Taboo

In recent years, the line of research on the socio-pragmatic aspects of language and language use has been increasing very rigorously. In this regard, taboos as well as euphemisms, due to their significant role in impacting on the interactions among interlocutors, have been the subject of research in various societies and cultures from a vast variety of aspects. That being so, the present study was an attempt to explore the perceptions of Iranian adult speakers of linguistic taboos and euphemisms in Iranian society. To achieve this aim, a convenient sample of 48 Iranian adult speakers, 24 males and 24 females, from Shiraz, Iran was recruited to participate in the study. The researcher interviewed them one by one and audio recorded their answers for further analysis and to determine their perceptions of linguistic taboos and euphemisms in Iranian society. The findings indicated that: a. Most of the participants believed that sex is the most offensive topic in Iranian society; b. All of the participants believed that people should use euphemisms in their speech and should take after of their speech especially in formal situations; c. Most of the Iranian adult speakers believed that the most important factor which leads to the use of taboo words is anger; and d. Most of the participants, both male and female, said they do not discuss taboo topics in mixed-sex groups.

Translators face a number of difficulties while translating. Not only translation of cultural elements is of utmost importance in translation studies, but also it is an arduous task for translators, especially in the case of interlingual translation. One of the biggest concerns of audiovisual translators is culture-specific items amongst which taboo expressions are included. This study aimed at investigating the applied strategies in the translation of taboo expressions, from English into Persian, in 5 Hollywood dubbed movies by IRIB; namely, Family Business (1989), Lethal Weapon 3 (1992), Sudden Death (1995), Welcome to Collinwood (2002), and Anacondas (2004). Establishing this research, the original movies were compared with their dubbed Persian versions. Hence, the taboo expressions were extracted and compared with their Persian translations in the dubbed versions. Based on Venuti’s (1995) strategies in translation studies (i.e., domestication and foreignization), the results were interpreted. Analysis of the relevant data indicated χ2 (12, N = 5) = 23.08, p = 0, considering **p ˂ 0.05.  Moreover, the “deletion” strategy, with the highest frequency (i.e., 55.97%), was the topmost used strategy in the rendition of the taboo expressions.

In our modern life, the introduction of new technologies and subsequent boom in satellites, television, as well as the Internet has made the world a much smaller place allowing different nations, cultures, and languages to interact more frequently. One of the biggest concerns of audiovisual translators is cultural and ideological items which taboo terms are included. This study aims at investigating the strategies applied in the translation of taboo terms, from English into Persian, in five dubbed Hollywood movies broadcast by Islamic Republic of Iran Broadcasting. The original movies were compared with their dubbed Persian versions based on Sharifi and Darchinian’s (2009) strategies. The “Censorship” strategy is the topmost used strategy in the rendition of the taboos with the highest frequency (56%). The second frequent strategy is “Taboo to Taboo” which involves 19%, the third frequent strategy is “Euphemism” with 13%, and the least frequent strategy for dealing with taboos is “Taboo to Non-Taboo” which is 12%. The results of the present study show that considering ideological and cultural aspects of the society, Iranian AV translators attempted to moderate and soften the original taboo terms, which would be considered as taboo by the cultural standards of the Iranian audiences.

The folk culture of southern Kerman tribes has a vibrant history, and examining the religious content of these rituals and beliefs can open a new perspective in anthropological studies and ethnography. In this geographical area, there have always been various taboos related to the rites of birth, death, and other daily activities that all people were required to observe these taboos. Following the taboos and publishing them guarantee the survival and cohesion of rural communities. There were nomads in the past. The primary purpose of this research is to introduce the beliefs and taboos in the rituals and folk beliefs of the people of southern Kerman. The main question is, what types of taboos exist in the behaviors and folk beliefs of the people of south Kerman, and how have they guaranteed the survival and cohesion of this region? The method of collecting information is "documents and fieldwork.” In the first step, the authors of this article conducted interviews with native and local people to identify the beliefs related to taboo matters. Then they were categorized according to their function in each section. In the next step, the data, while describing and compared with other parts of the world, have been analyzed and examined using articles and books related to this field.    

The Islamic revolution of Iran in 1979 caused the replacement of a pro-western government with an Islamic republic which also affected the broadcast of foreign audio-visual products on the State TV. As such products contained taboos, some specific translation strategies seemed necessary according to Islamic laws. This study aimed to investigate how the State TV has dealt with taboos during the first and second twenty years of the Islamic Republic. To this end, four audio-visual products including Secret Army (1977) and Captain Tsubasa (1983) broadcast during the 1980s and 1990s and Wall-E (2008) and House of Cards (2013) aired in the 2000s and 2010s respectively by the State TV were selected. Procedures suggested by Brownlie (2007) were utilized to analyse taboo translation. The findings indicated that the most frequent procedure was changing taboos to irrelevant expressions in Secret Army and Captain Tsubasa, and Wall-E. This procedure was not included in Brownlie’s framework. But the most frequent one in House of Cards was toning down. It was concluded that procedures for taboo translation have been inconsistent during all these four decades and the reason might be ideological and political. Consequently, such inconsistencies may disrupt the logical relation the directors intended to create between their works and their audience and the sudden leniency of IRIB in translating taboos in the House of Cards series for ideological and political purposes may also lead to distrust of the Iranian audience.