درخت حوزه‌های تخصصی

Languages are widening every day and new words and structures are born when they are needed. The objective of this study is to survey the strategies that are used in the translation of neologisms in Harry Potter and the Half-Blood Prince and to see if there is a significant difference between the strategies used by Persian translators in the novel Harry Potter and the Half-Blood Prince and to find the most and the least strategies adopted by the Persian translators. To address the objectives of the present study, the researcher selected two Persian translations of the novel. To identify the neologisms used in the texts, the source text along with its translations was cross-analyzed sentence-by-sentence. Afterwards, on the basis of Newmark's definitions and classifications of neologisms, the neologisms were identified. The strategies which were used in the translation of various types of neologisms were also investigated. Data analysis involved quantitative analysis. It was concluded that the most frequent strategy used by translator Vida Eslamieh was through-translation and the least frequent strategy was modulation. In Shahnaz Majidi's translation, the most frequent strategy was through-translation. The least frequent strategies were modulation and descriptive terms. According to the results of the chi-square test, there was no significant difference among the strategies used by two Persian translators in translation of neologisms. The results of this study can be useful for translators and students to become aware of the strategies used in English to Persian translations of the neologisms.

Shakespeare’s The Tempest is an outstanding theatrical microcosm representing the unavoidably overwhelming Foucauldian power relations in all human civilizations and their intricate interdependency of such power relations with the possession of knowledge and construction of reality. The fictional world of The Tempest is thoroughly endowed with the mechanisms of an intense web of power struggles and domination fixations which typically have been, are, and will be characteristic of any human society throughout history. For the sustenance of such a complex texture of power structures and for the manipulation of the overall balance to the advantage of a specific minority, the pivotal function of a constructed reality is as substantial in the story as the real life. Prospero, the central character, successfully manages to subdue all other dangerous, power-thirsty rivals by making use of his superior knowledge enabling him to shape the subjectivities/beliefs of other characters by different means including language and masquerades in an induced world of realities on the island. Shakespeare’s text can well be drawn on to reveal the stealthy workings of different social, cultural and especially moral institutions in recruiting subjects to their malignant power/knowledge network and duping the individuals with the desired notions produced constantly by the institutional apparatuses leading to the construction of an exploitive ‘truth.’

L’article fait d’abord le point sur certaines conceptions externes ou internes de l’énonciation. Il distingue le locuteur, source de la voix à l’origine des énoncés et l’énonciateur, source des points de vue, puis hiérarchise les locuteurs et les énonciateurs avant d’évoquer des cas de syncrétisme ou de disjonction entre locuteur et énonciateur. Il présente ensuite une théorisation énonciative intégrative de la notion de point de vue, à partir de la construction de la référenciation des objets du discours. Il définit la notion de point de vue (PDV), en linguistique, comme tout énoncé qui prédique des informations sur n’importe quel objet du discours, en donnant non seulement des renseignements sur l’objet (relatifs à sa dénotation), mais aussi sur la façon dont l’énonciateur envisage / imagine / se représente l’objet. Enfin, l’article revient sur les notions de sujet et d’intentionnalité. L’intentionnalité se lit à travers les relations (motivées) entre perceptions, pensées, paroles, actions. Elle correspond aux intentions des énonciateurs ou locuteurs seconds, celles des agents des énoncés, et /ou celles des locuteurs / énonciateurs premiers, ou encore celles des récepteurs / interprètes des textes, qui cherchent à y reconstruire les deux niveaux d’intentionnalités précédents et à les combiner avec leurs propres hypothèses, en fonction de leur situation.