درخت حوزه‌های تخصصی

Effective feedback has a pivotal role in translator education. However, its implementation has remained unclear as the nature of translation tasks is multidimensional. Thus, this article proposes a framework, which is grounded in the seven principles of good feedback practice identified by Nicol and Macfarlane-Dick (2006), to integrate high-quality feedback into translation classrooms. The seven principles emphasize clarifying performance standards, promoting structured self-assessment, ensuring timely and constructive feedback, encouraging dialogic interactions, supporting learner self-esteem, enabling iterative revision, and examining student performance to refine teaching methods. The customized version for translation classrooms emphasizes the use of rubrics, annotated models, exemplars, reflective journals, peer review, group translation projects, and low-stakes assessment cycles to encourage autonomous and self-regulated learning. The holistic view of the process indicated the reciprocal nature of feedback: while learners benefit from targeted feedback and opportunities for revision and resubmission, instructors also gain insights into students’ needs and the areas that call for pedagogical adjustment. When feedback is systematic ally aligned with the course goals, learning strategies, and metacognitive development, strategic competence, critical awareness, and autonomy in translation learners can be facilitated. In effect, the proposed framework offers a structured model that can enhance both instructional effectiveness and translation learners’ performance, which contributes to the broader systematization of translator education.

This study investigates the way international environmental news is framed in Iran, specifically evaluating the role of translation in promoting public perceptions of global ecological issues. By analyzing articles from the Iranian Environmental News Agency (IENA), the study employs ecolinguistic framework to reveal underlying frames of reconstructing and adapting environmental narratives for Iranian audiences. The depiction of nature includes prominent frames such as crisis, economics, conservation, and the human dimension, with key metaphors such as viewing nature as a victim, climate change as a war, and nature as a resource. However, the frames and metaphors also highlight an intricate balance between human-centered and nature-centered approaches, fostering a matter of urgency in addressing environmental issues and taking the lead toward convening ways toward sustainable practices. Findings reveal that though crisis stories or war metaphors communicate the desperate state of environmental challenges, they may not effectively inspire constructive, non-destructive action, and create a sense of helplessness or fatalism on the part of the readers. In contrast, conservational and human responsibility frames evoke a sense of agency and optimism. The research underscores the importance of translation in mediating global environmental discourse, advocating for more inclusive and ecocentric narratives that connect international and local contexts. Finally, this paper renders its contribution toward a detailed understanding of environmental communication in Iran, enhances global ecological awareness, and promotes sustainability.

Songs in animated musicals are far from homogenous; they belong to distinct genres, each fulfilling different communicative purposes, emotional tones, and narrative functions. This diversity requires genre-sensitive translation strategies, yet much existing scholarship continues to treat song dubbing as a uniform practice, overlooking how genre shapes translational choices. To address this gap, the present study adopts a functionalist, genre-based perspective, drawing on Reiss’s (1971/2000) text typology, to investigate the role of genre in shaping dubbing strategies in the Persian versions of animated musicals. The corpus consists of six English-language animated musicals and their Persian dubbed counterparts. Songs are categorized into three genres, including background songs, plot-related songs, and entertaining songs, and examined in relation to translation strategies adapted from Gottlieb (1992) and reformulated by Ghomi (2009). The analysis reveals a strong correlation between song genre and translation method, showing that genre-specific function in animated musicals plays a critical role in sustaining narrative cohesion and enhancing audience engagement. By demonstrating how song genre systematically informs translation choices, this study contributes to the expanding field of audiovisual translation and to the specialized area of song dubbing.

This study investigates the localization of the rulebook of the board game Modern Art into its Persian version, by focusing on multimodal translation. Taylor’s (2016) framework was employed to examine multimodal translation of the rulebook by focusing on four types of elements, being linguistic, semiotic, cultural, and narrative. To analyze linguistic changes, translation techniques proposed by L. Molina and A. Hurtado Albir (2002) were used, and the findings indicate that reduction, adaptation, and amplification were the most frequently used techniques. Regarding semiotic changes, the matrix proposed by Kostelnick and Roberts (2011) was applied, and the results revealed significant changes, such as modifications in images and the use of exclamation marks. Cultural analysis demonstrated major changes, including the replacement of all the artists featured in the board game. By contrast, the localized version of the board game did not alter its narrative. Overall, the localized version adapts the artworks and artists while preserving the mechanics and essence of the original board game.