pp. ( ) Rawand Sabah Ishik University Lecturer

Transcription

1 مرۆڤایەتییەکان زانستە بۆ زانکۆ گۆڤارى 0202 ساڵى 4 ژمارە 02 بەرگى پاشكۆی Strategies of Translating Allusions from Kurdish to English and Vice Versa pp. ( ) Rawand Sabah Ishik University Lecturer rawandsabah@yahoo.com Abstract There is no doubt that translators face a lot of difficulties during the process of translations. One of these difficulties is literary texts which pose challenges for them since literary texts are tightly knit to culture of languages. One of the literary devices which exist in about all literary texts and causing intercultural gaps is allusion. This study tries to show some definitions of allusions. Later the paper attempts to examine the strategies, translators can use in translating of allusive words, phrases, and sentences from Kurdish to English or vice versa. The paper ends with conclusions and recommendations. Keywords: Allusions, Culture bound, Difficulties, Definitions, Strategies, Translations. 1. INTRODUCTION I n a work of literature allusion is a brief reference, explicit or implicit, to a person, place, or event or to another literary work or passage (Abrams, 1999, p. 9). As Wheeler (1979, p.5) defines it, "Allusion helps to elucidate the meaning of each text and to indicate the literary modes and conventions in which its author works.".according to Gardi (1972, p. 103) allusion is a literary device which is used by a poet to refer to historic and literary events, or to a proverb and a Holy Quran verse. In Kurdish color may also be used as a allusion for denoting time as in ( ردیخ زاى,(ڕ گز which denotes an autumn season or دار) س وزبووى ), which denotes time of spring season (Shekhani, p. 35) Leppihalme (1997, pp.78-83) states that when someone desires to know and translate something deep-rooted strongly in another nation's culture he/she must have much information other than what is seen overtly, actually, the comprehension of an allusion is barred by culture if the translators do not have knowledge of both cultures, so this obstacle should be removed. This study concentrates on strategies suggested by leppihalme (1997) to decipher the intercultural difficulty of translating allusions. It is quite obvious that target text readers, who have educated in a different culture, will usually be rather incapable of recognizing the names or phrases used and to make the necessary connection in order to make sense of target text passages in which source-cultural allusions take place. Allusive names and phrases may have sense or carry connotations understood by members of the source culture but which may express nothing to target text readers in whose culture allusions are offered by different texts altogether DATA The data is mainly collected from written resources such as books and dictionaries and daily conversations of both languages, such as the book of (Rhetoric in Kurdish Literature) by Aziz Gardi, and (Idiom in Kurdish Language) by Jala Muhamad Subhani. On the other hand most of the data in English taken from ( The Oxford Dictionary of Allusions) by Andrew Delahunty Sheila Dignen, and Penny Stock, and (Merriam Webster' Dictionary of Allusions) by Elizabeth Webber & Mike Feinsilber METHODOLOGY The paper attempts to find ways to translate allusions from Kurdish to English or vice versa according to Leppihalm's strategies. It also tries to discover the problems translators 176 Supplementary Issue Vol.20, No.4, 2016

2 گۆڤارى زانکۆ بۆ زانستە مرۆڤایەتییەکان پاشكۆی بەرگى 02 ژمارە 4 ساڵى 0202 face during the process of translation, and how translators choose the best and the most appropriate strategy to translate allusions from the source text into the target text allusions or vice versa PROBLEMS Culture is one of the difficulties on the way of translators since the meaning is mainly depending on the culture of the languages. Translators are required to have a good crosscultural awareness; this is because words that have different connotations in one language might not have the same emotive associations in another language. The differences between Kurdish and English cultures make the process of translation difficult. One of the problems involved in the process of translations is allusive words or expressions. Therefore, the qualified translators must have a good knowledge about the ways of transferring the meaning of allusions between the source and target language OBJECTIVES The Object is to clarify if these strategies are applicable or understandable when translators use the in translating allusions. The paper is seeking to answer the question whether these strategies are suitable or not when used in translating allusions from Kurdish to English or vice versa. 2. FUNCTIONS AND RECOGNITIONS OF ALLUSIONS Paul Lennon (2004) classifies five functions of allusions. These five functional domains are as follows: 1. The intratextual domain: to draw reader's thought. 2. The inter (con) textual: to attain borrowed stylistic effects, to complete physical economy of expression, to make use of the creative vagueness of words and phrasal units. 3. The meta textual: to explain latest information alongside existing cultural principles and vice versa, to accomplish ironic effects of ridicule or criticism, to achieve amusingly ugly effects, and to persuade by plead to cultural values. 4. The processing domain: to simplify the perceptive processing weight for the reader and writer, to cognitively defy the reader and support him to continue reading. 5. The interpersonal-affective domain: to set up shared interest with the reader, to convince the reader syllogistically by hidden analogy, to convey artistic enjoyment to the reader, and to show the writer's world information, beliefs, ethics and wittiness. Allusions refer to religious, historical, and literary sources. Recognizing allusions relies on the reader s knowledge on the cultural texts which are naturally brought to mind; however, one only can evoke something that is already there. Leppihalme (1997, pp: 62-6) proposes several methods which supports recognizing allusions which include, among others, the length of the phrase, non-standard spelling and syntax, deviations in style, rhythm and rhyme, and overt phrases. According to Ghanooni (2008) and Sahebhonar (2006) allusions can be divided into four thematic groups; religious allusion, mythological allusion, literary allusion, and historical allusion. 3. STRATEGEIS FOR TRANSLATING ALLUSIONS Leppihalme (1997) proposes a number of strategies in her book entitled Culture Bumps. An Empirical Approach to the Translation of Allusions. Theorists have always discussed best 177 Supplementary Issue Vol.20, No.4, 2016

3 مرۆڤایەتییەکان زانستە بۆ زانکۆ گۆڤارى 0202 ساڵى 4 ژمارە 02 بەرگى پاشكۆی strategies for translation. The solution of problem relies on: who is translating what, for whom, when, where, why and in what circumstances? (Hatim & Mason, 1990). A good translator often notices and analyzes functions of allusions in source languages text before deciding how to treat it. Leppihalme (1997) has classified allusions into two groups: proper name allusion and keyphrase allusion. In PN allusions a name is mentioned, but in KP allusions no name is mentioned but instead there s a phrase that refers to that name. According to Leppihalme (1997) PN allusions can be real-life and fictional figures, international names of entertainers or politicians, famous names of past generations, writers, painters and so on. These kinds of names are sometimes borrowed from Holy Scriptures or myths. Leppihalm (1997) believes that Bible is the most common single source of key-phrase allusions. She has also mentioned other sources such as: nursery rhymes and children's tales, songs, well-known films and topical television programs,political slogans,commercial product slogans,various catch-phrases, clichés and proverbs,various popular beliefs, assumptions and stories, and a writer's own experiences which may function as sources of private allusions. Leppihalme (1997) differentiates between proper name and key phrase allusions. Retention of the allusion, changing it somehow and omitting the allusion altogether form the basis of both lists. Differences arise from the fact that key phrases may merely specially be maintained in their original-language forms (p. 83). But the list for proper-name allusions (pp. 78-9) is indeed based on retention of the name, replacement of the name by another name and omission of the name, each strategy with some additional variants. Here is the full list: (1a) Retention of the name as such Abraham ئیبڕا ین اپلیۆى Napoleon الح دیي Salahaddin س (1b) Retention of the name with some additional guidance ئیبڕا ین Abraham, the prophet هب رئیسواعیل Ishmael پێغ (1c) Retention of the name with detailed explanations. اسرافیل Israfil is the angle who will below the last trump twice.at first all living will die,at the second all the dead will rise to be judged. (2a) Replacement of the name with another source-language name Christ ری هیپاكیس هب رعیسیكوڕیه پێغ ری هیپاكیس Virgin ه ش و ها گ full moon ش ڕیسارد cold war (2b) Replacement of the name with a target-language name Romeo and ه موزیي Juliet (3a) Omission of the name, but the sense conveyed through a common noun. ر حش ه is the name of a place where all nations will gather for judgment in doomsday. (3b) Omission of the name and allusion completely The exceptional cases of retention as such (strategy 1a) are a group of names with conventional target-language forms. Typically such names are names of monarchs, certain cities, books and films. For key-phrase allusions the list of potential strategies is somewhat longer. The potential strategies are: (A) Use of a standard translation, e.g: Apostles ىا ك واری ح شۆڤێ ی Chauvinist 178 Supplementary Issue Vol.20, No.4, 2016

4 مرۆڤایەتییەکان زانستە بۆ زانکۆ گۆڤارى 0202 ساڵى 4 ژمارە 02 بەرگى پاشكۆی White ئااڵیسپی flag (B) Minimum change / literal translation) the same as (A) the شاریق اڵوه ار city of castle and minaret Marathon - a long distance race; source of the Victory of the Greeks over Persians in 490 B.C. هاڕاسۆى (C) Addition of extra-allusive guidance (including typographical means) Translators sometimes use inverted commas or italic forms in order to show an allusive sentence, another way which might be used is an introductory phrase ;such a phrase shows that this allusion is something cultural,e.g:.{and according to Holy Quran}.. بریئ یوب عوهری وحوس "According to the explanation of Holy Quran" to live for a long time as Noah the messenger and to be patient for a long time as Job the messenger who suffers a great deal but remains faithful whose faith in God was tested by Satan; though he lost his family and belongings, he remained patient and faithful. (D) Footnotes, endnotes, forewords and other additional explanations outside the text itself. قۆچیقوربا ی Scapegoat - one that is made an object of blame for others; the goat was symbolically burdened with the sins of Jewish people and thrown over a precipice outside of Jerusalem to rid the nation of iniquities. جۆز رداى May: One of the months of year. (E) Simulated familiarity, internal marking (marked wording or syntax) It occurs when the translators make use of stylistic contrast to signal an allusion. Leppihalme (1997, p.118) suggests that it can be achieved by using lines from an existing translation of a classic to render an allusion. (F) Replacement by preformed target-language item ك شل پڕ ابێب كوڕ No one is getting rich immediately (G) Reduction to sense (making the connotations overt but dispensing with the alluding words), e.g.:,تسبیحات hymn یشتوا ی سروودی (H) Re-creation using a variety of techniques It is a suitable strategy when the translator is looking for a translation that would carry as much of the sense and feeling tone of the allusion, resembling the work of an author, had to describe and more difficult to carry out (Leppihalme, 1997, p.122). Achilles' خاڵیالواز heel گ شتێكیدوورودرێژ Odyssey كۆتریسپی Dove is symbol of peace and freedom Scrooge (چاوچ ۆك) a bitter and/or greedy person; from Charles Dickens' A Christmas Carol, an elderly stingy miser who is given a reality check by 3 visiting ghosts. Cain ( ید كوژێت (قابل/قابلبكوژی ابل/ئ وك س یبراك a brother who kills a brother; from the story of Adam and Eve s son Cain, who killed his brother Abel out of jealousy. (I) Omission: In addition to these nine strategies Leppihalme suggests that it is possible that the allusion is left untranslated, that is, it appears in the target text in its source-text form. The use of a standard translation is obviously applicable only if the exact allusion exists, and it may rarely be the same with the minimum change translation. Re-creation is a demanding strategy, so it is not very likely to come up in my analyses. (in Leppihalme 1997, p. 26). Omission is positioned the end in Leppihalme s list for two reasons: firstly, it may be effortless, but it does not result in a maximum of effect (p. 130), and secondly, she perceives omission, on the basis of the norms perceptible from her translator interviews, as the last resort; allowable only when everything else fails (p. 88). 179 Supplementary Issue Vol.20, No.4, 2016

5 گۆڤارى زانکۆ بۆ زانستە مرۆڤایەتییەکان پاشكۆی بەرگى 02 ژمارە 4 ساڵى CONCLUSIONS AND RECOMMENDATIONS We come to conclusion that almost all allusions are culture-bound with the exception of some that they are understandable to some extent. There are barriers challenging translators in their process. There are various strategies presented to recognize and perceive meanings carried by them. If a novice translator does not pay attention to allusions, the connotation may not be conveyed due to the translator's failure to recognize them. They will be completely lost to most of the target language readers; as a result, the translation will be unproductive. Translation strategies are methods to solve translating problems. Since allusions are culturebound, they create potential translational problems. So as to convey the connotations evoked by the allusions, translators are likely to add guidance to the translated text. If the guidance is not added, the themes and meanings of allusions will change, even if the source language allusion meanings are clear. For proper-name allusions, there are less problems facing translators first as they can easily follow one of these strategies after recognizing type of allusions since the strategies are mainly relying on either retention of the name, replacement of the name by another name and omission of the name, each strategy with some additional variants, second in proper name allusions names are mentioned and this makes the work of translator easier. Whereas the case is not the same as for key-phrase allusions no names are mentioned which cause problems for translators to find equivalents in the target language. Therefore, they are best understandable if explanations added to them and translators are careful which strategy they use. 180 Supplementary Issue Vol.20, No.4, 2016

6 گۆڤارى زانکۆ بۆ زانستە مرۆڤایەتییەکان پاشكۆی بەرگى 02 ژمارە 4 ساڵى 0202 REFERENCES Abrams, M. H. (1999). A Glossary of Literary Terms. United States of America: Earl McPee. Ali, M. Jalal. (2012). Idiom in Kurdish Language [idiom le Zmani Kurdida]. Suleymania: Ministry of Culture and youth. Delahunty, A. & Degnen, Sh. (2001). The Oxford Dictionary of Allusions. Oxford: Oxford University Press. Gardi, A. (1972). Rhetoric in Kurdish Literature [ Rewanbeji le Adebi Kurdida]. Erbil. Ghanooni, A.(2008). Allusions in Hafez s poetry in two English and one French Translation: A descriptive Approach. M.A.Thesis Esfahan University. English Department. Hatim, B&I, Mason. (1990). Discourse and the translator.london: Longman. Joyce, J. (1973). A Portrait of the Artist as a Young Man. London: HEB. Lennon, P. (2004).The Functions of Allusion : Allusion in the Press. Retreived June 22,2009. from http//: Leppihalme, R. (1997). Culture Bumps: An Empirical Approach to the Translation of Allusions. Cleve don: Multilingual MattersLtd. Montgomery, M. (2000).Ways of Reading :Advanced Reading Skills for Students of English literature. London: Rutledge. Sahebhonar, S. (2006). An intertextual consideration of proper name allusions in two English Readings of Rumi s Mathnavi. M.A. Thesis Esfahan University.English Department. Shekhani, A. (2013). Dictionary of Color [ferhengi reng]. Erbil: Mukryani. Webber, E. & Feinsilber, M (1999). Merriam Webster' Dictionary of Allusions. Merriam-Webster, Incorporated Springfield: Massachusetts Wheeler, M. (1979). The Art of Allusion in Victorian Fiction. UK: Macmillan Press Ltd. 181 Supplementary Issue Vol.20, No.4, 2016