abstract:1. Introduction:Sartre’s famous line in No Exit “Hell is other people” (p. 45) stands as a direct confirmation of the power of Others. In fact, “[o] ur perception within the field of the Other is therefore always a battle with the Gaze: we struggle with the limitations of the structure that is laid out for us” (Grootenboer, 2012. p.45). To spin a piece of common thread intertwining all entities together right at the outset, Burt (2008) asserts that: “When validation and identity derives from others, others become hell, a state where torture is not meted out by devils but self-inflicted and inescapable” (p. 411). Therefore, under the gaze of the other person, our identities withdraw into the shell of reduction. We no more exist by ourselves, but our lives seem to be entangled in the labyrinthine network of others’ existences.

Extended Abstract:1. Introduction:Comparative literature is an essentially French science that has formed in the early nineteenth century. This science is a branch of literary criticism that compares and peruses the cultural and literary relations between the nations. This field of literature reviews and analyses the correlation and similarities between different nation’s literature and culture. Comparative literature explains the comparative studying and perusing on works which resulted from the different cultural backgrounds. In fact, this science is a means of scrutinizing the worlds’ literature, and it is a hatch to see and hear the people thoughts from every color, race, language and nationality. Consequently, perusing contently and structural similarities between writer’s literary works driving from different cultures and nations is a branch of comparative researches that has been constantly at the center of researchers ‘attention. In this article, we intend to study on a research in this field by having a glance on Victor Hugo and Shapur Gharib’s works. The reason for this choice is that they are too much similar in narrative structure. Actually, we will find out there are similar events in two stories in two western and eastern societies.