Translating metaphors from one language to another is a very difficult undertaking and a number of contemporary theorists in the field of translation believe it to be impossible. Of course, translation reserachers like Newmark, who believe metaphors are traslatable, have suggested specific frameworks and methods for its accomplishement, which need to be pondered upon. Following a brief discussion on the the definition of metaphore as well as modern theories concerning the translation of metaphor and its various techniques, the present study examies translation of the Quranic metaphors in Tabari’s translation. The results indicate that to translate metaphors, different techniques have been utilized in this translation work. All these techniques are among the ones suggested by Newmark and this diversity not only contributes to attractions of expression but also denote other facts.

Various articles have addressed the field of audiovisual translation and its related issues, but the pragmatic aspects of this area have not been addressed as they should be. As pragmatic issues are mainly covert in dialogues, and films are dialogue-oriented, it is crucial to consider these aspects in this area. Implicature is one of these hidden aspects of meaning which challenges the translators’ knowledge and competency. Sometimes ignoring this pragmatic aspect results in misinterpreting the intended meaning of the original version, whether it is a text or a film. Therefore, the present study intends to examine the translation of implicatures and their intricacies in Persian dubbing. To this end, four American films (Notting hill, The bucket list, The ultimate gift and Still Alice) were selected, all of which had been dubbed into Persian. All parts of these films were analyzed to determine whether there is any mismatch between original and dubbed versions in terms of this pragmatic aspect. The translation techniques and their frequency of occurrences which were applied to translate this pragmatic aspect are illustrated too. The results indicate that there are mismatches between the original and dubbed versions in terms of implicature, and the most frequent number of mismatches refers to scalar implicatures. Conventional and conversational implicatures follow it respectively. Moreover, deletion is the most frequent translation strategy which was applied to render this pragmatic aspect.

Extended Abstract:1. Introduction:Since the late 1990s, the world has been experiencing a gradual involvement into an emerging trend of translation-related activities; a transition from “translation” and “interpretation” towards “media translation”. This has been a period characterized by an ever-increasing momentum in dubbing, voice- over, subtitling, etc. with regard to a multitude number of movies, TV series, documentaries, multi-media factoids, and the like. These obviously require domestication/deforeignization of the materials. According to Venuti (1995, p. 20)“domestication” is defined as “an ethnocentric reduction of the foreign text to target language cultural values, bringing the author back home”. Thus, domestication involves some sort of manipulation in a foreign text aimed at reproducing it to serve the recipient language and culture. Recent sources on the issue too appear to comply with this perspective(Ramieri,2006; Tymoczko,1995; Ulrych,2000).

The current study explored the effect of storytelling and translation techniques on learning proverbs among female Iranian EFL (English as a Foreign Language) learners in online classes, which came into vogue after corona pandemic, and the attitudes of the learners toward proverb learning. In order to do these, participants who were 30 female high school students studying in Iranshahr whose homogeneity as pre-intermediate learners was checked via the Nelson Proficiency Test were assigned to two groups: a storytelling group, and a translation group; each group containing 15 students. Treatment lasted seven sessions and it included 50 English proverbs chosen based on the frequency of their use in Google search. In each session, the participants of experimental groups were engaged in learning seven English proverbs. The translation group were presented with L1 equivalents of the proverbs; the storytelling group were presented with a funny story about each proverb. An attitude questionnaire and a test of proverbs were applied prior to and after the treatment. The results of the paired t-test indicated that both storytelling technique and translation were effective in improving learners’ knowledge of L2 (second Language) proverbs. The results of the t-test depicted that there were no statistically significant differences between the two groups in the post-test. These findings have implications for material developers, L2 instructors, and L2 learners about the importance of the use of L2 proverbs.

Due to the advancement of film making technologies, we are witnessing, in this new era, the overabundance of different animations, such as Shrek, Brave, Frozen, etc., whose respondents are majorly children and adolescents. An important feature of these animations is their ironic or their humoristic language. Given that the transmission of humor (formally and functionally) varies in each culture and that the same message in two different linguistic-cultural spheres would not have the same effect (perception) and that the loyalty of dialogues in the translation of the films and animations is of less importance than the coherence of dialogues, audio and video, the question may be raised is that what translation techniques the translator adopts to translate the humoristic language. This paper, therefore, aims to investigate how humorous elements are translated within in Incredibles 2 (2018). First, we present the specified features of the multifaceted world of animation and its translational challenges. Then we examine the function and perception of humor in both the original and dubbed versions. Finally, the translator’ s techniques for the transmission of humoristic references in the Persian version of Incredibles 2 are discussed.

This paper deals with wordplays and figures of speech as well as how to translate them. After introducing the problem, some general issues, such as untranslatability,will be raised concerning translation of figures of speech.Then seven major techniques that have been extracted and generalized from works done by Persian and English translators regarding translation of figures of speech will be discussed, and some examples will be given for each technique. Since pun is the most significant and most frequently used form of wordplay,special attention is paid to this figure of speech and it is elaborated in particular. Several examples, taken from the works of Persian and English translators, will illustrate this form of wordplay.

Saadi's Golestan and Jami's Baharestan are two Persian works in prose in which significant techniques have been used in translating Arabic expressions due to the proficiency of the authors in Arabic and Persian languages and their rhetorical and linguistic knowledge. In this research, the Arabic-translated phrases in the mentioned works have been studied based on the target-oriented approach in translation. The basis of this approach is that the translator tries to choose equivalent and equal elements of the target language with regard to the elements of the source language and text. With the help of special methods, he also tries to enter the entire meaning of the desired context into the target language and to avoid conveying the explicit meaning merely. The aim of the present study is to find Arabic to Persian translation techniques in Saadi's Golestan and Jami's Baharestan and to examine the extent of Saadi and Jami's commitment to the target language. Considering that Jami's Baharestan is the most prominent work of art identical to Saadi's Golestan in terms of form and content, the results indicate that the techniques of translating Arabic phrases into Persian in this work are also remarkably similar to Saadi's Golestan. Accordingly, the most distinguished methods of the target-oriented approach in translating the Arabic expressions of Golestan and Baharestan, respectively, are transition, dissimilation, adjunction, and disambiguation.

Each of the translation theorists has more or less been able to influence the history of translation with their works and opinions. Among them were Jean-Paul Vienne and Jean Darbelne in 1958. They published a book entitled "French and English Comparative Stylistics". This book introduces the techniques that every translator uses, and due to the significant impact this work has had on the history of translation, it has actually become an important reference for translation techniques. In the present study, after providing a brief definition for each of these techniques, examples are mentioned for each. After exploring and comparing the translated text with the original text of the famous novel "Sayyid al-Qamar" and in accordance with the same technique, these samples have been selected to analyze the translation of this novel written by Ms. Jokheh al-Harithi (2010) and Mohammad Hezbai Zadeh. He translated it as "Women of the Moon". This article seeks to evaluate the translation of the novel based on the opinions of famous translation theorists and in a problem-oriented study with an analytical-descriptive method to measure the tendency and success of the translator in using these techniques, which in the end, the translator has taken a destination-oriented approach due to his special attention to the reader's understanding and communication with him. Therefore, to create a fluent and understandable text, it has used less direct techniques and more indirect methods to finally provide a readable translation in Persian whose expressions and terms are familiar to the Persian-language readers and free of ambiguity and complexity, and is appropriate to the level of readers of a novel.