ارزیابی برابرنهاده های مؤلفه های عامیانه سریال مختارنامه (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
سریال مختارنامه شامل تعداد قابل توجهی از مؤلفه های زبان عامیانه همچون اصطلاحات، کنایه ها، همگون سازی، واژگان کوچه بازاری، دش واژه ها، دعا، نفرین و شکسته نویسی است که سهم بسیار زیادی در فرآیند انتقال مفاهیم مورد نظر به مخاطب داشته است. این سریال که توسط عباس عباسی طائی به زبان عربی برگردان شده و از شبکه های متعدد جهان اسلام به نمایش درآمده است، مورد استقبال کم نظیر مخاطبان قرار گرفته است. پرسشی که در اینجا مطرح می شود این است که مترجم در فرآیند برگردان مؤلفه های یادشده چه عملکردی داشته و بیشتر از چه استراتژی و راهبردی برای ترجمه و معادل یابی آن ها بهره برده است. نظر به حضور نسبتاً چشمگیر مؤلفه های یادشده در سریال مختارنامه و با عنایت به اینکه تاکنون پژوهنده ای از این منظر به معادل های عربی آن تعابیر ننگریسته، پژوهش پیش روی می کوشد ضمن شناسایی، استخراج و دسته بندی آن ها با روش توصیفی- تحلیلی به ارزیابی معادل های عربی آن ها بپردازد و در صورت ضرورت، معادل های پیشنهادی ارائه و نتیجه تحقیق را فرادید مخاطبان قرار دهد. نتیجه نشانگر این است که مترجم به علت عدم شناخت دقیقِ مؤلفه های عامیانه سریال مورد مطالعه در فرآیند برگردان مؤلفه های یادشده بیش از هر چیز از معادل یابی مفهومی استفاده کرده است. رهیافت استنتاجی دیگر اینکه حجم زیادی از معادل های ارائه شده از مشکل نارسایی رنج می برند.Evaluating the Equivalents of Popular Components of Mokhtarnameh Series
The famous Mukhtarnameh series includes a lot of everyday language, such as idioms, ironies, assimilations, colloquial terms, slang, prayers, curses, and broken up prose, which helps the writers get their ideas across to the readers. This series has garnered a positive reception from the audience, having been translated into Arabic and broadcast on numerous stations across the Islamic world. The presented question is about what the translator or group of translators did while translating the given parts and the methods they used to translate and match them. Because these parts are very common in the Mukhtarnameh series and their Arabic equivalents haven't been studied in depth from this point of view, the research aims to make progress by finding, extracting, and grouping them. Use a descriptive-analytical approach to look at their Arabic equivalents and, if necessary, suggest the best replacements while sharing the research results with the public. The result shows that in the interpretation of the common components of the studied series, more than anything else, conceptual equivalence has been used and a large amount of the equations presented suffer from the problem of insufficiency.IntroductionThe creation of an exceptional work is laudable and reflects the artist's identity. Following the construction of a valuable and esteemed work, it is crucial to disseminate and showcase it beyond its initial confines, broadening its audience reach. It is clear that smart policy and smart investment are important in this situation, especially when it comes to growing the audience. These things can also be seen as good for the language and culture of origin. The Mukhtarnameh series is among the artistic-drama works that have gained popularity in our country in recent years, receiving acclaim from domestic audiences and attracting the attention of viewers in other Islamic nations, particularly Arabic-speaking ones.This series employs several tactics to express the intended thoughts, including proverbs, irony, similes, and folk components such as idioms, assimilation, colloquial language, profanity, prayers, curses, and cursive writing. The series effectively executes the notion transfer process by utilizing various linguistic techniques. The presence of such strategies, particularly the vernacular elements, whether in the source language or Persian, plays an undeniable role in the credibility and persuasion of the audience. The question arises regarding the position and function of these components in the Arabic translation. What is the intended concept, and do these components bear the same significance in the translated text as they did in the original language? Because this issue is so important and we need to protect Persian culture and language, as well as look at how Persian art is translated into other languages and fix mistakes that happen in similar works in the future, this study tries to find, extract, and group the vernacular elements used in the Mukhtarnameh series. Employing a descriptive-analytical methodology, it analyzes the translator's performance regarding these elements, thereby illuminating both the strengths and weaknesses of their work for the audience.Literature ReviewTo date, numerous studies have been conducted in the domain of vernacular language; however, no research has been provided to assess the film, particularly the Mukhtarnameh series, from the standpoint of vernacular language elements. However, some studies related to vernacular language have been conducted: 1. Elahe Sattari and colleagues' 2018 article "Examination of Principles and Standards of Translation from Vernacular Language: The Case of Studying Vernacular Arabic Language" looks for good solutions for vernacular interpretations. They come to the conclusion that vernacular equivalence is better than semantic translation as a way to translate. They are aware.2 In 2018, Marzieh Rabiei et al. wrote an article called "Equalization of Iranian Folklore Categories: Arabic Translation by Noon Wal Qalam Jalal Al Ahmad." In it, they used Peter Newmark's methods to look at and compare the cultural parts of this story and its translation. Their conclusion indicates that cultural and functional equivalence predominates in the translation of this text.A study by Maryam Hajizadeh et al. (2018), called "Evaluation of Methods for Translating Satirical Expressions in the Series 'General Manager' and Its Persian Dubbing Based on Gotlib's Strategies," looked at the satirical expressions in this series, focusing on a certain group of parts. Overall, they have compensated. Their findings indicate that the substitution of materials and rewriting have been the paramount techniques employed by the translator or translators in the dubbing of this series.They looked at the meanings and vernacular lexicon in Arabic and how it is localized in their 2020 study called "Reflection of the Effect of Vernacular Elements in Translation: The Collection of Love Stories on the Hilltop of Al-Haram." Upon categorizing and reviewing the examples, they determined that the translator predominantly employed the displacement approach during the translation process.Research MethodologyThe current research methodology is descriptive-analytical and statistical; hence, following the examination of the selected series, the slang meanings are extracted, categorized, appraised, and analyzed. ConclusionLooking at the translations for the colloquial parts of the Mukhtarnameh series shows that the spoken language structure of the source text has been replaced by formal written language, with no signs of the spoken language remaining in the target text. This is especially clear in the cursive writing and the repeated words. This issue has reduced the prominence and role of vernacular elements in Persian, which have been shaped by Arabic influence. This outcome does not imply that the translator is obligated to preserve the vernacular characteristics of the source language in the target language.It was clear from the statistical and content analysis of the equivalents that the translator put more effort into conceptual and communicative translation and less into finding functional and equivalent words in the target language.The translator mostly used two methods to find words that would match strong language, insults, and curses: "elimination" and "softening." The goal was to make these words less harsh and rude in the target language, thereby addressing verbal impropriety. Or maintain a greater purity of expression than that found in the original language.4. The research shows that the translator's greatest strength in equating popular idioms is his ability to convey the idea from the source language to the target language, while his greatest weakness is his inability to do so. A substantial number of Arabic counterparts exist.5. To sum up, the research shows that the translation quality of the popular parts of the series being looked at is poor, which means that many expressions need to be revised and fixed. Consequently, although expressing gratitude and appreciation for the translator, who diligently presented the nation's cinematic achievements beyond its borders, his translation is deemed mediocre.
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