مطالب

In the field of futurology research in the revelatory texts, various research works have been done in academic centers. What has been paid less attention in these researches is dealing with the presuppositions that should be taken into consideration. The futurological understanding of the revelatory text, as its name suggests, is based on the three pillars of the quiddity of understanding, the quiddity of future, and the quiddity of the revelatory text. In other words, depending on what understanding and perception we have of the phenomenon of understanding itself, what perception and imagination we have of the future, and how we consider the revelatory text as a text and what we should expect from it, makes our futurological understanding different. In this regard, in the first part of the article, an attempt is made to address the point that the researches that have been carried out in the futurological field are based on what perception and expectation of the Holy Qur'an and how this perception and expectation can be used in futurological studies. In the next section, we are focused on the concept of the future and how the understanding of the future that emerges in different paradigms affects the futurological understanding of the revelatory text. In the next section, we are focused on the concept of the future and how the understanding of the future that emerges in different paradigms affects the futurist's understanding of the revelatory text. This study shows that the concept of the future has been moving from something objective, rigid and external to something subjective and rooted in people's beliefs today.

This paper aimsto reveal how the universals of translation (henceforth, UsT) can beregarded as a manner to examine the translator'sstyle in the TL. In doing so, this paper examines how Saleh Hosseini, as an Iranian literary translator,  made his style through the changes he completed at each micro-and macro-levels shift to result in his discursive presence and/or style in the novels he has translated into Persian. After having reviewed the main theories on shifts  including Nida, Catford, Leuven-Zwart, and Baker, this paper takes Baker’s definition of style as the translator’s ‘thumbprint’ as a way to approach the UsT in Hosseini’s Persian translations. Having occurred with the translated texts than with the original, the UsT are: ‘explicitation’, ‘normalization’, ‘levelling out’, and ‘simplification’ (Baker, 1996). Having selected 44 sentences from the three translated novels into Persian by Hosseini as a corpus, this paper indicates that the ratio of ‘normalization’ is much higher than the other three universals, meaning that Hosseini, through adhering to the norms of the Persian language, came to this universal as one of the signposts of his discursive presence, voice, and style in his translations.

Anti-racism novels, portraying racism in all areas of wealth and income, education, health care, civil rights, life in North America and apartheid in South Africa, can create awareness toward different kinds of oppression that people suffered during different periods. The purpose of this study is to present a thematic analysis of Persian translations of Morrison’s Beloved (1987) from English between 1978 and 2005/ 1357 and 1384 by Gulrukh Sa’īdnīyā, Sānāz Sihatī, and Shīrīndukht Daghīghīān applying the theory of the structure of feeling by Williams (1983). In order to do this study, sentimental scenes of Beloved, examining the destructive legacy of slavery, which were translated during the period under study were examined. Persian translations of these scenes were identified, and the representations of the feelings in the identified scenes were analyzed based on the theory of the structure of feeling by Williams (1983). Based on the findings, it can be concluded that the three translators seemed to be able to transfer the representations of the identified sentimental scenes, such as fury and resentment into Persian. Furthermore, the findings suggest that translation of anti-racism novels plays a significant role in transferring representation of feelings of oppressed people into other nations.