فاطمه پرهام

The present study is a theoretical attempt to illustrate how Fillmore's Scenes and Frames Semantics (SFS) could be employed as a framework to portray the process of understanding and translating hybrid texts. It first reviews the origin of SFS; then it maps SFS onto Nida’s linguistic model of translation process and the Interpretive Theory of Translation; it examines in the next section, within the framework of SFS, different forms of understanding and translating hybrid and pure texts with reference to the selection of linguistic frames and more importantly the activation of scenes. The paper explains all four processes of hybridization, dehybridization, rehybridization and hybridity preservation using SFS. The study concludes that, although hybridity is a complex phenomenon, Fillmore’s scenes and frames semantics can adequately explain and justify its different aspects and manifestations. Moreover, it revealed that understanding, seen in SFS model, has an element of individuality and this gives rise to a broader perspective on translation where there can potentially be as many valid translations as there are translators. This has significant implications for our conception, analysis and assessment of translation.

The present study aimed to examine kinetic units, implicature, and coherence in Persian audio descriptions. To this end, 10 Persian audio-described movies, totaling 1,004 minutes, were analyzed, and their audio descriptions (ADs) were documented, resulting in 3,485 records. These records were filtered for descriptions related to characters’ movements, yielding 2,095 ADs, which were analyzed in three phases. First, the type of kinetic unit in each AD was identified. Second, the implicature of kinetic units was examined to determine whether it was included in the ADs or ignored. The final phase addressed coherence in ADs. The results revealed that gesture was the most frequent kinetic unit in Persian ADs, followed by manner and posture. Moreover, 96% of kinetic units lacked implicature, and only 2.5% of implicatures related to characters’ movements were ignored in audio descriptions, which does not raise serious concerns about accessibility for blind and visually impaired audiences. Regarding coherence, 97% of Persian ADs were found to be coherent, highlighting the substantial accessibility they provide to their target audience. However, accessibility was not solely contingent upon linguistic and pragmatic factors. Technical challenges, such as background music overshadowing ADs, posed additional barriers to media accessibility.

This study aims to examine the representation of the Iranian Self in Persian movies through English fansubtitles, exploring how the subtitling process shapes the socio-cultural image presented to non-Iranian audiences. To this end, eleven award-winning Persian films produced by prominent Iranian filmmakers Asghar Farhadi, Majid Majidi, and Abbas Kiarostami and their English subtitles were analyzed using an integrated framework specifically developed for this research. Image-representative elements in the films were identified according to the framework, and the translation strategies employed in the English subtitles for rendering these image-representative elements were examined. The effects of these strategies on the representation of the image were then categorized into five observed outcomes: intensification of the image, weakening of the image, positive recasting of the image, preservation of the image, and omission of the image. The findings indicate that universally recognized elements were generally preserved in fansubs, while elements associated with Iranian religious or legal contexts were more frequently omitted or weakened, potentially diminishing the representation of these culturally distinct aspects for non-Iranian audience. This study highlights the importance of cultural sensitivity and accuracy in audiovisual translation, offering valuable insights for fostering cross-cultural understanding and enhancing the portrayal of cultural identity in translated media.

The present study investigates the impact of English language hegemony on the different industries in Iranian context. A sample of eighty food, health, and beauty products was selected to examine the prevalence of English on product labels. Data were collected on label content, including legal requirements of labeling, statements, claims, and nutritional information, both in Persian and their corresponding English translations. Statistical analysis revealed that although both producers and consumers of these products were Persian speakers and there was no legal requirement to translate the labels, approximately 75 percent of the labels featured English translations. This finding suggests that translation serves as a linguistic tool that reinforces language hegemony within the industry. Despite the absence of legal mandates, English operates as a symbolic tool, potentially enhancing product appeal through its association with success and high quality. This study contributes to understanding industrial contexts by illuminating the complex interplay between language, power, and commerce. Additionally, it highlights the need for further examination of the socio-cultural implications of English language hegemony in non-Anglophone countries, offering valuable insights for policymakers, industry professionals, and scholars in translation studies and cultural studies.

Postmodern literature possesses distinct characteristics that are evident in both its content and form. This research first attempts to identify the postmodern features in a corpus of English postmodern literature and examines their possible translatability across linguistic and cultural barriers. To this end, a corpus of ten English postmodern short stories by Donald Barthelme along with their corresponding translations into Persian was developed. Drawing on the integrative model of analysis developed for this study, the postmodern features in English stories were identified and their corresponding translations were analyzed at various levels. The results of the study indicate a high degree of translatability for postmodern features, as they experienced minimal transformation during the translation process. In fact, the translated stories remained remarkably postmodern, with the preservation of these features to a significant extent. However, it is important to exercise caution when interpreting this high degree of translatability. While translators may consciously strive to maintain these features, it is also possible that postmodern elements, which are predominantly manifested beyond sentence-level structures, may go unnoticed or remain untouched by translators. Additionally, the preservation of postmodern features in translation could be a result of translators' reluctance to intrude upon the creative process.