تعادل معنایی در ترجمه شعر به شعر در پرتو نظریه نظم (با تمرکز بر ترجمه شعر کلاسیک میان عربی و فارسی) (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
این مطالعه با تمرکز بر ترجمه شعر کلاسیک به شعر کلاسیک میان زبان های عربی و فارسی، به بررسی این مسئله می پردازد که در این نوع ترجمه، «تعادل معنایی» میان شعرِ مبدأ و شعرِ مقصد چه نوع رابطه ای است و چگونه تحقق می یابد. روش مطالعه تحلیلی توصیفی است. در بخش تحلیلی، ابتدا ساخت معناییِ شعر برمبنای نظریه نظمِ عبدالقاهر جرجانی تحلیل می شود و درنتیجه مشخص می گردد که ساخت معناییِ شعر، محصول شیوه دلالت شعر بر غرض است که در نظمِ ویژه ای از سخن نمود می یابد. سپس در بخش توصیفی، با رجوع به نمونه هایی از ترجمه شعر کلاسیک به شعر کلاسیک میان عربی و فارسی، رابطه معنایی میان نمونه ها توصیف می شود و در نتیجه مشخص می گردد که تعادل معنایی میان اشعار مبدأ و مقصد تشابهی بیانی است که در سطح شیوه دلالت بر غرض جریان دارد و تعادل معنایی در این سطح از طریق شبیه سازیِ کارکرد عناصر زبانی در شیوه ارائه معنی تحقق می یابد. براین اساس، شعرِ مقصد ساختی معنایی در زبان مقصد است که عناصر زبانی در تولید آن به گونه ای به کار رفته اند که کارکردی مشابه با عناصر زبانیِ شعرِ مبدأ در شیوه دلالت بر غرض دارند.Semantic Balance in the Translation of Poem to Poem in the Light of Theory of Order (Nazm); (focusing on the translation of classical poetry between Arabic and Persian languages)
Focusing on the translation of classical poetry into classical poetry between Arabic and Persian languages, this study investigates the issue of what kind of relationship is the "semantic balance" between the source and target poems in this type of translation and how it is realized. The study method is descriptive analysis. In the analytical part, first, the semantic structure of the poem is analyzed based on the theory of Order (Nazm) by Abdul Qahir Jurjani, and it is determined that the semantic structure of the poem is a product of the way the poem signifies its purpose, which is expressed in a special order of speech. Then, in the descriptive part, by referring to samples of the translation of classical poetry into classical poetry between Arabic and Persian, the semantic relationship between the samples is described, and it is specified that the semantic balance between the source and target poems is a similarity of expression that flows at the level of the way of indicating the purpose, and the semantic balance at this level is realized through simulating the function of linguistic elements in the way of presenting meaning. Therefore, the target poem is a semantic construct in the target language, whose linguistic elements are used in its production in such a way that they have a similar function to the linguistic elements of the source poem in the way of signifying the purpose.Keywords: Semantic Balance, Poetry Translation, Classical Arabic And Persian Poetry, Theory of Order, Abdul Qahir Jurjani.IntroductionOne of the types of literary translations between Arabic and Persian is the translation of classical poetry into classical poetry. From the linguistic point of view, two types of balance are expected in this type of translation: balance in poetic form and semantic balance. In terms of balance in the poetic form, the similarities of the classical poetry form in Arabic and Persian have created the possibility that the product of this type of translation has a rhythmic and rhymed structure like the original poem. But in terms of semantic balance, the following questions are examined in this study:In the translation of classical poetry into classical poetry between Arabic and Persian languages, what kind of relationship is the semantic balance?How is semantic balance achieved in this type of translation?The hypotheses of the study are:Semantic balance in this type of translation is an intertextual relationship based on which the target poem has maximum correspondence with the source poem in terms of the beauty of expression.When the target poem reflects the expressive techniques of the source poem, semantic balance is achieved in the translation.The theoretical framework in this study is based on the theory of Order (Nazm) by Abdul Qahir Jurjani with reference to his two books Daleel Al-Ijaz And Asrar Al-Balaghah.Literature ReviewIn the literature review of the present study, the following studies should be mentioned:In his article Challenges of Translating Poetry from Arabic to Persian (2012), Alebouyeh concluded that the translator must find out the content of the source poem and express it in a fluent and literary form in the target language. Therefore, he decided that a successful poetic translation is a re-creation of the original poem.In the article A Linguistic Framework for Analysis of Translating Arabic Poem to Persian: Based on Formalism (2016), Nezamian and Hajmomen concluded after analyzing the form of the poem based on the four components of "structural art, theme, rhythm, and system" that the translation product should have a similar relationship with the original poem according to the four mentioned components.Hajmomen also showed in his article "The Dialectic of Rhythm and Expression in the Translation of Classical Arabic Poetry into Classical Persian Poetry" (1400) that the observance of musical requirements in this type of translation often distances the expressive structure of Persian poetry from the expressive structure of Arabic poetry. Ansari and his colleagues have also shown in the article An Exploration of the Stylistic Balance of Abdurrahman Jami's Translation of Ibn Faraz's Ta’yah (1401) that in Jami's translation of Ta’yah, the observance of external beauty and musical requirements has caused the transfer of meaning to be ignored.MethodologyThis study was done with the analytical-descriptive method. Based on this, first, the semantic structure of the poem is analyzed based on the theory of Order, and then by studying samples of translation, the semantic balance between the source and target poems is objectively described.ConclusionIn the translation of classical poetry into classical poetry between Arabic and Persian, the semantic balance is an expressive similarity at the level of "the way of signifying the purpose of the poem". The way the poem signifies the purpose reflects the creative process that is designed in the poet's mind to express a theme.When this mental process finds an objective expression in the poem with the use of linguistic elements, a special meaning construction is formed, which is the product of the poet's creativity in arranging the speech to present the meaning. Therefore, the poem in the source language is a special way of signifying the purpose in a semantic structure, and what puts the target poem in balance with the source poem in terms of meaning, is the simulation of the way of presenting meaning in the poem, or the way the poem signifies the purpose.Semantic balance in this type of translation is realized through "simulation of the function of linguistic elements in the presentation of meaning". Because in the original poem, the value of linguistic elements depends on their function in the way of signifying the poem. Therefore, the semantic balance in the translation of the poem is dependent on simulating the function of the linguistic elements in the way of presenting the meaning. This simulation creates a poem with aesthetic value in the target language if the interpretations and sentences of the target poem are formed based on the interpretive and grammatical possibilities in the target language so that finally, produces a semantic structure that is considered a poetic work with aesthetic value based on linguistic features and literary traditions in the target language.
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