Translation in children’s literature

Chapter ONE:

Introduction

1.1. Overview

This chapter contains indispensable information about the present thesis. First, there is an debut to the topic of this survey. Then, the jobs which had led to see this subject as primary for more research and probe are pointed out. After that the research inquiries are mentioned. Finally the key footings along with their definitions are presented.

1.2. Introduction

Children ‘s literature, despite being depicted as simplified and inferior to what is created for grownups, has ever played an of import function in act uponing kids. Against the widely-held premises of lower status of children’s literature, as Hunt ( 1990 ) holds, it has many different intents and can be studied for many grounds. Before nineteenth century, it has been reported to be obviously didactic and educational ( Carpenter & A ; Prichard, 1984 ) . It implies that immature audiences received the information that was utile for their acquisition and instruction via kids ‘s literature. In this respect, Klingberg ( 2008 ) represents the purpose of learning cognition or/and moral attitudes as an old tradition in kids ‘s literature. He declares “ [ kids ‘s literature ] from the beginning had instructional purposes ” ( Klingberg, 2008, p.15 ) . After the nineteenth century the thoughts about kids and childhood were affected by the societal alterations prepared by an industrial society ( Akbari, 2012 ) .

Obviously in such a state of affairs the didactic aims of kids ‘s literature bit by bit vanish. Beyond the net income seeking of the industrial society, and the force of throwing the purpose of instruction down, lie several jobs connected with the interlingual rendition of kids ‘s literature. Limited experience of kids and differences in civilization between beginning text and mark text have made kids ‘s literature and its interlingual rendition a really complex topic for which many different facets have to be taken into history.

A job when kids ‘s books are translated is that some elements are non known to the same extent to the readers of the mark text as to the readers of the beginning text. One of these debatable elements is the onomatopoeia. They can be found in dictionary entries but their representations in other linguistic communications evidently pose jobs for transcribers. “ Foreign readers ‘ decryption of [ the ] text … will endure from the built-in intervention of their ain civilization, even more so when it has been translated ” ( Poyatos 2008 p. 209 ) . Their spirit may be lost in a translated version, as they are replaced by another written linguistic communication that will arouse in the reader ‘s head merely their ain sounds. When readers read translated plants embellished by onomatopoeia, they hear the voices non needfully the manner they truly sound in the beginning civilization, but the manner the readers know the sound in their ain, unless the transcriber is really familiar with the beginning civilization.

Since the transportation of these looks is non performed without troubles, the interlingual rendition can be analyzed along a scope of possibilities which brings about a figure of techniques in interlingual rendition. In this survey the research worker has attempted to cover with particular techniques in interlingual rendition of onomatopoeia in kids ‘s books.

1.3. Statement of the Problem

Harmonizing to Venuti ( 1995 ) , interlingual rendition is the replacing of the forms in the beginning text with those of the mark text. He believes intending comes from the relationship between these forms. Therefore, interlingual rendition can non be merely a simple replacing of the lingual elements in the mark text with the 1s in the beginning text. In interlingual rendition procedure different factors play their functions which the transcribers should maintain in head when they apply techniques of interlingual rendition. In Snell-Hornby ‘s words ( 1988, p. 41 ) “ linguistic communication is non an stray phenomenon suspended in a vacuity but is an built-in portion of civilization ” . Thus, when texts are translated, they appear in another linguistic communication with other readers who may hold different civilizations and different points of position.

In this sense, there is a similarity between interlingual rendition of kids ‘s literature and interlingual rendition of other literary texts. But the interlingual rendition of literature for kids necessarily becomes important because kids are introduced to literature read by people of their age in other states and go exposed to spheres of other lives and civilizations through which they begin to understand and accept each other as being ‘unique ‘ and holding different literary and cultural experiences ( Vandergift, 1997 )

Particularly the poetic or literary devices to show emotion and temper, like onomatopoeia which have peculiar features that frequently, due to linguistic communication differences, conveying about challenges for transcribers. Different techniques may be applied to interpret onomatopoeia, but harmonizing to Levine ( 1991 ) , “ a good translation… purposes to ( rhenium ) produce an consequence, to carry a reader ” .

The present research worker aimed to research what happens when the onomatopoetic looks are translated with different techniques and to analyze the extent to which the interlingual renditions were acceptable based on standards like lexicons. The acceptableness was measured through comparing of the interlingual renditions of these looks with their dictionary significances. To accomplish this end, the research worker has selected onomatopoeia in kids ‘s verse forms to be investigated. The selected plants by the research worker in this research areLafcadiotranslated into Iranian by Hamid Ahmadi and Sima Majidzadeh, andA Light in the AtticandWhere the Sidewalk Endstranslated by Hamid Khademi and Razi Khodadadi. These are Silverstein ‘s most known plants which include a batch of onomatopoetic looks.

1.4. The purpose of the survey

This survey attempts to analyse how onomatopoeia in kids ‘s literature has been translated from English into Persian. For this intent, it discusses the techniques that are used to reassign these text units. Meanwhile, it focuses on the truth of the interlingual renditions of these looks based on their tantamount dictionary significances.

1.5. Research Questions

What are the most normally used “ techniques ” in interpreting English onomatopoeia in Children ‘s literature into Persian?

1.6. Significance of the Study

Sing the few probes related to the interlingual rendition of onomatopoeia, it seems that these looks have non been dealt with as a primary affair in the field of interlingual rendition surveies in Iran. Marginalizing onomatopoeias in academic surveies leads to miss of attending which would convey approximately serious troubles for the transcribers. Onomatopoeia which is used in many nursery rimes for kids, are easy to memorise and are good to learn kids. Therefore, sing the importance of what kids should larn – either from the indigen or translated – literature, the interlingual rendition of this expressive units have to be emphasized.

1.7. Definitions of Key Footings

• Onomatopoeia

Webster ‘s Dictionary gives two definitions for onomatopoeia: ( 1 ) the naming of a thing or action by a vocal imitation of the sound associated with it ( asbombilation, hushing) ; ( 2 ) the usage of words whose sound suggests the sense.

Poyatos ( 2008, p. 219 ) defines onomatopoeia as “ established written representations like the cat ‘s ‘meowing ‘ or the ‘gurgling ‘ in the drain pipe, the least iconic ( despite their morphological flexibleness as nouns and verbs ) , as proved, for case, by the unlogical cross cultural differences in copying animate beings ( e.g. Spanish ‘qui-qui-ri-qui ‘ and English ‘ka-ka-doodle-do ‘ ) ” .

• Children ‘s literature

This term, as Klingberg ( 2008, p. 5 ) defines, can mention to different constructs, such as literature recommended to kids, literature read by kids and literature published for them.

• Techniques

Sing textual micro-units, Molina ( 2002 ) distinguishes processs, techniques, and schemes from each other and defines techniques as how the consequence of the interlingual rendition maps in relation to the corresponding unit in the beginning text.