Style in translation
In this article, it will be attempted to examine some of its species after defining register in the sense of translation, and then what is linguistic as the principles of style observance in the translation of the intended, Simply expressed.
What is mentioned in this brief is the style of the style, with the definition of which in the literary studies in question, is more or less different. Here the style of style is the way of expressing the origin language.
What is the style?
The style or manner of expressing a writer to his or her subject has certain characteristics. In general, the style of a story is different from the style of writing a scientific article, the language used to describe scientific description, with the literary description of the same event, and naturally the description of which the event is presented to children. has it.
One author, based on two factors the subject and the audience, chooses a particular style or style of expression and adheres to his text. Each of these styles differs in terms of vocabulary, grammatical structures, and semantic applications. Simply put, the use of words in a literary text usually has no place in a scientific article, because if not incorrect, it is very ridiculous if the meteorological person is for example when reporting the word “sky”. Use ” Enamel Dome” or dentist in his scientific article instead of using the term “orthodontic” to chain the pearls sitting in the buds.
Thus, it can be said that the style is based on the subject and the audience has different species, which can be divided into sub-types:
1- The subject of the circuit
2. Votes of the circuit
The intercourse of these two main species will also create a variety of styles. For example, we compare the two texts below:
Toos and Gio were hunting in the heart. So the hunting players took the hunting, the bow of the bow, and rushed to the Nakhjir. They attacked the plain in the plain and the Goran took to the low.
Toos and Gio were craving to hunt. So they picked up their hunting and arrows and moved to the hunt with several riders. They invaded the plain with a happy heart and captured the zebra.
The two examples of the above prose from the beginning of Siavash’s story in the Shahnameh are based on the subject and the audience in two different styles. Although in each case, the issue has a literary structure, it is clear to the reader that the second species considers the younger audience. It can be assumed that the reader, with his language awareness, recognizes the style used in the text and respond appropriately according to the features of the text.
Observing the source text of the source language in the translation is one of the interpreters. This requires the understanding of a particular species used in different texts. The translator, based on his or her experience in certain circumstances, chooses a semantic translation, which is to pay attention to what the author says or the translation of communication means what is understandable to the reader. But it has no option of changing style. Just as the author should not express the scientific article literally or in a conversation, the translator cannot be able to change the style of the text, as such an option will lead to the sacrifice of the source language style. This is especially true among the translators who are the author himself. They impose their style of writing on the text, and sometimes even go beyond this stage, and manipulate the author’s views during the translation of the author’s translation. In such circumstances, the translation will be tagged based on the scientific criticism of the translation.
Thus, it can be said that among the semantic translation of the “circuit author’s translation” and the communication translation of the “circular reader” there is another type of translation that can be called the “translator translator”.
Circuit translator, because of more information imposed by the translator on the text, makes it more difficult to understand the author’s subject and opinion, and in some circumstances, it may lead to translation. This is especially true in the translation of specialized and scientific texts. For example :
My Purpose In Writing This Book Has Been to Provide a Relatively Self-Consigned Important Trends in Analytic Philosophy
In this post, I am intended to make a coma preface more than the most remarkable trends of Anakavik.
I Don Want to Criticize MySELF for the New Ideas of Mine
Woe to me if I wanted to make my new votes to my heart.
Now an isolated Fact is usually -said to be Explained when ITS cause has been discovered. And iF its cause cannot be ascertained, it is said to be an uninxplaaged Fact
Usually, when a subject’s cause is discovered, they explain it to us. Now, if we can’t recognize this cause, then we say that the cause cannot be explained.
In the first example, we see that the translator, using the so-called pure Persian words, has translated the book’s preface so much that it is no longer meaningful to the reader. The second example is a literary translation of a simple English text, and in the third example, the translator has not only changed the original text but also made a philosophical text for printing in the children’s book.
The above examples, although very extreme example, are less likely to be translated by many translator translators.
Each writer with his or her style
The site is characterized by stylistics as a special style or individual style. It is possible that the author may, because of the full surroundings, can make a complex issue very simple and general, and on the other hand, some authors consider simplification to be the reason for insufficient knowledge of the subject and of the complexity of proficiency. they take. For example:
Linguistics studies can be divided into two main branches. The branch that tries to study the language as a device and describe the structure and how it works at a given time, regardless of its historical origin and transformation, is called “simultaneous” linguistics. This branch of linguistics is also called descriptive linguistics. in return; The linguistic branch that seeks to examine the evolution of language over time is called “time” or historical linguistics.
Linguistic research is in two types of coincidence and time, in the sense that the first is the study of the language at a point in time and with the ignorance of its historical transformation during that time, and the second is the second. The study of the language over time is with the transformation of that language over time, the former described as descriptive and the latter as historical.
The two examples above are exactly one specific theme, but the first author considers a simple style, and the other has a sophisticated style. Now, if we want to translate these two samples into another language, the simplicity or complexity of the source text in the destination language should also be presented in a way. Otherwise, the translator has failed in his work because it failed to determine the author’s written style for the reader.
It should be acknowledged that no translator can separate his personality. Each translator may intervene for two major reasons in the translation of the text. Sometimes his interference and translator’s translation are not deliberate, and sometimes there is deliberate work.
Some translators are so subordinate to their writing style that they unconsciously impose their style on the text. They see their translation re-read that the style obtained in the destination language text is different from the source text of the source language but they have no justification for it; Many times the product compares their work to the original text and strives to bring their translation style to the source language, but most of the time they cannot keep their character completely dismiss their translation.
Another group of translators deliberately impose their personalities on the translated text. For them, the main purpose of translation is not to provide the message as the author meant. The main purpose is to display the translator’s power in presenting his special style. For this group of translators, the translation of Hamlet, Shakespeare, the poor, Victor Hugo, the article on Einstein’s theory of relativity, and even the specialized translation of psychology are all in one form.
However, the first group is unsuccessful from the translation point of view, and the second group cannot be considered an interpreter!
Observing the style and method of equivalent in translation
If we consider the sentence to be the most desirable unit of translation and do not want to obtain a translation free from the source language text, observing the style or style of expression depends on choosing the correct equivalent of words and the grammatical construction of the sentence in the target language. Simply put, from a few equivalent words and a few grammatical buildings, one must choose a species that can generally represent the source text of the source language in the target language.
1- Lexical alignment
The translator usually sees species in front of the words in the context of the source and must use one of them in his translation. Each of these equivalents can help provide the source language style. for example:
I Need Your Help
Depending on the Persian equivalent of the two words Need and Help, the English sentence can be translated in different ways. The use of the word “need” and “help” instead of “need” and “assistance” makes the style of the source language literary because, for every Persian reader, it is certain that two sentences:
1. I need your help.
2. I need help.
The first is literary, but the second is a dialogue style closer.
We’re all tired and could not take one step further
1. We were all tired and couldn’t go a step further.
2. We were all tired and we couldn’t move ahead.
By comparing the two sentences, you can see that the use of the word “step” instead of “step” shows the literary style of the text.
The Pond Was Full of Water
1. It was full of water.
2. It was a source of water.
The second translation with the use of “Mlamal” instead of “full” changes the style of the source language.
2. Structural equivalence
When translating the text from the source language to the destination, the translator must choose a structure that can make the source text of the source language. for example :
You are my supporter
1-You are my helper
2. You are your helper
The grammatical structure of the second translation has a literary line.
I DON’T have a home in this world
1. I have no home in this world.
2. There is no house in this world.
The second equivalent to the equivalent of Ob has a literary language for each Persian reader.
Proper vocabulary and structural equivalence can lead to adherence to the style of the source language text, and the lack of proper selection of words and grammatical construction, although it may obtain the concept of the text, will be failed in observing the style. For example, if in the last example presented, we use the word “home” instead of the word “home”, we have made our expression more literary. “I am not in this world.” The use of the word “universe” instead of “the world” will also be another literary style. So it is possible
We review the following with each other.
1. I have no home in this world.
2. There is no house in this world.
3. In this world there is no task.
4. There is no casket in this universe.
In this case, there are several other opportunities to equate, which all give the explicit meaning of the source sentence, but differ from the style used in the source language of the source language.
Thus, among the two translators who have provided complete and accurate translations from a single text, it is a more successful translator that can also obtain the style or style of expression of the source language text in the target language.
