constructing pathways to translation - Higher Education Commission

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xxxvii I am not linguist but I define the language as it should be able to communicate your thought fully. Urdu is as poor as English is, that can not abuse to any person in both languages. There are no proverbs, no idioms no metaphors. How can we use them for translation and for writings? In brief I myself did not enjoy the addition of Translation of so big Neoclassic. QNO 2:- How did you cope with the problems of translating Idioms, Metaphor, collocations, cultural and specific terms in the Text? ANS:- To reach the depth of the Novel, I read all the history of Latin America. Discovery of American continent, Spanish invasions, revolutions, civil wars and cultural values of eighteenth centaury, I tried to go through. I got help from other novels of Garcia himself as The Evil Hour, No one writes to colonal, Love In the Time of cholera, General In His Labyrinth and his stories to be familiar with the terminology of Gercia. For Metaphor, collocations and idioms, no doubt these selections gave me good help. Basically what I perceived was that in primitive societies believes and none believes are not apart from each others all over the world. My knowledge about my own culture, traditions of my own village were almost same as Garcia took from Latin American culture, with minute differences. One charter announced to die at a fixed time and she died. She sew her own shroud, these are common to bring coffin from Saudi Arabia, to bring AAB- ZAM ZAM from Macca or to say now it is my time to go are common words by old people in our society. It was one of the reasons, I dedicated translation to my village and few verses by my friend own the relation of “Maconodo” with my village [village of the novel and my village,] {translation of Sariaki verses enclosed with}. Yes I missed some Metaphors, especially about days as “it is Wednesday”, “it is Tuesday”. I mean what is importance of days in Latin American culture. I translated as it is. I say, no one reader checked it but I feel burden in my mind. Similarly difference in daily “Time” [Time of breakfast, morning, noon afternoon evening and night] accidentally I found this time orientation from a footage of a commercial Digest so I used it comfortably. For collocation, literary or subjective Garcia is not fond of to use tough terminology, basically he, himself was conscious from very beginning that his stories were being read abroad so he did not go to toughness of culture but on the general believes of 18 th centaury. Yes I missed some traditional things but I tried to get information and I failed. Yes, still there are some objections on the words of Garcia. He used “Arabs” and “Turks” in the same meanings at the same place. I don’t know whether in Latin America, these terms are used as it is or he was misguided about Muslims. Novel is written in the background of almost 17 th and 18 th centaury. At that time Ottoman Empire run by Turks was one of recognized and most powerful empire in the world. World trade was under Muslim traders. It seems to me some families of Arab origin were settled in Latin America. Keeping in view the Turks running Ottoman Empire and Arabs people made Garcia to write as these people were called in Latin America. Some time Turk by the Ottoman Empire and some times by their own Arab origin. But to say that Garcia was not familiar with Muslims is not correct. I know when “Aljazaer” was getting freedom from France in early sixties, at that time Garcia was working as a journalist in France. His main novel “EVIL HOUR” was written in Paris in 1962 so to say he did know about difference of Muslims, Arabs and Turks is not right. We can say his paragraphs about Arabs and Turks are confusing. But I did not give any footage or did not attempt to correct it. I had, as a translator, no right to do so but to satisfy my self about it. The same he debated about Meliquades, an old person of Sanskrit era. He did not know more about Hindu religion so he remained conscious about it, till to the end of novel, upto the last page. QNO 3:- What were the problems encountered by you in translating “One Hundred Years of Solitude”. ANS:- Please go to Part II, QNO 1 and QNO 2. QNO 4:- Should the translation be free, literal or combination of all? ANS:- I am in the favor that translation should be combination of all, both literal and free. There is not so complicated history of Urdu translation. So to standardize the level is even not difficult. The best translations in my views are the translations of Fort William College. Yes these are not from English to Urdu but taking the broad spectrum, I think, no writing of that period or after it or even up to day, can combat those translations. I have not compared the original context with the translations but I always enjoyed those all. Next episode of translation was Russian translations in 20 th centaury. Those all translations were totally literal. It made dull all the great literature of the world. The Translations from English to Urdu in this parallel period was on combined technique. So they were honored better the standard at every level was good and well. I have discussed this in other questions also. QNO 5:- Does the Translator require extra Proficiency in two languages for Translation?
xxxviii ANS:- It is must to have approach to both languages. I further think sister languages of both languages should be known to the Translator. We face lot of grammatical, sentences and design problems. It is must to think of it. Elite languages can not be claimed languages of Translations, at the time of translation, it is not must that one should be master of the both languages but should have sense to use the proper words at place, should be good in both languages but the main thing is to have a sense of perception of the words, sentences, paragraphs and especially the subject of the novel. I have also discussed in PART I QNO:2 and other questions. QNO 6:- Which writing skill are required for Translating; Rhetoric, Discourse etc? ANS:- Translation depends on the technique of the writer. Garcia himself writes in the pattern of both discourse and rhetoric point of view with very fine touches of factum, dramatic end of dialogue and refined use of journalistic turns. These are criticism analysis, I think during translation it was mixed pattern. I was bound directly to the style and diction of Garcia. What he used, I wrote accordingly. To me it is must to follow the technique of the writer. Reference for translated pages from PART I, question No:1 QNO 7:- How well versed are in the Urdu linguistic theory as far as Prose design and Textual Configurations are concerned? ANS:- Still I believe Urdu is not the language of translation as English is not the language of writings. I believe that when language is born from the heart of the people, from streets, from Mahalla, from working class and not from the palaces, the language of elite {Ashrafia}. That language always gives a complete prospective of the society.., as multiple words for one noun or verbs etc. Yes I admit, when such languages are taken to literary level after some times these languages also become oppressor and of Ashrafia. How a language can be debated for Prose design, which has no slang. We can not abuse any person. You try to do. Can you do? The same is with the English language. We can do this all with regional languages like Punjabi, Sariaki, and Sindhi etc. I want to say that it feels deficiency in the growth of both languages. This pattern causes lot of problem during translations. I still believe that Translation in any regional language of Pakistan was thousand times better than Urdu. After all I had to seek help from regional languages. The reason was that by any aspect these regional languages are so much rich in their grammar, diction and vocabulary that astonish the person. QNO 8:- Is Translation a creative act, a double art? How? ANS:- Up to me or school of thought favors me is that translation is to get Familiarity to the international classic, Neoclassic or new literature of the entire globe. So that we can enrich our literature, we can get familiarity from the literature of any nation, we can take our literature above the current status. It is art; it is double art I am personally away from this debate. I know only that I want to learn from big literature, great writers. Second edge is that our literature should be familiar with literature of other nations. I take this all positive. I have already said elsewhere that translator is mere a mediator not the creator or co creators. Same is with here is it an art or not, I am unable to change my views that I am simple mediator to enjoy the literature. Sometimes it is not to open the beauty that curiosity is a beauty. French philosopher karke Guard said resistance is life and curiosity is the beauty. For me art is a beauty. For further go to PART II QNO:2. Reference also from PART II QNO:7 QNO 9:- Can Machine Translation [MT] provide a substitute for Translating literary texts like “One hundred Years of solitude”? ANS:- Science always certifies the imaginations, thoughts and philosophy. At this moment it seems us not well. But I, being a science student, can not deny the use of Machine. On internet, this system is available, either on trail basis or customary. Basically we are under “audio visual trap” today. If computer translate a research paper or a novel. I do not know, either it is pre-translated or Machine itself is doing. It is possible; in the beginning we will be irritated from this type of translation that we will be accustomed. The example is that when computerized composing was used, did not inspire us, now we are used to of computerized composing. To translation classic by MT now it seems us impossible, not up to the level but it will be a time, we will be accustomed to these writings. Today MT itself is in its infancy. Let us wait. Some times “Time” resolves the problems. It is not the Machine but our brains, either this accept or reject this “Audio visual Trap”. The main problem, I feel is that during Translation to see a “word” in dictionary, there are many meanings of a single word. It is up to the Translator that which meaning are suitable for the said word but here Machine has no brain so can not detect suitable word. To smell a sense of sentence, paragraph or basic theme of novel seems us impossible. But to debate the possibilities it is better to wait.
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CONSTRUCTING PATHWAYS TO TRANSLATIO
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NATIONAL UNIVERSITY OF MODERN LANGU
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ABSTRACT The study touches upon all
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Chapter 2 LITERATURE REVIEW--------
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Chapter 4 URDU TRANSLATION: PROCESS
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Chapter 07 Page ANALYSIS OF THE NOV
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xiii Page 10.2.8 The use of Cogniti
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11.3 Researcher’s Suggested Model
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ACKNOWLEDGMENTS xvii I owe a debt o
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DEDICATED TO MY FATHER Citadel of P
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When? Is concerned with the time of
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3. Translation: the abstract concep
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A theory/pedagogy is an explanation
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3. Models of the dynamics of the pr
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a domain dominated by mimesis, but
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candidates such as ‘translatology
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Figure 1.5 Applied Translation Stud
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translation research, or felt that
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quantifiable textual and extra- tex
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considerable unease and puzzlement
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� To build this outline into a Mo
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of Translation and Text Linguistics
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ways of talking more sensibly about
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At word Level TRANSLATION PEDAGOGY
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Table 2.1. Text -types, Forms and S
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A still different line has been ado
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otherwise, but caution must be exer
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Figure 2.3 Reception and Production
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Parser Lexical Search Mechanism Sou
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the boundaries of such elements are
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phenomenon. The actual words and ex
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c. The SL Word is Semantically Comp
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Language. ‘Dilentante’ is a loa
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7. Translation by Omission: If the
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particularly significant in a given
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. An idiom or fixed expression may
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Naturalness and readability means t
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The above discussion and practical
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iv. Translation of Puns: If the pur
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supported with an attribute, unless
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In practice, the lack of grammatica
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All this amounts to the fact that i
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2.6.4 TEXTURAL EQUIVALENCE: THEMATI
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a. It acts as a part of orientation
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and transitivity in system, is that
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2.6.4.3 Thematic structure; Text Or
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The concepts of theme/rheme determi
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-description). This can then be fol
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Reference Substitution Junction End
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the chunking of information, how mu
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In translations, it is impossible t
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is linked as explanatory coherence,
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Figure 2.9 Variation: Use and User
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In the main, accessibility is a fun
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the manner in which the message is
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in the TT the effects it has on the
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Figure 2.11 Relationship between La
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features with their roots in the So
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Third, in planning translation stra
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100 assessing the segment of the Ta
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I. Compensation in Kind 102 This re
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104 The traced Pedagogy has, theref
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2.7.1 CONTEXTUAL CONFIGURATION 106
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108 Sequences. A Sequence in a text
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110 All this configuration is of gr
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112 taken into consideration is tha
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CHAPTER 3 114 IMPLICATIONS OF LITER
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116 constraints on the reader, writ
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118 Translation, then, is a visible
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120 The practice of translators als
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122 In order to be ethical, we have
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124 second is Foreignizing method,
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126 Equivalence can be established
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128 Association that takes place wi
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130 Within the model, attention nee
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132 typical of contemporary psycho-
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134 All Text Processing is, to a la
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136 operate under a different set o
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138 3.5.5 A HEURISTIC FOR RESEARCH
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140 level of the sentence. Furtherm
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142 often been argued that translat
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144 a. It is an activity, which, by
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146 Some characteristics can be und
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148 3.6.4 CONCLUSION Finally, Secon
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150 the world’s languages. Accord
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152 Thus the development of Urdu pr
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154 According to historians, the mi
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156 phase. The entire literary scen
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158 In 1950, Bakir Hussain Syed in
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160 stands for the great sin(Gunah-
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162 3. Introduce new inputs and to
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5. Genres (Keinda) and the spirit o
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166 connotations of the word ‘Def
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168 should, therefore, be given to
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170 there is ambiguity, but it is r
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4.5.8 Differences in Expressions -
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174 Translation Pedagogy and Proces
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176 The problems faced by Urdu theo
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178 least six various forms; Ro par
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180 number of advantages for meetin
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182 Muqtadira Quami Zuban (National
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184 language. The committee constit
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186 Hussain, translating the litera
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188 beings, because both are the so
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Chapter 05 TABLE OF CONTENTS RESEAR
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Chapter 08 iv Page ANALYSIS OF THE
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vi Page 11.3 Initial steps that hel
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11.3 Researcher’s Suggested Model
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CHAPTER 5 RESEARCH METHODOLOGY AND
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From Urdu into English: 1- Novel: K
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5.1.9 Coding Categories All Coding
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5.2 ANALYSIS OF THE NOVEL ‘THE OL
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the man and Marlin at opposite ends
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Boorhey ney Dolphin key halq sey ka
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2-ST. p: 3. He never went turtling.
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ST. p: 10. He left the smell of the
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---------(missing)Ye khar-e- Istikh
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Khush qismati to kai andaz mein aan
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TT.P:46. Sirgasoon bootiyon keh aik
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2. Measures: ST. p:10. There was a
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The sun rose thinly from the sea an
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Boorhey macheron main sey kai doser
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1: Voice Change ST. p:11. There was
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2.Substitution ST. p:80. The boy we
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Aik aurat ki nazar machli ki aik az
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I ‘ll kill him through, ‘he sai
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esides the great birds and beasts.
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On the brown walls of the flattened
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Aay mariyam! to baes-i-i khudawandi
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As for grammatical equivalence: num
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aspect which are absolutely contrar
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CHAPTER 6 ANALYSIS OF THE NOVEL :
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Characters lack names; such epithet
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deconstructive reading of these opp
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TT. P: 294. Un sipahiyon ko apni kh
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TT. p: 265. Hamayshaa tum jahiloon
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Bohat sey sipahee mutawatar sar uta
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2- Cliche Metaphors ST. p:22. In th
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Us ney kuch tammul key saath yeh bh
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Wo aik aysey shagen ko itmanan sey
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Pattion or Tehnioon ka acha khasa m
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The longest speech of the novel on
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Jab wo yoon andha dhundh barrha cha
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TT. p:10. ‘Jim, Kiya baat hay’
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3. Impersonality and Accessibility
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You talk as if you thought you was
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3. Compensation by Merging ST. p: 1
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B.Compound phrases Adjective & Noun
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and untranslatable. But the plot an
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CHAPTER 7 ANALYSIS OF THE NOVEL ‘
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The first domestic strand of the na
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did not have an auxiliary role, but
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ST. p:54 -Alu choolay TT. p:38 Pota
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Khushk pate rukruk kar us tahra kha
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ST. p: 76 TT . p: 48 ST . p:118 TT.
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Ghabraen nahi TT. P:40 There’s no
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ST. p: 1 64 Donoo darakhtoon key ne
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2. ST. p: 364 Us ke awaz us waqat p
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3.4 Translation of Puns ST .p: 216
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TT. p:16 103 Nausha lowered his eye
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Norouz hairat se chonk para. iskool
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But I shall be here when you want m
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5. Voice ST. p:386 Car start hoyi o
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Aaj paanch haramzade mare gai TT. p
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TT. p: 50 Leaning over to Akbar he
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It was her dearest desire to put he
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4. ST. p: 39 Abey thater chalta hai
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Qadam qadam tokhrein khaney key bad
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Nausha jail mein tha aur phansi key
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TT : p.160. R aise the truth up to
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125 7.5 FINDINGS OF THEORETICAL ANA
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impersonal but lacks spontaneity an
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CHAPTER 8 ANALYSIS OF THE NOVEL:
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131 forging identities, about great
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133
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135 However if analysed theoretical
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344)__(TT.p: 242-258), are some of
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Political slogans have not even bee
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uthta, aur koi bhi gootnoo per utta
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143 Kia maangta hai - kiyoon aya? G
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One misses in the Englsih version,
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The author in the ST has employed a
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The Fourth and final part in both t
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9.1.1 Purpose/ Justification CHAPTE
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3. Dr Attash Durrani: 153 He has a
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9.1.9 Standards of Survey Research
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On the whole, all the respondents s
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freedom and limitation.Dr Ikram Aza
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It is for the same reasons that non
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CHAPTER 10 CONCLUSION AND RECOMMEND
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What is required at the moment is t
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different things. Gregory Rebassa i
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different people: the author, the e
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from Aristotle to recent reading th
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In Translation, there is no such th
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175 control of the translator. The
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achievement occurs in Art. If one w
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its slips of vocabulary. It is far
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181 In translations, language shoul
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entailed responsibility, is at the
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Linguistics to describe Translation
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it. So, while there must be theoret
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189 Translation includes in itself,
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how they do it. They will need abov
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exists in other developed countries
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linguistics relevant to translation
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and are not comprehendible to reade
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TOWARDS CURRICULUM PLANNING AND 199
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The following models have been rese
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translation instruction as a unique
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205 11.4 CONTRIBUTION OF THE RESEAR
Page 423 and 424: 11.5 THE RESEARCHERS SUGGESTED MODE
Page 425 and 426: Select Student and Course Evaluatio
Page 427 and 428: SEMESTER 3 S. Course Title of Cours
Page 429 and 430: 213 hurculean task, the basic found
Page 431 and 432: REFERENCES Allen,S. (Ed.). (1999).
Page 433 and 434: Durrani, A. (Jan, 1993). Urdu Dunya
Page 435 and 436: Leighton, L. (Ed. & Trans.).(1984).
Page 437 and 438: Shahid, H.M. (1989). Sir Abdul Qadi
Page 439 and 440: PROCEDURAL KNOWLEDGE; PRODUCTION AN
Page 441 and 442: RECEPTION OF TEXT SURFACE PARSING I
Page 443 and 444: Table 2 Schema Of Textual Filters T
Page 445 and 446: Figure 5 Psycholinguistic Model of
Page 447 and 448: A. Literary translation General lan
Page 449 and 450: Table 03 CONCORD OF GENDER: MUSCULI
Page 451 and 452: APPENDIX C Table 1 Parts of Speech
Page 453 and 454: 3.5 Past Continuative Habitual : la
Page 455 and 456: 3.11 Present Progressive : / lar∂
Page 457 and 458: 3.17 Simple Future: / laega / (will
Page 459 and 460: � NAME: � AGE: � ACADEMIC BAC
Page 461 and 462: Q2: Does Translation process involv
Page 463 and 464: xxvi
Page 465 and 466: xxviii
Page 467 and 468: xxx
Page 469 and 470: PART-I xxxii Q.1 Approx about all t
Page 471 and 472: REPLY 3. DR. NAEEM KLASRA PROFILE x
Page 473: xxxvi When I completed translation
Page 477 and 478: 4:- Should have acquaintance about
Page 479 and 480: REPLY 4. DR ASIF FARRUKHI xlii
Page 481 and 482: xliv
Page 483 and 484: REPLY 6. DR IKRAM AZAM xlvi
Page 485 and 486: xlviii
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