[ اللغة الانجليزية ] : تجمع {Third year students level five}

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ابغى انزل محاضرات الترجمة بس الموقع مو راضي لي

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· Lecture One
Theory of Translation
Chapter One: Introduction
Translation, by definition, is rendering the meaning of a text into another language in the way the author intended the text.
The sixth sense : is compounded of intelligence, sensitivity and intuition, as well as knowledge. It tells us when to translate literally, or to break rules of translation, when to be free or direct, etc.
A text may be rendered in different possible ways, observing:
1-The individual style of then author
2-The grammar and lexical usage of the text
3-Content referring to SL or a third language
4-The typical format of the text (newspaper article, document, a book , etc. )
5-The expectations of the readers and their knowledge about the subject
6-All the previously mentioned with reference to TL
7-The views and prejudices of the translator
Translation as a profession: where ?
There is nothing called a perfect translation.
A translator should always work on four levels:
1-Translation is a science
2-It is a skill
3-It is an art
4-It is a matter of taste
A Famous example of ambiguity in translation is in the resolution 242
"The withdrawal from occupied territories"
Translation is important for communication and transmitting of culture, and technology. It is a force for progress.
Translation theory:
Is concerned with the translation method appropriately used for a certain type of text, and it is therefore independent on a functional theory of language. However, in a wider sense, translation theory is the body of knowledge, that we have about translating, extending from general principles to guidelines, suggestions and hints. It is concerned with minute as well as generalities and both may be equally important in the context.
What a translation theory does is to identify and define a problem, second to indicate all the factors that have to be taken into consideration in solving the problem, third, to list all the possible translation procedures, finally to recommend the most suitable translation procedures plus the appropriate translation.
Modern Elements of translation:
1-Readability: naturalness in the TL
2-Expanded topics
3-Increase in variety of text format
4-Standardization of Terminology
5-The formation of translators teams and the recognition of the reviewer role
6-The impact of linguistics and sociolinguistics on Translation theory
7-It is now used to transmit knowledge not only cultures.
Practice One:

The Man in the Picture
Susan Hill

Prologue

The story was told to me by my old tutor, Theo Parmitter, as we sat beside the fire in his college rooms one bitterly cold January night. There were still real fires in those days, the coals brought up by the servant in huge brass scuttles. I had travelled down from London to see my old friend, who was by then well into his eighties, hale and hearty and with a mind as sharp as ever, but crippled by severe arthritis so that he had difficulty leaving his rooms. The college looked after him well. He was one of a dying breed, the old Cambridge bachelor for whom his college was his family. He had lived in this handsome set for over fifty years and he would be content to die here. Meanwhile a number of us, his old pupils from several generations back, made a point of visiting him from time to time, to bring news and a breath of the outside world. For he loved that world. He no longer went out into it much but he loved the gossip – to hear who had got what job, who was succeeding, who was tipped for this or that high office, who was involved in some scandal.
I had done my best to entertain him most of the afternoon and through dinner, which was served to us in his rooms. I would stay the night, see a couple of other people and take a brisk walk round my old stamping grounds, before returning toLondonthe following day.
But I should not like to give the impression that this was a sympathy visit to an old man from whom I gained little in return. On the contrary, Theo was tremendous company, witty, acerbic, shrewd, a fund of stories which were not merely the rambling reminiscences of an old man. He was a wonderful conversationalist – people, even the youngest Fellows, had always vied to sit next to him at dinner in hall.
Now, it was the last week of the vacation and the college was quiet. We had eaten a good dinner, drunk a bottle of good claret, and we were stretched out comfortably in our chairs before a good fire. But the winter wind, coming as always straight off theFens, howled round and occasionally a burst of hail rattled against the glass.
Our talk had been winding down gently for the past hour. I had told all my news, we had set the world to rights between us, and now, with the fire blazing up, the edge of our conversation had blunted. It was delightfully cozy sitting in the pools of light from a couple of lamps and for a few moments I had fancied that Theo was dozing.
But then he said, ‘I wonder if you would care to hear a strange story?’
‘Very much.’
‘Strange and somewhat disturbing.’ He shifted in his chair. He never complained of it but I suspected that the arthritis gave him considerable pain. ‘The right sort of tale for such a night.’
I glanced across at him. His face, caught in the flicker of the firelight, had an expression so serious – I would almost say deathly serious – that I was startled. ‘Make of it what you will, Oliver,’ he said quietly, ‘but I assure you of this, the story is true.’ He leaned forward. ‘Before I begin, could I trouble you to fetch the whisky decanter nearer?’
I got up and went to the shelf of drinks, and as I did so, Theo said, ‘My story concerns the picture to your left. Do you remember it at all?’
He was indicating a narrow strip of wall between two bookcases. It was in heavy shadow. Theo had always been known as something of a shrewd art collector with some quite valuable old master drawings and eighteenth-century watercolours, all picked, he had once told me, for modest sums when he was a young man. I do not know much about paintings, and his taste was not really mine. But I went over to the picture he was pointing out.
‘Switch on the lamp there.’
Although it was a somewhat dark oil painting, I now saw it quite well and looked at it with interest. It was of a Venetian carnival scene. On a landing stage beside the Grand Canal and in the square behind it, a crowd in masks and cloaks milled around among entertainers – jugglers and tumblers and musicians and more people were climbing into gondolas, others already out on the water, the boats bunched together, with the gondoliers clashing poles. The picture was typical of those whose scenes are lit by flares and torches which throw an uncanny glow here and there, illuminating faces and *****es of bright clothing and the silver ripples on the water, leaving other parts in deep shadow. I thought it had an artificial air but it was certainly an accomplished work, at least to my inexpert eye.
I switched off the lamp and the picture, with its slightly sinister revellers, retreated into its corner of darkness again.
‘I don’t think I ever took any notice of it before,’ I said now, pouring myself a whisky. ‘Have you had it long?’
‘Longer than I have had the right to it.’
Theo leaned back into his deep chair so that he too was now in shadow. ‘It will be a relief to tell someone. I have never done so and it has been a burden. Perhaps you would not mind taking a share of the load?’
I had never heard him speak in this way, never known him sound so deathly serious, but of course I did not hesitate to say that I would do anything he wished, never imagining what taking, as he called it, ‘a share of the load’ would cost me.
هذي المحاضرة الاولى

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Chapter Two
The Analysis of the Text
1- Reading the text
It has two purposes: A- to understand , B- to analyse
The translator has to determine the intention and the way it is written for the purpose of selecting a suitable method, and identifying the particular problems.
Understanding the text requires general and close reading.
General reading requires reading everything that might be related to the text not only the text itself.
Close reading is required for challenging texts to determine meanings of common words, acronyms, figures, measures, names, etc. that are unique to the text.
The translating activity is like an iceberg, the tip is the translation, what is written on the page, and the iceberg is the activity you do to reach a proper translation. It is ten times as much as you write finally.
2- The intention of the text
The title of the text may be remote from the content as well as the intention. The way the writer writes may express a subjective point of view. The intention of the text represents the SL writer's attitude to the subject matter.
Ex. A piece about nuclear weapons may be an advertisement for them !
Explain what is the intention meant by "That was a clever of him?"
3- The intention of the translator
Usually the intention of the Translator is identical with that of the author of the SI – the text.
4- Text Styles
According to Nida there are four types of text
A- Narrative
B- Descriptive
C- Discussion
D- Dialogue

5- The Readership
The translator has to pay attention to the readers' level of education, class, age, sex, and to see whether they are marked or not.
The average text tends to be for the educated, middle class readership in an informal, not colloquial style.
Avoid errors of colloquial and intimate expressions. Errors may indicate the translator degree of knowledge and interest in the subject and the appropriate culture.
6- Stylistic Scale Martin Joos and Strevens suggested a scale of formality:

v Officialese
v Official
v Formal
v Neutral
v Informal
v Colloquial
v Slang
v Taboo

Newmark suggests another scale of generality
v Simple
v Popular
v Neutral
v Educated
v Technical
v Opaquely technical

Newmark suggests a scale of emotional tone:
v Intense
v Factual
v Understatement

7- Attitude
You have to assess the standard of the writer. Does the writer writes good, fair, average, competent, adequate, satisfactory, middling, poor, excellent? Are his standards relative to the context , generally accepted in his culture, or arbitrary? There is a thin line between a positive and a negative opinion.
8- Setting
Where will the text be published in the TL? What is the TL equivalent to the SL periodical, newspaper, textbook, journal, etc.?
9- The quality of the writing
Quality of the writing and authority of the text are two critical factors in the choice of translation method.
The quality has to judged in terms of the author intention and the requirements of the subject matter. If the text is well written the manner is as important as the matter, the right words are in the right place with a minimum of redundancy.
Deciding what a good writing is sometimes subjective, but it is a decision.
A badly written text will be cluttered with stereotyped phrases recently fashionable general words, and probably poor structures.
The authority of the text is derived from the good writing but also from the status of the writer.
10- Denotations and Connotations
Especially with relation to literary texts.
A restricted translations of a poem is always possible.
11- The last reading
You should note the cultural aspects of the text, underline neologisms, metaphors, cultural words ans institutional terms peculiar to the SL, proper names, technical terms ans untranslatable words. In short, identify the items where you find problems.

و ذي المحاضرة الثالثة

Chapter Three

The Process of Translating

1- Introduction
Translating Procedures according to Newmark are based on a method of approach.
He introduces four levels:
A. The SL text level
B. The Referential level
C. The Cohesive level
D. The naturalness
2- The relation of Translating to Translation Theory
Translating is a link between translation theory and practice. It has to be natural if the text is informative , and it has to reflect any deviation from naturalness if the text is authoritative. Naturalness is both grammatical and lexical.
The theory of translating is based on the theory of translation via naturalness.
3- The approach
There are two approaches to translating according to Newmark:
· Sentence by sentence translation for the first paragraph or chapter , etc.
· Read the whole text two or three times and find the intention, register, tone, mark the difficult words and passages
The danger of the first method is that it may leave you with two much revision to do on the early part. It is time wasting.
The heart of the translation theory is the translation problems.
Translation theory can be defined as a large number of generalizations of translation problems, a theoretical discussion of the philosophy and the psychology of translation is remote from the translator's problems.
4- The Textual Level
Working on the text level, you transpose the SL grammar into their ready TL equivalents and you translate the lexical units into the sense that appears immediately appropriate in the context of the sentence.
A part of your mind is on the text level.
Translation is the occupation in which you have to be thinking of several things at the same time.
5- The Referential Level
Here you need to see what is the text about? What it is in aid of ?
Ex:
تكدّس الطلبة
1- الأعداد الكبيرة للطلبة في الصفوف
2- الحاجة للجودة في التعليم
3- الحاجة لتوفير التعليم للجميع
Do not simplify at the risk of oversimplification. A specific reference is desirable in the translation. Your translation is a hint of compromise between the text and the facts.
Always ask your self " What is the purpose of the text? "
It is too easy to detach yourself from the reality , be it real or imaginary, of the text. The more you work hard you dicover the gap between the words and the objects, sentences and action.
The referential level should go hand in hand with the textual level. All languages have polysemous words and structures which can be finally solved only on the referential level. It is based on the clarification of all linguistic difficulties and supplementary information from the 'encyclopedia' in your mind.
6- The Cohesive level
Beyond the textual and factual level of translating there is generalized level linking the first and the second level, namely , the cohesive level. It links the structure and the mood of the text. The structure through the connective words ( conjunctions, enumerations, reiterations, definte articles, general words, referential synonyms, punctualtion marks) linking the sentences from given information to new information). (theme, rhyme, proposition, opposition, constitution, reiteration, thesis, antithesis, synthesis, ,,,,)
Mood moves between negative and positive, emotive and neutral.
A third level determines the difference between a misleading translation and a good one. It is a regulator; it secures coherence and adjusts emphasis. Here you consider the length of the paragraphs, sentences, and the formulation of appropriate tittle and tone of conclusion.
7- The Level of Naturalness
It means your translation should make sense and read naturally. You need to read your translation as though it is original.
8- Combining the four levels
9- The Unit of translating
Normally you translate sentence by sentence running the risk of not paying enough attention to the sentence-joins. The first sign of translation problem is where theses automatic procedures from language to language apparently without intercession of thought are not adequate. Then comes the struggle between words, phrases, sentences in SL and those in TL. You can either interpret the meaning of these expressions forgetting about the SL expressions, or you may create, interpret on the basis of those original words. You forget the SL words when translating them literally will produce unnatural translation into TL.
- A lame duck solution
- A piece of cake
- A part and a parcel
Grammatical issues are also a source of difficulty.
10- The Translation of lexis
The Chief difficulty is lexical not grammatical. (idioms, fixed expressions, proverbs, collocations, neologisms and undefinable words.
Sources of difficulty: multiplicity of meanings , a new collocation, a new undefined meaning.
Ex: workaholic : ????
Peace broke out
Terms, in terms of , in good terms with, ………
Nouns for instance may have four types of meaning:
- Physical
- Figurative
- Technical
- Colloquial

Ex: maison FR = house, home, home-made, first rate, tremendous…….
Most nouns, verbs, adjectives can be used figuratively, and therefore can have figurative meaning, the more common the word is the more accessible to be used figuratively.
Other possible problem is that the word may be archaic or a regional sense.
توحّشتك بزاف .... عييت كنبغي نمشي معاك ....
وحشتيني نفسي أشوفك .......
اتجننت عليك أبغى شوفك .......
مشتاق لك برشة .......

زول – رجل – رجّال – راجل – ريال ........ زلمي

إذا جاتك العوجة من السفيه خلّها

Since most SL and TL words do not precisely have the same semantic range you are over or under translating them most of the time.
11- The Translation of Proper names
Drugs for Ex.

[دآآآنة الجامعه]

السلام عليك بنات. المقال مع د.أحمد حسن الواجب اللي نكتب مقال عادي او Argumentitve

[toni]

زازا مششششكووووره الله يوفقك وييسر لك كل صعب

[happy girl]

بنات الله يخليكم مين عندها كتاب مناهج البحث الثاني تحط لنا التشابترز الي موجودة معنا بالاختبار مالقينا الكتاب :(

انا مع سلوى الوفائي ..

[OREO]

المشاركة الأصلية كتبت بواسطة happy girl

بنات الله يخليكم مين عندها كتاب مناهج البحث الثاني تحط لنا التشابترز الي موجودة معنا بالاختبار مالقينا الكتاب :(

انا مع سلوى الوفائي ..

نفس الشي

[nooni-s]

^
انا اشتريته بس مع وحده اذا خلت منه ورجعته لي بنزل لكم التشابتر ، ان شاء الله بكره باخذه منها

[nooni-s]

بحاول بكره اوديه لمكتبة فجر واخليه يصوره لكم

[happy girl]

اي تكفين حاولي لان امتحاني الاحد الجاي حتى بكره بحضر بدون كتاب مع انها نبهت ان الي مامعها كتاب لاتحضر :(