Creative Translation-472-Dr. Ahmad M Halimah • Lecture 1-What is Creative Translation?

134 Pages·2012·7.17 MB·English

 Creative Translation-472-Dr. Ahmad M Halimah
 Lecture 1-What is Creative Translation?
 Learning Outcomes
 By the end of this lecture, you should be able to
ىهع ارداق ٌىكذ ٌأ ةجٌ ،جزضاحًنا كهذ حٌاهُت 
1. Show knowledge of different meanings of the term creativity.
عالثلإا ؼٍطظٌّ خفٍزقٌّا ٟٔبؼٌّا عوػ 
2. Show understanding of the concept of creativity in relation to translation.
خّعوزٌبث كٍؼزٌّا عالثلإا َٛٙفِ عوػ 

The Meaning of Creativity as a Noun or a Verb
معفك وأ ىصإك عاذتلإا ىُعي
 The origin of the word creativity comes from the Latin term creō "to
create, make":
:"غٕطٚ ،كٍف" creō ٟٕ١رلاٌا ؼٍطظٌّا ِٓ ٟرأ٠ creativity خٍّو ًطأ 
 The word "create" appeared in English as early as the 14th century,
notably in Geoffrey Chaucer (1340-1400, to indicate divine creation in
the Parson‟s Tale.)
ٞوف١غٌ بطٛظف -وشػ غثاوٌا ْومٌا خ٠الجث خ٠ي١ٍغٔلإا خغٌٍبث دوٙظ"create" كَ ٍفَ " خٍّو 
) ٍْٛهبث خ٠بىؽ ٟف ٌٟٙلاا كٍقٌا ٌٝا و١شزٌ 1340-1400( ٟف وٍٛشر
 In Arabic, you need to be very careful when translating words like: to
create, creation, creator as these words still have their own religious
connotations such as : كُ ٌِبفَ ،كُ ٍْ فَ ،كَ ٍفَ you could always use alternatives
such as : ب٘و١غٚ،علثأ ،لعٚأ ،عوزفا this will depend on the type of text and
the context it is used in.
كٌبقٌا ،كٍقٌا ،كٍف :ًضِ خ١ثوؼٌا خغٌٍبث دبٍّو خّعور لٕػ الع اهنؽ ْٛىر ْأ ه١ٍػ ، 
كُ ٌِبفَ :ًضِ ُٙث خطبف خ١ٕ٠ك دلالاك ياير لا دبٍّىٌا ٖن٘ ْأ to create, creation, creator
عٛٔ ٍٝػ لّزؼ٠ فٍٛ ان٘ٚ ب٘و١غٚ عوزفا ،لعٚأ ،علثأ :ًضِ ًئالث َلقزَر بّئاك ٓىّ٠ ،كَ ٍفَ ،كُ ٍْ فَ
.ٗ١ف َلقزَ٠ ٞنٌا قب١ٌَاٚ ضٌٕا
ANASF

Example لاثي
 The dictionary definition of word „creative‟ is „inventive and
imaginative‟; characterized by originality of thought, having or
showing imagination, talent, inspiration, productivity, fertility,
ingenuity, inventiveness, cleverness
عوػٚ ، ل٠لغٌا وىفٌبث ي١ّر '؛ يب١فٚ عالثا' ٛ٘’creative‘خٍّىٌ ُغؼٌّا ف٠وؼر 
ءبونٌا ،هبىزثلاا ،عالثلاا ،خثٛظقٌاٚ ،خ١عبزٔلإاٚ ،َبٌٙلإا ،خجٌّ٘ٛا ،يب١قٌا
 Now how would you translate the following into Arabic?
؟خ١ثوؼٌا خغٌٍا ٌٝئ ٍٟ٠ بِ ُعوزر ف١و ْ٢ا 
A. The Creator of the Universe.
B. There must be a maker of this world.
C. The creator of this beautiful machine.
D. The maker of Mercedes must have been a genius.
E. The inventor of the light bulb is Thomas Edison

Some General Definitions of Creativity
عاذتلإن حياعنا فٌراعرنا ضعت
 Authors have diverged in their definitions of creativity. The
following are just a few:
: ٍٟ٠ بّ١ف وظؾر .عالثلإٌ ُٙربف٠وؼر ٟف ٓ١فٌإٌّا فٍزفأ 
 In a summary of scientific research into creativity, Michael
Mumford suggested: “that creativity involves the production of
novel, useful products" (Mumford, 2003, p. 110).
ًّزش٠ عالثلإا ْأ" :كهٛفِِٛ ًى٠بِ ػوزلا - عالثلإا ٟف ٍّٟؼٌا شؾجٌٍ يعِٛ ٟف 
)2003-كهٛفِِٛ (.حل١فِ طبزٔ - 2 ل٠لع وىف – 1ٍٝػ
 Creativity can also be defined "as the process of producing
something that is both original and worthwhile".

بؼِ كؾزَ٠ٚ ٍٟطأ بِ ءٟشٌ طبزٔئ خ١ٍّؼو عالثلاا فوؼٔ ْا ٓىّ٠ بؼ٠أ 

pg. 1
ANASF

 Creativity refers to the invention or origination of any new
thing (a product, solution, artwork, literary work, joke, etc.)
that has value.
،ٟٕفٌا ًّؼٌا ،ًؾٌا ،طبزٌٕا( ًضِ ل٠لع ءٟش ٞلا هبىزثا ٚأ عاوزفلأ عالثلإا و١ش٠ 
. ّٗ١ل ام ْٛى٠ ْأٚ )ـٌئ ،خزىٌٕا ،ٟثكلأا ًّؼٌا
 "New" may refer to the individual creator or the society or
domain within which novelty occurs. "Valuable", similarly, may
be defined in a variety of ways.
. ٗصالؾٌا ًفاك سلؾ٠ يبغِ ٚأ غّزغِ ٚأ ٜكوف علجِ ٌٝئ "New" "ل٠لع" و١شر لل 
. ٗثبشزِ ،"خّ١ل" خفٍزقِ قوطث ذفوػ بّثه
More Definitions of Creativity
عاذتلاا خافٌزعذ ٍي ذٌزًنا
 Creativity is the act of turning new and imaginative ideas into
reality.
.ًٍِّٛ غلاٚ ٌٝئ حوىزجٌّاٚ حل٠لغٌا هبىفلأا ً٠ٛؾزٌ ًؼف ٛ٘ عالثلإا 
 Creativity involves two processes: Thinking, then producing.
Innovation is the production or implementation of an idea.
.حوىف ن١فٕر ٚأ طبزٔئ ٛ٘ هبىزثلاا -.طبزٌٕا ُص ،و١ىفزٌا :بّ٘ ٓ١ز١ٍّػ ٍٝػ ًّزش٠ عالثلإا 

 If you have ideas, but don‟t act on them, you are imaginative but not
creative.” — Linda Naiman
. علجِ ذٌَ ٓىٌ ٌٟب١ف ذٔأ، ُٙ١ٍػ ًّؼر لا ٓىٌٚ هبىفأ ه٠لٌ ْبو امئ - ْبّ١ٔ الٕ١ٌ 
 “Creativity is the process of bringing something new into
being…creativity requires passion and commitment. Out of the
creative act is born symbols and myths. ”—Rollo May, The Courage to
Create
-.َايزٌلااٚ خفؽبؼٌا عالثلإا تٍطز٠ٚ -كٛعٌٛا ي١ؽ ٌٝئ ل٠لع ءٟش يبفكئ خ١ٍّػ ٛ٘ عالثلإا" 

عالثلإا ٍٝػ خػبغشٌا - "ٞبِ ٌٛٚه" .و١ؽبٍأٚ ىِٛه لٌٛ١ٌ ٟػالثلإا ًّؼٌا ِٓ طٚوقٌاٚ

pg. 2
ANASF

 “A product is creative when it is (a) novel and (b) appropriate. A
novel product is original not predictable.
ٓىّ٠ لا ٖل٠لع ْٛىر ٖل٠لغٌا ٗغ١زٌٕا -.ٗجٍبِٕ )ة( ٚ حل٠لع )أ( ْٛىر بِلٕػ عالثا ْٛىر ٗغ١زٌٕا 

.بٙث إجٕزٌا
 The bigger the concept and the more the product stimulate further work
and ideas, the more the product is creative.”—Sternberg & Lubart,
Defying the Crowd
عالثلاا ٟ٘ ْٛىر وضولاا ٗغ١زٌٕاٚ ، هبىفلااٚ ًّؼٌا حكب٠ى يفؾر خغ١زٔ وضولااٚ وجولاا َٛٙفٌّا 
لشؾٌا خ٠لؾزِ ) دوثٌٛٚ ؽوجٔو١زٍ(

Creative Translation in Theory
حٍعاذتلإا حًجزرنا حٌزظَ ًف

 Approaches to translation go far back to ancient times, with Cicero and
Horace “(first century BCE) and St Jerome (fourth century CE).”
ذٍٕٚ )يٚلأا ْومٌبث(ًاهٛ٘ٚ ْٚوش١ش غِ - خّ٠لمٌا هٛظؼٌا ٌٝا خّعوزٌا ظ٘بِٕ كٛؼر 
.)َ غثاوٌا ْومٌبث ( َٚو١ع
 But in modern times there has been a greater rise of theories and
schools or models which have so much developed the art of translation.
ٟزٌا طمبٌّٕا ٚأ ًهالٌّاٚ دب٠وظٌٕا ِٓ وجوأ عبفرها نبٕ٘ ْبو ش٠لؾٌا وظؼٌا ٟف ٓىٌ 
.خّعوزٌا ٓف او١ضو دهٛؽ
 Philological, linguistic, socio-linguistic, functional, semiotic, and
communicative or manipulative methodologies have failed to meet at a
united stand.
يكبجرٚ ،ىِٛوٌاٚ دبِلاؼٌا دلالاك ٍُػ،خ١ٕفٌا،خ١ػبّزعلاا خ٠ٛغٌٍا،خ٠ٛغٌٍا ،ُٙربفٌإِ دب١غِٕٙ 
.لؽِٛ فلِٛ لٕػ ُئلازر ٌُ تػلازٌا ت١ٌبٍأٚأ هبىفلاا
 So we have the idea that nothing is communicable or translatable on the
one hand and we have the thought that everything is translatable into
any language, on the other hand.
و١ىفزٌا بٕ١ٍػ ٜوفأ خ١ؽبٔ ِٓٚ ،ٜوفا خ١ؽبٔ ِٓ خّعوزٌا ٚأ يبمزٔلاٌ خٍثبل و١غ حوىف بٕ٠لٌ هٌنٌ 
،خغٌ ٞلأ خّعوزٌٍ ًثبل ٟش ًو ْأ ٟف

pg. 3
ANASF

 Susan Bassnett suggests that “Exact translation is impossible,” implying
the translatability of untranslatable things but at certain degrees of
approximation or sameness.
و١غ ءب١شاٚ خٍثبل ءب١شا ّٓؼزر "، خٍ١ؾزَِ ْٛىر خم١للٌا خّعوزٌا "ْأث ذٍٕبث ْاىٍٛ ذؽوزلا 
.ًصبّزٌا ٚأ ةهبمزٌا ِٓ خٕ١ؼِ خعهك لٕػ ٓىٌ ّٗعوزٌٍ خٍثبل
 Gentzler realises that the translator is required to painstakingly reveal
“competence as literary citric, historical scholar, linguistic technician,
and creative artist.”)
شؽبجٌا ، ٟثكلاا للبٌٕا حءبفو فشى١ٌ حلٙع ٜهبظل ينث ُعوزٌّا َيٍ٠ ْأ وٍَزٕ١غ نهكأ 
. علجٌّا ْبٕفٌاٚ ، ٞٛغٌٍا ٟٕفٌا ، ٟق٠هبزٌا
 The bewildering question is: if the translator is most often regarded as
an artist, which is the title of any good author, why is he denied the right
of creativity? As a well versed Egyptian writer and translation
practitioner, Enani, depending on other scholarly notions, contends that
the translator, unlike the writer, “is deprived of the freedom of creativity
or thought, because he is confined to a text whose author has happened
to enjoy such right; he is committed to literally recording the original‟s
ideology from a language, which has got its own assets of culture and
tradition as well as social norms, into another different language.”
،ل١ع تربو ٞلأ ْإٛػ ٛ٘ٚ ،ْبٕفو ْب١ؽلأا تٍغأ ٟف وجزؼ٠ ُعوزٌّا ْبو امئ :و١ؾٌّا ياإٌَا 
، ّٗعوزٌا ًهبِّٚ ٞوظٌّا تربىٌبو عالثلاا كؽ امبٌّ بّو ؟عالثلإا ٟف كؾٌا وىٔأ ٛ٘ امبٌّ

ِٓ َوؽ" ، تربىٌا ٗجش٠ لا ،ُعوزٌّا ْأ ٝػل٠ ،؟ٜوفلأا خ١ٍّؼٌا ُ١٘بفٌّا ٍٝػ اكبّزػا ،ٟٔبٕػ

ٗٔأ ؛كؾٌا انٙث غزّزٌٍ سلؽ ٞنٌا ؽلاجٌا ضٔ ٍٝػ وظزم٠ ٗٔلأ اوظٔ ،وىفٌاٚ عالثلإا خ٠وؽ
خفبمضٌٍ خطبقٌا بٌٙٛطأ ٍٝػ ذٍظؽ ٟزٌا ،خغٌٍا ِٓ ٍٟطلأا ضٌٕا ً١غَزٌ ب١فوؽ َيزٍِ
ٜوفأ خفٍزقِ خغٌ ٌٝئ ،خ١ػبّزعلاا و١٠بؼٌّا ٓػ لاؼف ،ل١ٌبمزٌاٚ
 This vision seems to limit „creativity‟ to the ability of creating new
ideas or, in other words, to the content rather than the form of a text.
،ٜوفأ حهبجؼث ٚأ ،حل٠لع هبىفأ كٍف ٍٝػ حهلمٌا ٌٝئ‘'عالثلإا' لؾر بٙٔأوٚ ٚلجر خ٠ؤوٌا ٖن٘ 
ضٌٕا ًىش ِٓ لالث ٜٛزؾٌٍّ

pg. 4
ANASF

 If authors are thus looked upon as creative artists as being the inventors
of genuine ideas, how about those ones who derive their ideas from
other sources?
هئٌٚأ ٓػ امبِ ،خ١م١مؽ هبىفلأ ٓ١ػوزقّو ُ٘هبجزػبث ٓ١ػلجٌّا ٓ١ٔبٕفٌٍ وظٕ٠ فٌإٌّا ْبو امئ 
؟ٜوفأ هكبظِ ِٓ ُ٘هبىفأ ْٕٛغ٠ ُ٘ ٓ٠نٌا
 Would they still be creative? If not, as implied by Enani, this is going to
shake a well-established and wide-ranging creativity of innumerable
authors in the world.
ٗؼٍاٚٚ خقٍاه خػيػيٌ ةنٙ١ٍ ان٘،ٟٔبٕػ ّٓػ بّو،ٓى٠ ٌُ امئ ؟ ْٛ١ػالثا ٍْٛظ١ٍ ً٘ 
.ٌُبؼٌا ٟف ٌُٙ وظؽ لا ٓ١فٌإِ عالثلإ قبطٌٕا
 A modern vision of the term may not go far from its orthodox
context.

.فٌٛإٌّا بٙلب١ٍ ٓػ ال١ؼث ت٘نر لا لل ؼٍطظٌٍّ خض٠لؽ خ٠ؤه 
 According to psychologists, creativity is an intellectual capacity
for invention.
.عاوزفلاٌ خ٠وىف داهلل عالثلإا ،ٌفٌٕا ءبٍّؼٌ بمفٚ 
 The bewildering question is: if the translator is most often
regarded as an artist, which is the title of any good author, why
is he denied the right of creativity?
فٌإِ ٞأ تمٌ ٛ٘ بِ -ْبٕفو ُعوزٌّا ٌٝئ وظٕ٠ بِ بجٌبغ ْبو ٌٛ :ٛ٘ و١ؾٌّا ياإٌَا 
؟عالثلإا كؽ وىٔأ امبٌّ -ل١ع
 As a well versed Egyptian writer and translation practitioner,
Enani, depending on other scholarly notions, contends that the
translator, unlike the writer, “is deprived of the freedom of
creativity or thought, because he is confined to a text whose
author has happened to enjoy such right; he is committed to
literally recording the original‟s ideology from a language,
which has got its own assets of culture and tradition as well as
social norms, into another different language.”
pg. 5
ANASF

خ١ٍّػ ُ١٘بفِ ٍٝػ لّزؼ٠ ، - خّعوزٌا ًهبِّ ٟٔبٕػٚ ٞوظٌّا تربىٌا ًهبٌّّا بّو 
ٗٔلأ وىفٌا ٚأ عالثلإا خ٠وؽ ِٓ كوغ٠ -تربىٌا ٌىػ – ُعوزٌّا ْأ ُػيث -ٜوفأ
وىفٌا ً١غَزٌ َيزٍِ ٗٔا -كؾٌا انٙث غزّزٌا ِٓ فٌإٌّا ًظؽ ٞنٌا ضٌٕا ٍٝػ وظزم٠
لاؼف ، خطبقٌا بٌٙٛطأث ل١ٌبمزٌاٚ خفبمضٌا ِٓ ًظؽ للٚ ،خغٌٍا ِٓ ب١فوؽ ٍٟطلأا
خفٍزقِ ٜوفأ خغٌ ٌٝئ ،خ١ػبّزعلاا و١٠بؼٌّا ٓػ
 This vision seems to limit „creativity‟ to the ability of creating new
ideas or, in other words, to the content rather than the form of a text.
ِٓ لالث ٜٛزؾٌٍّ ،ٜوفأ حهبجؼث ٚأ حل٠لع هبىفأ كبغ٠ئ حهلمٌ " عالثلإا" ل٠لؾزٌ ٚلجر خ٠ؤوٌا ٖن٘ 
ضٌٕا ًىش
 If authors are thus looked upon as creative artists as being the inventors
of genuine ideas, how about those ones who derive their ideas from
other sources? Would they still be creative? If not, as implied by Enani,
this is going to shake a well-established and wide-ranging creativity of
innumerable authors in the world.
ًظزٍ ً٘ ،خ١م١مؽ هبىفلأ ْٛػوزقِ ُٙٔٛو ٓػ ٓ١ػلجِ ٓ١ٔبٕفو ٓ١فٌإٌٍّ وظٔ امئ ٌٟبزٌبث 
غٍاٚٚ ـٍاه عالثلإ خقٍاه خػيػى سلؾ١ٍ ان٘ ٟٔبٕػ ّٓػ بّو ٓى٠ ٌُ ْئ - خ١ػالثئ
.ٓ١فٌإٌٍّ ٝظؾ٠ لا كلػ ِٓ ٌُبؼٌا ٟف قبطٌٕا
 A modern vision of the term may not go far from its orthodox context.
ٌومٛصهلأا قب١ٍ ٓػ ال١ؼث ًمزٕ٠ لا لل ؼٍطظٌّا خ٠وظػ خ٠ؤوو 
 According to psychologists, creativity is an intellectual capacity for
invention.
.عاوزفلأٌ خ٠وىف حهلل ٛ٘ عالثلإا -ٌفٌٕا ٍُؼٌ بمفٚ 

Example
 To show how creativity works in the translation process one may need to
examine certain common theories of the subject on which practicing
translators depend.
خؼئبشٌا دب٠وظٌٕا غؼث خٍاهلٌ طبزؾر لل خّعوزٌٍ حلؽاٚ خ١ٍّػ ٟف عالثلإا ًّؼ٠ ف١و هبٙظلإ 

.ٓ١ٍهبٌّّا ٓ١ّعوزٌّا ٗ١ٍػ لّزؼ٠ عٛػٌّٛ
pg. 6
ANASF

 The equivalence theory is followed by an endless list of translators, but
not without problems at words and lexical.
داكوفٌّاٚ دبٍّىٌٍ ًوبشِ ْٚلث ٓىٌ ،ٓ١ّعوزٌّا ِٓ بٌٙ خ٠بٙٔ لا خّئبمث ٗػٛجزِ إفبىزٌا خ٠وظٔ 
 As a very simple example, „yes‟ in English is generally understood as an
expression of agreement, meaning „right‟ or „all right,‟ whereas the
Arabic equivalent ُؼٔ (Na‟am) is interpreted differently, in relation to the
situation.
ٕٝؼّث ،قبفرلاا ٓػ و١جؼزو َٛٙفِ بِّٛػ ٛ٘ خ٠ي١ٍغٔلإا خغٌٍا ٟف " yes" ، الع ؾ١َث يبضّو 
كٍؼز٠ بّ١ف ،فٍزقِ ًىشث ب٘و١َفر ُز١ٌ Na‟am ُؼٔ خ١ثوؼٌبث يكبؼ٠ ٓ١ؽ'،كؾٌا ًو' ٚأ 'كؾٌا'
.خٌبؾٌبث
 The creative translation is one adapted skilfully to any of such situations
as: „Here I am‟ (the reply to somebody‟s asking a group for someone
whom he had not met or known before); What do you want? (the
response to someone‟s demand that has not been properly heard); „Come
again?‟ (if somebody‟s feeling is hurt by another one‟s offensive
words).
ضقش ٍٝػ كوٌٍ(’Here I am‘ 'بٕ٘ بٔأ' : انٙو غػِٛ ٞلأ خّئلاٌّا داهبٌّٙا ٜلؽا خ١ػالثلإا خّعوزٌا 
تٍطٌٍ خثبغزٍا( What do you want؛)ًجل ٍٗثبم٠ ٚأ ٗفوؼ٠ ٌُ ٗٔأ ُِٕٙ ضقش ٓػ خػّٛغِ يأَ٠ بِ
دبٍّىٌٍ وفلأبث ئَ٠ ٛ٘ بِ ضقش هٛؼش ْبو امئ( Come again?' ؛)ؼ١ؾط ًىشث ٗؼَّ٠ ٌُ بِ ضقش
.خ١ِٛغٌٙا

Creative Translation in practice
 The dictionary definition of word „creative‟ is „inventive and
imaginative‟- which, while being unexceptionable, lacks the very
quality that characterises the creative: an amalgamation of surprise,
simplicity and utter rightness (leading one to exclaim, “Now, why
didn‟t I think of that before?).
الع ٗفط لمف٠ ،بٙ١ف ت١ػ لا لغ٠ ٓ١ؽ ٟزٌا' يب١فٚ عالثئ' 'creative ' خٍّىٌ ًِٛبمٌا ف٠وؼر 
ٌُ امبٌّ،ؿوظ١ٌ الؽا كٛمر ْ٢ا( خمٍطٌّا خم١مؾٌاٚ خؽبَجٌاٚ حأعبفٌّا ِٓ ؾ١ٍف : عالثلاا ي١ّر
؟ًجل ِٓ هٌم ٟف وىفأ
pg. 7
ANASF

 No matter how advanced machine translation computer software
programmes may be, they would still fail to replace the human mind
when it comes to translating creative writings such as literary different
genres.
ًؾِ ًؾزٌ خٍشبف ًظزٍ ،خ١ٌلاا ورٛ١جّىٌا ظِاوث خّعور هٛطر ف١و ٓػ وظٌٕا غغث بّثه 
خفٍزقٌّا خ١ثكلأا عاٛٔلأا ًضِ خ١ػالثلإا دبفٌإٌّا خّعوزث وِلأا كٍؼز٠ بِلٕػ ٞوشجٌا ًمؼٌا
 This could be illustrated by a computer programme when it was made
to translate the proverbial phrase ‘out of sight, out of mind‟ into
Russian and then translate the translation back into English: the
resulting printout read: “invisible idiot”.
out of sight, out ‘ ًضٌّا يٛم٠ بّو حهبجؼٌا خّعوزٌ ٍٗؼع ُر بِلٕػ ورٛ١جّو ظِبٔوجث هٌم ؼ١ػٛر ٓىّ٠ 
: خػٛجطٌّا خقٌَٕا خغ١زٔ حءاول :خ٠ي١ٍىٔلإا ٌٝئ خّعوزٌا خّعور ُص ،خ١ٍٚوٌا خغٌٍا ٌٝئ’of mind
."invisible idiot"
 Its translation in Arabic was as follows: "ًمؼٌا ِٓ ،هبظٔلأا ٓػ ال١ؼث"
" ًمؼٌا ِٓ ،هبظٔلأا ٓػ ال١ؼث" :ٌٟبزٌا ٛؾٌٕا ٍٝػ خ١ثوؼٌا ٌٝا خّعوزٌا 

Example
 Now how would you translate such a proverb ‘out of sight, out
of mind‟ into Arabic? Is it A, B, C, D, E, F or something else?
خ١ثوؼٌا ٌٝا out of sight, out of mind‟ًضٌّا ٖن٘ ُعوزر ْأ ف١و ْ٢ا 
A. ًمؼٌا ٓػ طهبف ،وظجٌا ٓػ طهبف

B. ًمؼٌا ٓػ ال١ؼث ،هبظٔلأا ٓػ ال١ؼث

C. هٍمػ ٓػ ال١ؼث ،نوظث ٓػ أل١ؼث

D. تٍمٌا ٓػ أل١ؼث ،ٓ١ؼٌا ٓػ ال١ؼث
E. هجٍل ٓػ ل١ؼث ،هٕ١ػ ٓػ ل١ؼث
F. ءبفه ةومٌاٚ ،ءبفع لؼجٌا
G. .......ـٌئ

pg. 8
ANASF

Continued
 The question of equivalence gets much more complicated when
specific words or structures of a language find no equivalent or even
approximate meanings in another language.
ٝزؽ ٚأ ئفبىزِ و١غ خغٌٍا ءبٕث ٚأ ٕٗ١ؼِ دبٍّو لغٔ بِلٕػ ال١مؼر وضوأ ًظؾر إفبىزٌا خٌأَِ 
.ٜوفأ خغٌٍا ٟف ت٠ول ٕٝؼٌّ
 As an example, the common English expression: „Mother Nature is
angry‟ sounds obscure or senseless to an Arab Moslem listener who
may know English well but is ignorant of the cultural and religious
images behind it.
ْٛفوؼ٠ ٓ٠نٌا ةوؼٌا ٓ١ٌٍَّّا بٙ١ٌا غّزَ٠ بٌٙ ٕٝؼِ لا ٟزٌا ٚأ خؼِبغٌا داٛطلأا’ 
.هٌم ءاهٚ ٟزٌا خ١ٕ٠لٌاٚ خ١فبمضٌا هٛظٌا ٍْٛٙغ٠ ٓىٌٚ ال١ع خ٠ي١ٍغٔلإا
 However, the good translator tests his own background of Western
culture and religions against the expression to adapt its meaning in a
suitable cultural and linguistic context of the target audience.
ُئلاٌّا ٕٝؼٌّا و١جؼر ٌىؼر ْب٠كلأاٚ خ١ثوغٌا خفبمضٌٍ ل١غٌا ُعوزٌّا خ١فٍف داهبجزفا ،هٌم غِ 
فلٙزٌَّا هّٛٙغٌٍ ٞٛغٌٍا قب١ٌَاٚ ٗجٍبٌّٕا ٗفبمضٌا ٟف
 Being aware of the cultural and religious differences between the
West and the East, the translator knows that „Mother Nature‟ is used
in many English speaking countries to refer to „god‟ or „goddess,‟
images which have no existence in the Arab Moslem‟s mind. The
latter believes in One and Only One God, whose image is never
likened to any male figure or referred to as female.
َلاا خؼ١جطٌا' ْأ ُعوزٌّا فوؼ٠ ،قوشٌاٚ ةوغٌا ٓ١ث خ١ٕ٠لٌاٚ خ١فبمضٌا دبفلازفلاٌ ِٕٗ بواهكئ 
ٌٝئ حهبشلإٌ خ٠ي١ٍىٔلإا خغٌٍبث خمؽبٌٕا ْالٍجٌا ِٓ ل٠لؼٌا ٟف َلقزَر ' ’Mother Nature
ٟف ال١ؼث لمزؼ٠ٚ .ٌٍَُّا ٟثوؼٌا ًمؼٌا ٟف كٛعٚ ذَ١ٌ بٌٙ ٟزٌا هٛظٌا 'خٌٙآ' ٚأ 'الله'
.ٝضٔأ ٌٝا و١شر ٚأ هٛوم ضقش ٞأ ٗجشرلا ٗرهٛط ، لؽاٚ للهآ ْا ٞا ٗ١ٔالؽٌٛا

pg. 9