۱.
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.
۲.
This article examines the current state of the translated editions of the ‘complete works’ of Rosa Luxemburg, one of the most influential figures in European Marxism at the turn of the 20th century, with particular attention to the projects undertaken in the United Kingdom, France, and Italy. In recent decades, various publishers and collectives have undertaken projects to recover and translate her theoretical, political and epistolary works, to rescue her legacy in different languages and political contexts. This phenomenon not only responds to academic interests but is also deeply linked to ideological dynamics and contemporary political militancy, making these editions spaces for negotiation between memory, historiography and political action. The study focuses on three paradigmatic cases in Western Europe: the United Kingdom, France and Italy. In the Anglo-Saxon world, the project was promoted by Verso Books under the coordination of Peter Hudis. In France, the work carried out by the Smolny collective and the Agone publishing house has opted for a contextualised edition that emphasises the historical and political dimension of the texts. In both countries, these efforts face financial and logistical constraints, but they have made significant progress thanks to the commitment of translators, editors and activists. In the Italian case, although there is no systematic project for a complete edition, the pioneering work of figures such as Lelio Basso, who played a crucial role in disseminating his thought during the 1960s and 1970s, is recognised.
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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.
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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.
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The dominant view of early English Qur’an translations as uniformly literal has obscured significant strategic and ideological diversity, particularly in the handling of metonymic expressions. This study examines how Abdullah Yusuf Ali, Marmaduke Pickthall, and Mohammed Habib Shakir have rendered 50 Quranic verses that contain clear metonymies. Using a qualitative comparative design, metonymies were classified by cognitive type, and translation strategies were coded as preservation of the original vehicle, sense-for-sense replacement, hybrid explicitation, or deletion. Analysis of 150 renderings revealed that, while preservation predominated overall (52.7%), translators diverged sharply. Pickthall preserved the source vehicle in 70% of cases, Shakir in 52%, and Yusuf Ali in only 36%, preferring sense rendering (50%). Strategic choices aligned closely with translator habitus (devotional literalism, reformist rationalization, Azhari pragmatism) and formed a consistent theological-sensitivity hierarchy; divine attributes were almost universally retained, human-submission expressions unanimously domesticated, and cause-effect idioms produced the clearest ideological split. These findings challenge the monolithic literalist narrative, demonstrate translator ideology as the primary driver of cognitive continuity or disruption, and provide a framework for future analyses of figurative language in sacred-text translation.
۶.
The article approaches Hollywood remakes of foreign films as intersemiotic translation. Analysing one selected film pair—Seven Samurai (1954) / The Magnificent Seven (2016), the study employed a two-phase methodology consisting of Description-Comparison (phase 1) and Interpretation (phase 2). The first phase identifies shifts in plot structure, narrative techniques, characterisation, and setting, while the second phase interprets those identified shifts through three main lenses: economic motivations (market-driven localisation), creative reinterpretations (auteurist vision), and socio-cultural negotiations (recontextualising identity). The findings of this study reveal that plot structure represented the most common transformation category, followed by narrative technique, characterisation, and setting; thus, the remakes reflect the proliferation of strategic recalibrations by Hollywood filmmakers in pursuit of commercial and cultural resonance within American audiences. The study also indicates that remakes function not merely as adaptations but as forms of intersemiotic translation shaped by market logics, auteurial choices, and socio-cultural repositioning. It contributes to Translation Studies by illuminating the role of remakes in cultural negotiation, originality, repetition, and transnational cinematic exchange.
