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Literary Translation and Cultural Challenges: JhumpaLahiri's The Namesake

Article in International Journal of Comparative Literature and Translation Studies · January 2017
DOI: 10.7575/aiac.ijclts.v.5n.1p.80

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 International Journal of Comparative Literature & Translation Studies
ISSN 2202-9451
Vol. 5 No. 1; January 2017
Flourishing Creativity & Literacy
Australian International Academic Centre, Australia

Literary Translation and Cultural Challenges:

JhumpaLahiri's The Namesake
Sura M. Khrais
Department of English Language and Literature, Al-Balqa Applied University, Jordan

Received: 17-11-2016 Accepted: 29-01-2017 Published: 31-01-2017

doi:10.7575/aiac.ijclts.v.5n.1p.80 URL: http://dx.doi.org/10.7575/aiac.ijclts.v.5n.1p.80

Abstract
This paper discusses how the nature of literary translation differs from other forms of translation by looking at practical
difficulties and challenges notable in the Arabic translation of Lahiri's novel The Namesake (2003). The difficulties
discussed are cultural differences which have created “untranslatable” cultural-bound words and phrases, as well as
specialized vocabulary. The paper explores the conflict between the translator's duty to accuracy and his/her duty to
literary translation as an art form. One problem faced by the prose-translator is finding terms in his or her own language
that are faithful as much as possible to the meaning of certain words in S.L. For example, there are words which
describe specific rituals or those related to typical architecture, fabrics, and cookery; these and many others represent
the specific culture of the original text and the translator needs to be careful when translating them. The researcher
finally suggests that there is a need to expand the perimeters of translation studies specially those dealing with literary
prose because the translators and researchers lay more emphasis on the translation of poetry.
Keywords: Literary translation, cultural differences, untranslatability, source and target language, cultural anomaly
1. Introduction
When the written work of one language is recreated in another, the translator faces many challenges, which require bold
and creative steps on his/her part to introduce an illegible text in the target language (T.L.). The difference in culture
between the source language (S.L.) and the target language (T.L.) may result in a confusing reading and an ambiguous
translation. One problem faced by the prose-translator is finding terms in his or her own language that are faithful as
much as possible to the meaning of certain words in S.L. For example, there are words which describe specific rituals or
those related to typical architecture, fabrics, and cookery; these and many others represent the specific culture of the
original text and the translator needs to be careful when translating them. One of the most common challenges to the
literary translator is cultural anomaly, that is, when an equivalent word does not exist in the T.L. and that word may
have a host of cultural connotations which are not part of the Target culture as well. Lacking exact equivalents in Arabic
motivates the translator to hoist the white flag, use transliterations and add footnotes. Ironically, such technique which
is sometimes the translator's lifebuoy, serves to remind him or her of what is missing in the translation. Though the
translator's notes may result in many stops during the process of reading the Target Text (T.T.), this paper will show
that without them the text will be less fluently-readable. Notes prevent the T.T. from being more foreign and distant to
the reader who belongs to a different culture. The translator does his or her best to introduce a more authentic picture of
the source culture. E. A. Nida (1982) believes that translation tries to connect a wide cultural gap and it is not possible
for the prose translators to remove all the marks of foreign setting. According to her, it is normal that the source and
receptor languages may possibly represent very different cultures that may include many basic themes and descriptions,
which cannot 'naturalize' by the process of translating (105).
Nevertheless, there are limits to the translator's interference in the Source Language because after all translation is
"rendering the meaning of a text into another language in the way that the author intended the text" (Newmark 1988, 5)
and not the way the translator likes the text to be. The good literary translator tries his best to create a balance between
comprehensibility and truth to the original text, its local setting and specific culture. On the other hand, it is the
translator's goal to render the meaning of the original text in such a way that readers of T.T. will enjoy the text as much
as readers of S.T. In addition, the literary translator does not simply translate the content of the S.T. but he or she tries
to find out its message and what culture it tries to communicate. HomiBhabha (1994) suggests that "translation is the
performative nature of cultural communication" (228). Yet, there is normally no full equivalence through translation of
the S.T but, as Roman Jakobson (1959) suggests we may end with a satisfactory analyses of code units or messages
(88). The French theorist , Georges Mounin agrees with Jakobson. Mounin perceives translation as " a series of
operations of which the starting point and the end product are 'significations' and function within a given culture" (Cited
in Susan Bassnett 1980, 15).
A good literary prose translation shows that language has not only a communicative purpose but also societal and
cultural flavors that distinguish the Source Text. the translator cannot escape the complexities of differences between
cultures. Walter Benjamin(1968) describes "cultural difference" which is a problematic issue in translation as "the
irresolution, or liminality, of 'translation', the element of resistance in the process of transformation, 'that element in a
translation which does not lend itself to translation'" (75). In this context, a straightforward word-for-word substitution
IJCLTS 5(1):80-86, 2017 81
may not always be possible. Some believe that the central problem of translation practice is that of finding TL
equivalents (Catford, 1965). The translator finds himself or herself caught between the desire to translate literally or
"metaphrase" (Hque 2012, 97) which is difficult in this context, to paraphrase in order to avoid wrong equivalents
between the Source and Target Texts, or desperately to transliterate many words in the SL. Bhabha's words reflect the
translator's impossible mission when the earlier says: "each cultural naming represents the impossibility of cross-
cultural identity or symbolic synapses; each time there repeats the incompletion of translation" (130).
2. The Problem Statement
This paper deals with the practical difficulties and challenges faced by the translator. These difficulties have created
“untranslatable” cultural-bound words and phrases. The Source English Text (ST) is JumphaLahiri's novel The
Namesake (2003) and the Target Text (TT) is the Arabic translation of the novel by SuraKhrais (2015). It is worth
mentioning that Lahiri is an American novelist of a Bengali origin and Buddhist faith.
3. Discussion: Untranslatable cultural-bound words
1. In describing a class that Lydia, Maxine's mother, studied at college, the narrator says,
"…a college class she'd once taken on Buddhist stupas." (p. 134)
The translation into Arabic is:"
.(221 .‫ أو أﻣﺎﻛﻦ اﻟﺘﺄﻣﻞ اﻟﮭﻨﺪوﺳﯿﺔ" )ص‬i’‫ق درﺳﺘﮫ ﻓﻲ اﻟﺠﺎﻣﻌﺔ ﻋﻦ ‘اﻟﺴﺘﻮﺑﺎ‬ ٍ ‫ﺗﺘﺤﺪث ﻋﻦ ﻣﺴﺎ‬
Since 'Stupas' are not part of the TT culture, it has no equivalent word in Arabic. The translator had to transliterate the
term (/stūpa/) and paraphrase it at the same time as "places of meditation in Hindu". A footnote to introduce further
information about such worship places was important. The footnote suggests that a stupa is a mound-like or
hemispherical structure containing "relics", typically the remains of Buddhist monks or nuns, used as a place of
meditation.
2. Another reference to 'pujos' rituals appears frequently to describe the religious activities of the Gangoli's family
which Gogol loses interest in as a young man who lives away from his family now:
"He didn't want to go home on the weekend, to go with them to pujos and Bengali parties…" (126).
The translation is:
.(208) "‫ وﺣﻀﻮر اﻟﺤﻔﻼت اﻟﺒﻨﻐﺎﻟﯿﺔ‬ii‫" ﻟﻢ ﯾﺮﻏﺐ ﻏﻮﻏﻮل ﺑﺎﻟﻌﻮدة إﻟﻰ ﻣﻨﺰل واﻟﺪﯾﮫ ﻓﻲ ﻋﻄﻠﺔ ﻧﮭﺎﯾﺔ اﻷﺳﺒﻮع وﻣﺮاﻓﻘﺘﮭﻤﺎ ﻟﻠﻤﺸﺎرﻛﺔ ﻓﻲ طﻘﻮس اﻟﺒﻮﺟﺎ‬
Pujo (/pūjā/) comes from Sanskrit, and means reverence, honor, homage, adoration, and worship.It is a prayer ritual
performed by Hindus to host, honor and worship one or more deities or to spiritually celebrate an event. There is no
word-for-word reference in Arabic which reflects its features as a Hindu ritual held by Buddhists, Jains and Sikhs. So
transliteration of the term and a footnote to explain its meaning is the best thing a translator can do.
3. A Hebrew word which refers to a Jewish ritual also appears:
"He has worn a tie once in his life, to attend a friend's bar mitzvah" (75)
The translation was:
(127) "‫ اﻟﺨﺎص ﺑﮫ‬iii‫" ارﺗﺪى ﻏﻮﻏﻞ رﺑﻄﺔ ﻋﻨﻖ ﻣﺮة ً واﺣﺪة ً ﻓﻲ ﺣﯿﺎﺗﮫ ﻋﻨﺪﻣﺎ دﻋﺎه ﺻﺪﯾﻘﮫ اﻟﯿﮭﻮدي إﻟﻰ ﺣﻔﻞ ﺑﺎر ﻣﺘﺴﻔﺎ‬
'Bar mitzvah' is a Jewish ritual to celebrate a boy turning thirteen which means he becomes accountable for his actions
and responsible for all religious duties dictated by Jewish religious laws known in Hebron as Halakhah((/hɑːˈlɔːxə/).
Similarly, the word is transliterated because there is no word-for-word translation of the term in the TL and a footnote
explains its meaning.
4. Another ritual which is associated with the idea of growing up is "annaprasan" or "rice ceremony" (30) which
replaces baptism. Literally the term means 'food feeding' which suggests the baby's first meal. The narrator explains the
ritual as "rice ceremony". In other words, Gogol's first meal as a baby is rice:
"The occasion: Gogol's annaprasan, his rice ceremony. There is no baptism for Bengali babies, no ritualistic
naming in the eyes of God" (38).
The translation is:
‫ ﻻ ﯾُﻮﺟﺪ ﻣﺜﻞ ھﺬا اﻟﻄﻘﺲ اﻟﺬي ﯾﻨﻀﻮي ﻋﻠﻰ ﻣﻨﺢ‬،‫ ﻓﻲ اﻟﺜﻘﺎﻓﺔ اﻟﺒﻨﻐﺎﻟﯿﺔ‬.‫ إذ ﻻ ﯾُﻌ ّﻤﺪ اﻷطﻔﺎل اﻟﺒﻨﻐﺎل‬iv‫"ﺣﺎن ﻛﺬﻟﻚ أوان اﻻﺣﺘﻔﺎل ﺑﺘﻨﺎول ﻏﻮﻏﻞ وﺟﺒﺔ اﻷرز اﻷوﻟﻰ‬
(8-67) "‫اﻟﻄﻔﻞ اﺳ ًﻤﺎ أﻣﺎم أﻋﯿﻦ اﻟﺮب‬
5. Other terms have to do with architecture and they have no Arabic equivalence; however, a transliterated term is
already found in the TL well known to architects . For instance, Gogol notices the architecture which distinguishes
Maxine's parents' house:
"He notices the pedimented window lintels, the Doric pilasters…" (130)
The translation is:
(214) "...v‫"ﯾﻼﺣﻆ ﻏﻮﻏﻮل اﻟﺤﺎﻓﺔ اﻟﻤﻘﻮﺻﺮة )اﻟﻤﺤﺪﺑﺔ( ﻟﻠﻨﻮاﻓﺬ واﻷﻋﻤﺪة اﻟﺪورﯾﺴﯿﺔ‬
The footnote shows that Doric pilasters are one of three distinguishing features of the Greek architecture. Similarly,
some buildings have a "Tudor facades" (174) and the translation is:
"vi‫"ﻛﺎن ﻟﺘﻠﻚ اﻟﻤﺒﺎﻧﻲ واﺟﮭﺔٌ ﻣﻦ اﻟﻄﺮاز اﻟﺘﯿﻮدوري‬
Such architecture is a revival of the Tudor style which distinguished buildings during the Tudor period. Both words
"Doric" and "Tudor" are transliterated. On the other hand, many references to the architecture of different buildings are
simply paraphrased in TT depending on their original meanings in the source culture which is Greek. Gogol admires the
windows of Maxine's parents' house:
"Lovely freieze- band window" (132).
The translation refers to them simply as "Greek windows":
.(217) "ٌ‫ ﺟﻤﯿﻠﺔ‬vii‫"ھﺬه اﻟﻨﻮاﻓﺬ اﻹﻏﺮﯾﻘﯿﺔ‬
The footnote shows that these special Greek windows have an equivalent term in Arabic which is:
(‫طﻨُﻒ" وھﻮ ﻣﺎ أﺷﺮف ﺧﺎرﺟﺎ ﻋﻦ اﻟﺒﻨﺎء )ﻗﺎﻣﻮس اﻟﻤﻌﺎﻧﻲ‬ ُ "
IJCLTS 5(1):80-86, 2017 82
The word in classical Arabic means a window with salient angles. However, the translator chooses not to use this word
because an average reader might not be familiar with. On the other hand, it is also known among architects by its
transliterated term:
‫ﺑﻨﺎﻓﺬة إﻓﺮﯾﺰ‬
6. Many architectural terms which are part of the source culture have become familiar in the target culture such as "the
Juliet balcony" (288) of the bedroom which is translated as:
" .(368) "viiiٌ‫أﻣﺎ ﺣﺠﺮة اﻟﻨﻮم ﻓﻠﮭﺎ ﺷﺮﻓﺔٌ وھﻤﯿﺔ‬
The footnote shows that such balcony is also known in the Target culture as "Romeo and Juliet balcony":
‫ﺷﺮﻓﺔ روﻣﯿﻮ وﺟﻮﻟﯿﻮت‬
and that it is not an actual balcony. It does not protrude out of the building. Modern Juliet balconies often involve a
metal barrier placed in front of a high window which can be opened. Similarly, a "French door" (130) is not French at
all. It is made of glass:
(215) "‫"ﺑﺎب زﺟﺎﺟﻲ‬
On the other hand, some architectural terms are confusing as the word "skylight" in the following sentence:
"There is a living room with a skylight…" (228)
The translation is:
(368) "...‫"وﻟﺤﺠﺮة اﻟﻤﻌﯿﺸﺔ ﻣﻨﻮر )ﻛﻮة( وﺳﻂ اﻟﺴﻘﻒ‬
So, the "skylight" is an overhead window, as in a roof, admitting daylight. The word has two equivalents in Arabic as
the translation shows. Average readers might be more familiar with the first word (/manwar/) than the second one (/k
uwwa/).
7. The Source Text introduces many other culturally specific terms such as the references to certain gifts, fabrics or
food.
"It was only after the salesman had wrapped it that she'd remembered the rule about giving paper on the first
anniversary" (247)
The translation is:
".‫ إﻻ ﺑﻌﺪ أن ﻗﺎم اﻟﺒﺎﺋﻊ ﺑﺘﻐﻠﯿﻒ اﻟﻘﻤﯿﺺ‬ix‫"ﻋﻨﺪﻣﺎ اﺑﺘﺎﻋﺖ ﻣﻮﺷﻮﻣﻲ اﻟﻘﻤﯿﺺ ﻟﻢ ﺗﺘﺬﻛﺮ اﻟﻘﺎﻋﺪة اﻟﺨﺎﺻﺔ ﺑﻌﯿﺪ اﻟﺰواج اﻷول واﻟﺘﻲ ﺗﻨﺺ ﻋﻠﻰ ﺗﻘﺪﯾﻢ ھﺪﯾ ٍﺔ ورﻗﯿ ٍﺔ‬
(399)
Therefore, the word "paper" which is apparently associated with some tradition stands for a paper gift such as a love
letter, a framed photograph, a poster or even a book.
8. In addition, a traditional design of a leaf used as face painting in Bengali weddings is known as "paisleys". In her
wedding, Moushumi's cheeks are adorned with "paisleys".
"Two enormous paisleys have been painted in red and white on her cheeks". (222)
The translation is:
(359) x‫ زرﻛﺸﺔٌ ﺗﻘﻠﯿﺪﯾﺔٌ ﺑﺎﻟﻠﻮﻧﯿﻦ اﻷﺣﻤﺮ واﻷﺑﯿﺾ‬،‫ي ﻣﻮﺷﻮﻣﻲ‬ ّ ‫ﻋﻠﻰ ﺧﺪ‬
"Paisleys" are Indian face painting of a Persian origin and a paisley has the shape of a leaf which has become a
distinguishing feature of Kashmiri shawls. Americans call it 'Persian pickles' while Welsh people call it 'Welsh pears'.
The translator chooses to refer to it as a traditional adornment rather than pickles or pears!
9. The reference to special playing cards which are not part of the target culture is transliterated:
"Astrid is showing a few people paint chips, which she's lined up in front of her like tarot cards…" (237).
(383) "xi‫ﺼﻔّﮭﺎ أﻣﺎﻣﮭﺎ ﻣﺜﻞ أوراق اﻟﺘﺎرو‬ ُ ‫ ﻓﺘ‬،‫ﻋﻠﻰ ﺑﻌﺾ اﻷﺷﺨﺎص‬...‫ﺟﺪران‬ ٍ ‫ت ورﻗﯿﺔً ﺻﻐﯿﺮة ً ﻟﻄﻼء‬ ٍ ‫"أﻣﺎ أﺳﺘﺮﯾﺪ ﻓﺘﻌﺮض ﻋﯿﻨﺎ‬
"Tarots" are (/ˈtæroʊ/) playing cards bearing allegorical representations, used for fortunetelling. The transliterated term
(/tārau/) is vague for the reader of the TT unless it is paraphrased in a footnote.
10. Furthermore, some food which is part of the source culture is translated literally in the TT; however, a footnote is
essential to avoid confusion. In the following sentence, a special kind of goat cheese is described:
"Back in the kitchen she sets out some olives and some goat cheese coated with ash" (208)
The translation is:
ً ‫"ﻓﻲ اﻟﻤﻄﺒﺦ ﻛﺎﻧﺖ ﻣﻮﺷﻮﻣﻲ ﺗﻀﻊ‬
(338) "xii‫ﻗﻠﯿﻼ ﻣﻦ اﻟﺰﯾﺘﻮن وﺟﺒﻦ اﻟﻤﺎﻋﺰ اﻟﻤﻐﻄﻰ ﺑﺎﻟﺮﻣﺎد‬
It is cheese which is literally coated with ashes. In the history of making cheese, tasteless ashes which have no smell
and which result from burning salt and dried vegetables are added to cheese so that it looks delicious. Without a
footnote to clarify this feature of a goat cheese, the reader would be misled.
11. On the other hand, some dishes are not part of the target culture such as "dal" ( /d̪ aːl/)which is a thick stew prepared
from dried grains such as lentil, peas, and beans. It is an important part of the Bangladeshi cuisine. So, the translator
depends on components of the dish (dry grains) to translate the word:
"…he likes to finish his dinner with a small final helping of rice anddal (10)."
The translation is:
" .(23) "xiii‫وأﻧﮫ ﯾﺤﺐ أن ﯾﻨﮭﻲ ﻋﺸﺎءه ﺑﻠﻘﯿﻤﺎت ﻣﻦ اﻷرز وﯾﺨﻨﺔ اﻟﺤﺒﻮب اﻟﻤﺠﻔﻔﺔ‬...
12. Another Bengali dish is "korma of lamb" (277). The word 'korma' is from Turkish (kavurma) and it means 'cooked
meat' . It is transliterated as:
‫ﻛﻮرﻣﺔ أو ﻛﻮرﻣﺎ ﺑﺎﻟﺘﺮﻛﯿﺔ‬
‫اﻟﻘﺎورﻣﺔ أو اﻟﻘﻮرﻣﺔ ﺑﺎﻟﻔﺎرﺳﯿﺔ‬
However, the word may be confused for another Turkish dish known as Shawarma or shawurma from the Turkish word
çevirme[tʃeviɾˈme] which is also derived from the Arabic prefix 'shawa' which means roasting meat and translated as
‫( ﺷﺎورﻣﺎ‬shāwarmā)
IJCLTS 5(1):80-86, 2017 83
Korma, in the Bangladeshi cuisine, consists of meat or fish and vegetables braised in a spiced sauce made with yogurt,
cream, nut or seed paste which is not a feature of Shawarma. So, "korma" acquires special features in the Bangladeshi
cuisine different from those in Shawarma. For this reason, the translator prefers a transliteration of the word and a
footnote to explain its components:
.(447) "‫ اﻟﺬي أﻋﺪﺗﮫ أﺷﯿﻤﺎ ﺑﻠﺤﻢ اﻟﺨﺮوف‬xiv‫وأﺧﯿﺮا طﺒﻖ ﻛﻮرﻣﺎ‬..."
ً
13. Similarly, "croquettes" (286) are a typical dish in the Bangladeshi cuisine. "Croquette" is a small cake of minced
food, such as meat, poultry, vegetables, or fish, that is usually coated with bread crumbs and fried in deep fat.
Croquettes are usually shaped in rolls or balls. The ST does not suggest which components Ashima has chosen for her
croquettes. The translator emphasizes the ball shape while transliterating the word "croquettes". Therefore, the
translator refers to them as:
(459) ‫"ﻛﺮات اﻟﻜﺮوﻛﯿﺖ" اﻟﺘﻲ ﺗﻘﻠﯿﮭﺎ أﺷﯿﻤﺎ ﻓﻲ اﻟﺰﯾﺖ اﻟﺴﺎﺧﻦ‬
"The croquettes are fried in crackling oil…" (286).
14. In addition, Maxine and her mother prepare "paella" dish (/pɑˈeɪ ə/, Spanish: /paˈeʎa/) which is a saffron-flavored
Spanish dish made with varying combinations of rice, vegetables, meat, chicken, and seafood. Maxine and her mother
choose to prepare it with seafood (156). Since the dish is not part of the target culture, the translator decides to
transliterate it as it is pronounced in Spanish (the /l/ sound is silent):
" (258) "xv‫ﻗﺮرﺗﺎ أن ﺗﻌﺪا طﺒﻖ اﻟﺒﺎﺋﯿﺎ اﻹﺳﺒﺎﻧﻲ‬
15. Another example is "pesto" (154) which is an Italian sauce that traditionally consists of crushed garlic, basil, and
European pine nuts blended with olive oil. The word "pesto" (Italian pronunciation: [ˈpesto]) has no equivalence in the
TL. Again a transliteration of the term and a footnote to describe its components is the translator's best solution:
(254) "xvi‫"ﻣﻌﻜﺮوﻧﺔٌ ﺑﺼﻠﺼﺔ اﻟﺒﯿﺴﺘﻮ اﻹﯾﻄﺎﻟﯿﺔ‬
16. Finally, Ashima prepares "samosas" (/səˈmoʊsə/) (149)- fried pastry with spiced filling- among other dishes to
welcome Gogol's girlfriend. There are variable transliterated terms for the word in google website:
‫اﻟﺴﻨﺒﻮﺳﺔ أو اﻟﺴﻨﺒﻮﺳﻚ أو اﻟﺴﻤﺒﻮﺳﺔ أو اﻟﺴﻤﺒﻮﺳﻚ‬
Depending on the way the word is pronounced in the target language (/səˈmoʊsə/), the translator chooses a different
transliterated term:
(245) "‫"اﻟﺴﺎﻣﻮﺳﺔ‬

17. Some drinks are known by their brand names which are not familiar in the TL. The untranslatability of the terms is
obvious. The reference to "punch", Horlick's, "LapsangSouchong" and "Lopchu tea" create a new challenge to the
translator.
"For the rest of the day, they sit at a communal round table, drinking punch…" (60)
The translation is:
".(82) ...xvii‫ت ﺣﻮل طﺎوﻟ ٍﺔ ﻣﺴﺘﺪﯾﺮةٍ وﯾﺸﺮﺑﻮن ﻋﺼﯿﺮ اﻟﺒﻨﺶ‬ ٍ ‫"أﻣﺎ ﺑﻘﯿﺔ اﻟﯿﻮم ﻓﯿﺠﻠﺲ اﻷطﻔﺎل ﻓﻲ ﻣﺠﻤﻮﻋﺎ‬
"He and Sonia are given cups of Horlicks" (82).
The translation is:
(137) "xviii‫"ﺗُﻘﺪم ﻟﮭﻤﺎ أﻛﻮابٌ ﻣﻦ ﻣﺸﺮوب ھﻮرﻟﯿﻚ اﻟﺴﺎﺧﻦ‬
While punch is a fruit juice, and Horlicks is a brand of milk flavoring malt powder, the brand name is more frequent in
the ST.
18. Similarly, "LapsangSouchong" (/ˌlæpsæŋ ˈsuːtʃɒŋ/) is a black Chinese tea of a smoky flavor which is known by its
brand name. Therefore, the translator chooses to identify it as Chinese tea specially that the ST refers to the brand name
only.
"…sipping milky cups of LapsangSouchong…"
(223) "... (‫"ﺑﯿﻨﻤﺎ ﺗﺮﺗﺸﻒ ﻛﻮﺑًﺎ ﺗﻠﻮ اﻵﺧﺮ ﻣﻦ اﻟﺸﺎي اﻟﺼﯿﻨﻲ )ﻻﺑﺴﺎﻧﻐﺴﻮﺷُﻨﻎ‬
"Lopchu tea" is another brand name for fine black Indian tea.
"He will watch his mother do what his father used to do toward the end of every party, spooning fine-leaf
Lopchu tea into two kettles" (290).
.(466) "‫إﺑﺮﯾﻘﻲ ﺷﺎي ﻣﻦ ﺷﺎي ﻟﻮﺑﺸﻮ اﻟﮭﻨﺪي اﻟﻔﺎﺧﺮ‬
ْ ‫"ﺳﯿﺮاﻗﺐ ﻏﻮﻏﻮل واﻟﺪﺗﮫ ﺗﻔﻌﻞ ﻣﺎ اﻋﺘﺎد واﻟﺪه ﻓﻌﻠﮫ ﺑﻌﺪ ﻧﮭﺎﯾﺔ ﻛﻞ ﺣﻔﻠﺔ؛ إﻋﺪاد‬
19. The source text is rich with many references to different types of drinks known by their brand terms such as
"Pernods"(/p ɜːn ɔː/) (231)- a French alcoholic drink with anise flavor- "Campari" (/kəmbærɪ/) (283)- an Italian
alcoholic liquor which is often used in cocktails and is commonly served with soda water or citrus juice. The translator
transliterates both:
(373) "xix‫"وﺷﺮﺑﻮا اﻟﺨﻤﺮ اﻟﻔﺮﻧﺴﻲ اﻟﻤﻌﺮوف ﺑﺒﯿﺮﻧﻮ‬
.(455) "‫"ﺣﯿﺚ ﺟﻠﺲ ﯾﺮﺗﺸﻒ ﻣﺸﺮوب اﻟﻜﻤﺒﺎري اﻹﯾﻄﺎﻟﻲ أو ﻛﻮﺑًﺎ ﻣﻦ اﻟﻘﮭﻮة‬
20. Other types of wine have different colors and well known by their brand terms. "Chardonnay or Chablis [ʃa.bli] "
(219) are white and red French wine. So, the translator uses their color next to their brand names to translate them
though the ST does not refer to the color. The translation is:
.(355) "(‫أﺣﻤﺮا )ﺷﺎﺑﻠﻲ‬
ً ‫ﻧﺒﯿﺬًا أﺑﯿﻀًﺎ )ﺷﺎردوﻧﯿﮫ( أم ﻧﺒﯿﺬًا‬... ‫إن ﻛﺎﻧﺖ ﻋﺎﺋﻠﺔ ﻏﻮﻏﻮل ﺗﻔﻀﻞ‬..."
21. Transliterated words sometimes seem meaningless to the reader of the TT. For instance, a "Suede jacket" (31) is not
a jacket necessarily made in Sweden! The reference here is to Suede leather made from the underside of the skin
primarily lamb. Similarly, the "Rickshaw" (31) is a two or three-wheeled cart pulled by one man. Without footnotes
which explain the meaning of each word, the TT is confusing.
"They saw him walking to Harvard Yard in a pair of threadbare trousers, a fringed Suede jacket, and rubber
flip-flops. Rickshaw drivers dress better than professors here" (31).
IJCLTS 5(1):80-86, 2017 84
The translation:
‫ ﻓﻲ اﻟﮭﻨﺪ‬xxi‫ ﯾﻌﺘﻘﺪ أﺷﻮك أن ﺳﻮاﻗﻲ ﻋﺮﺑﺔ اﻟﺮﯾﻜﺎﺷﺔ‬.xx‫"ﯾﺮاه أﺷﻮك وأﺷﯿﻤﺎ ﯾﻤﺸﻲ إﻟﻰ ﺑﺎﺣﺔ ﺟﺎﻣﻌﺔ ھﺎرﻓﺎرد ﻣﺮﺗﺪﯾًﺎ ﺑﻨﻄﺎﻻً ﺑﺎﻟﯿًﺎ وﺳﺘﺮة ﻣﺤﺸﻮة ﻣﻦ اﻟﺠﻠﺪ اﻟﺴﻮﯾﺪي‬
.(55) "‫ﯾﺮﺗﺪون ﻣﻼﺑﺲ أﻓﻀﻞ ﻣﻦ اﻷﺳﺎﺗﺬة اﻟﺠﺎﻣﻌﯿﯿﻦ ھﻨﺎ‬
22. Other clothes terms such as "parka" (109)- a type of a jacket or a coat with a hood- "Capri pants" (128)- crop pants
or three-quarter pants- "fedora and berets (UK/ˈbɛreɪ/ or US /bəˈreɪ/) hats" (205)- the earlier looks like a cowboy hat
while the latter is a soft, round, flat-crowned hat- are transliterated because they have become trade names and the
footnotes explain the distinguishing features of each.
‫"ﯾﻔﺘﺢ ﻧﯿﻜﯿﻞ ﺳﺤﺎب ﺳﺘﺮة اﻟﺒﺎرﻛﺔ‬xxii(parka)(182) ".‫اﻟﺘﻲ ﻛﺎن ﯾﺮﺗﺪﯾﮭﺎ‬
(211) "...‫ ﺣﺮﯾﺮي‬xxiii‫"ﺗﺮﺗﺪي اﻟﻤﺮأة ﺑﻨﻄﺎل ﻛﺎﺑﺮي‬
.(333-332) "‫ت ﻣﻦ ﻧﻮع ﻓﯿﺪورا وﺑﯿﺮﯾﮫ ﻣﻌﺮوﺿﺔً ﻋﻠﻰ ﻧﺤ ٍﻮ ﻣﺮﺗﺐ ﻋﻠﻰ أرﻓﻒ ﺧﺸﺒﯿﺔ ﻣﻘﻮﺳﺔ‬
xxiv
ٍ ‫"ﯾﺮى ﻏﻮﻏﻮل أﻛﻮام ﻗﺒﻌﺎ‬
23. The "salwar kameez" (175) or 'shalwarkameez' that Ashima wears is a traditional outfit originating in South Asia
and well known in the source culture. However, in the target language the equivalent translation suggest simply
trousers and a body shirt. The 'shalwar' is not just trousers but a form of baggy trousers, the legs are wide at the top, and
narrow at the ankle and in Arabic it is merely:
sirwal (‫ﺳﺮوال‬
'Kameez' is a long shirt. The translator chooses to transliterate 'shalwar' to emphasize its traditional design.
.‫ اﻟﺬﯾﻦ ﺗﻮﻗﻌﻮا داﺋ ًﻤﺎ أن ﯾﺮوھﺎ ﻣﺮﺗﺪﯾﺔً اﻟﺴﺎري‬،‫ اﻟﺬي ﻛﺎﻧﺖ ﺗﺨﺠﻞ ﻣﻦ ارﺗﺪاﺋﮫ أﻣﺎم أﻗﺮﺑﺎﺋﮭﺎ ﻓﻲ ﻛﻠﻜﺘﺎ‬xxv‫وواﻟﺪﺗﮫ ﺗﺮﺗﺪي ﺷﻠﻮار ﻗﻤﯿﺺ‬
24. The "duffel bag" (106) as well is a large cylindrical bag made of cloth or thick fabric. The name comes from Duffel,
a town in Belgium and has become a trade mark for this kind of bags. The word is transliterated:
(177) "‫ اﻟﺨﺎﺻﺔ ﺑﮫ اﻟﻤﻠﯿﺌﺔ ﺑﻜﺘﺒﮫ وﻏﺴﯿﻠﮫ اﻟﻤﺘﺴﺦ‬xxvi‫"وﯾﺤﻤﻞ ﺣﻘﯿﺒﺔ اﻟﺪﻓﯿﻞ‬
25. Other terms which describe pieces of furniture introduce a new challenge for the translator. For instance, the
confusing reference to Gogol's "futon and his table…" (139). The "futon"-traditionally Japanese- is a thin mattress
placed on a floor or on a raised, foldable frame. It is almost always placed on a configurable wood or metal frame for
dual use as a bed and a chair or couch. In the western context, a "futon" is a couch. The translation is:
.(230) "...‫"ﯾُﺒﻘﻲ ﻏﻮﻏﻮل أرﯾﻜﺔ اﻟﻔﻮﺗﻮن وﻣﻨﻀﺪﺗﮫ وإﺑﺮﯾﻖ ﺗﺴﺨﯿﻦ اﻟﻤﺎء وﻣﺤﻤﺼﺘﮫ اﻟﻜﮭﺮﺑﺎﺋﯿﺔ وﺟﮭﺎز اﻟﺘﻠﻔﺎز وﺑﻘﯿﺔ أﺷﯿﺎﺋﮫ‬
26. The "Adirondack chairs" which Maxine's parents sits on (151) are special kind of chairs. They are wooden outdoor
chairs which were first designed in the Adirondack Mountains in 1903. The term "Adirondack" has become a trade
mark of outdoor wooden chairs, therefore, the term is transliterated while adding the adjective "wooden":
"They walk toward her parents, who are sitting on Andirondack chairs on the grass…" (151).
.(249) "...‫ ﻓﻮق اﻟﻌﺸﺐ‬xxvii‫"ﯾﻤﺸﯿﺎن ﺑﺎﺗﺠﺎه واﻟﺪي ﻣﺎﻛﺴﯿﻦ اﻟﻠﺬﯾﻦ ﻛﺎﻧﺎ ﯾﺠﻠﺴﺎن ﻋﻠﻰ ﻣﻘﻌﺪي أدﯾﺮوﻧﺪاك ﺧﺸﺒﯿﯿﻦ‬
27. Likewise, phrases which have developed into slogans are usually distinctive features of specific cultures. "…BAN
THE BRA!" (31) is a vague phrase in the TL. The literal translation becomes meaningful through a footnote which
shows its relation to women's protesting for equal rights in the sixties. The bra became a stereotype for a housewife and
a mother depending on their men. So, burning the bra was one step towards independence.
"The Montgomerys have a dull green Volkswagen van covered with stickers: …BAN THE BRA! PEACE!" (31)
The translation:
"!‫ "اﻟﺴﻼم‬،xxviii"‫ "ﺣﻈﺮ اﻟﺼﺪرﯾﺔ‬...:‫ ﺗﻐﻄﯿﮭﺎ ﻣﻠﺼﻘﺎت ﻣﺨﺘﻠﻔﺔ ﻣﺜﻞ‬،‫أﺧﻀﺮ رﺗﯿﺐ‬ ٌ ‫"ﺗﻤﺘﻠﻚ ﻋﺎﺋﻠﺔ اﻟﺒﺮوﻓﯿﺴﻮر ﻣﻮﻧﺘﯿﻐﻮﻣﺮي ﺳﯿﺎرة ﻓﻮﻛﺴﻔﺎﺟﻦ ﻋﺎﺋﻠﯿﺔ ﻟﻮﻧﮭﺎ‬
(56)
28. Some technical terms are translated and transliterated at the same time. The transliterated words have become part
of the target culture. "The Walkman" (84) is:
(140)"‫( أو "ﻣﺴﺠﻞ اﻟﺠﯿﺐ‬200) "‫"ﺟﮭﺎز اﻟﻮوﻛﻤﺎن" أو "ﻣﺸﻐّﻞ اﻟﻜﺎﺳﯿﺖ اﻟﻤﺤﻤﻮل‬
Gogol's "sketches" (179) are:
(179) "‫( أو "رﺳﻮﻣﺎت ﺗﺨﻄﯿﻄﯿﺔ‬221) "(‫"رﺳﻮﻣﺎت أوﻟﯿﺔ )ﺳﻜﯿﺘﺸﺎت‬
The "fiberglass floor of the tub" (278) is:
(447) "(‫"أرﺿﯿﺔ ﺣﻮض اﻻﺳﺘﺤﻤﺎم اﻟﻤﺼﻨﻮﻋﺔ ﻣﻦ اﻟﻔﺎﯾﺒﺮﻏﻼس )اﻟﺰﺟﺎج اﻟﻠﯿﻔﻲ‬
"The rhinestone" (249), a diamond simulant made from rock crystal, glass or acrylic which decorates the sandals'
straps, are:
.(402) "(‫ﯾﺸﺒﮫ ﻓﻲ ﺗﺼﻤﯿﻤﮫ ﺻﻨﺪل اﻟﻤﺼﺎرع اﻟﯿﻮﻧﺎﻧﻲ؛ ﻟﮫ أﺷﺮطﺔٌ ﺟﻠﺪﯾﺔٌ ﻣﺰﯾﻨﺔٌ ﺑﺄﺣﺠﺎر اﻟﺮاﯾﻦ )اﻟﻤﺎس اﻟﻤﺰﯾﻒ‬..."
29. On the contrary, other technical terms have no equivalence in the target language such as "plexiglass" (199)- a
transparent acrylic plastic often used in place of glass -"Lucite" (249)- another fine type of plastic which has become a
trademark - and "linoleum" (1)- a floor covering. The translation is:
(324) "...xxix‫" ﯾﻤﯿﻞ ﻏﻮﻏﻮل ﻧﺤﻮ ﺣﺎﺟﺰ اﻟﺒﯿﻠﯿﻜﺴﻐﻼس‬
.(10) "‫ اﻟﺬي ﯾﻐﻄﻲ اﻷرض‬،‫ اﻟﻤﺮﻗﻂ‬xxx‫ اﻟﻠﺘﯿﻦ ﺗﺪوﺳﺎن ﻋﻠﻰ اﻟﻠﻨﻮﻟﯿﻮم‬،‫ﺑﺄﻟﻢ ﻓﻲ ﻗﺪﻣﯿﮭﺎ اﻟﻤﻨﺘﻔﺨﺘﯿﻦ‬ ٍ ‫ﻓﻲ ﺣﯿﻦ ﺗﺸﻌﺮ‬..."
.(402) "xxxi‫"اﻷﺣﺬﯾﺔ ﻣﻌﺮوﺿﺔٌ ﻋﻠﻰ ﻗﺎﻋﺪ ٍة ﺑﻼﺳﺘﯿﻜﯿ ٍﺔ ﻣﺎرﻛﺔ ﻟﻮﺳﯿﺖ اﻟﺸﮭﯿﺮة‬

4. Conclusion
Edwar Sapir (1956) claims that human beings are at the mercy of the language that has become the medium of
expression for their society and culture. Cultural differences may create irrelevant or even damaging translation. Sapir
clarifies:
"No two languages are ever sufficiently similar to be considered as presenting the same social reality. The worlds in
which different societies live are distinct worlds, not merely the same world with different labels attached" (69).
Yinhua (2011) says, "As far as the whole text is concerned, it is simply impossible to transfer all the message of the
original text into the target text" (169). Despite the fact that translation brings cultures closer, it may also lead to a
deformation of the original culture. However, the choice of including more 'foreign' words in the translated prose will
IJCLTS 5(1):80-86, 2017 85
always be available for the translator. Thus, Derrida (1985) describes the task of the translator: "To redeem in his own
tongue that pure language exiled in the foreign tongue, to liberate by transposing this pure language captive in the
work" (188). The translator has a very challenging task as Spivak (1993) suggests: "The translator is not only part of her
community of readers: she also comes in contact with another community, negotiating with it, taking part with it…[she]
is one [who] works with a language that belongs to many others" (179). Not any bilingual individual is able to produce
an accurate translation of the ST. The translator needs to understand the author's thought and the culture which has
produced the text in order to render an accurate translation. Indeed, the translated text is the "locus of encounter of two
traditions, authorships and authorities" (Santiago cited in Daly and Vieira, 1999).
Finally, this paper is a practical witness on the challenges faced by the translator when dealing with a literary text
written in prose. The researcher suggests that there is a need to expand the perimeters of translation studies specially
those dealing with literary prose because the translators and researchers lay more emphasis on the translation of poetry.

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idioms.thefreedictionary.com/swear

Notes

‫ و ﯾﺴﺘﺨﺪم ﺑﺎﻟﻌﺎدة ﻣﻦ ﻗﺒﻞ اﻟﺒﻮذﯾﯿﻦ ﻟﻠﺘﺄﻣﻞ ووﻓﻘًﺎ ﻻﻋﺘﻘﺎد اﻟﺒﻮذﯾﯿﻦ ﻓﺈﻧﮭﺎ ﺗﺤﻮي ﺑﻘﺎﯾﺎ‬،‫ وﻋﻠﻰ رﻣﺎد اﻷﻣﻮات‬،‫ ھﻮﺑﻨﺎء ﯾﺸﺒﮫ اﻟﺘﻠﺔ وﯾﺤﻮي ﻋﻠﻰ آﺛﺎر ﺑﻮذﯾﺔ‬:‫ ﺳﺘﻮﺑﺎ‬i
‫ اﻟﻤﺘﺮﺟﻢ‬.‫رﻣﺎ ٍد ﻣﻦ ﺑﻮذا أو أﺣﺪ طﻼﺑﮫ أوطﻼب طﻼﺑﮫ‬
‫اﻟﻐﺮض ﻣﻦ اﻟﺘﻮاﺻﻞ ﻣﻊ اﻵﻟﮭﺔ‬. ‫ت ﻋﺪﯾﺪةٍ ﻣﻦ أﺟﻞ اﻟﺼﻼة أوإظﮭﺎر اﻻﺣﺘﺮام ﻟﻶﻟﮭﺔ أواﻟﻐﻮرو‬ ٍ ‫ﻲ ﯾﻤﺎرﺳﮫ اﻟﮭﻨﺪوس ﻓﻲ ﻣﻨﺎﺳﺒﺎ‬ ٌ ‫ اﻟﺒﻮﺟﺎ ﻓﻲ اﻟﮭﻨﺪوﺳﯿﺔ‬ii
‫طﻘﺲ دﯾﻨ ﱞ‬
‫ اﻟﻤﺘﺮﺟﻢ‬.‫أواﻟﻐﻮرواﻟﺤﻘﯿﻘﻲ واﻟﺤﻔﺎظ ﻋﻠﻰ اﻻﺳﺘﻤﺮارﯾﺔ واﻟﻌﻼﻗﺔ ﺑﯿﻦ اﻟﻌﺎﻟﻢ اﻟﻤﺎدي واﻟﻌﻮاﻟﻢ اﻟﺪاﺧﻠﯿﺔ اﻟﻐﺎﻣﻀﺔ‬
‫ أي ﻋﻨﺪﻣﺎ ﯾـُﻌﺘﺒﺮ ﻣﻜﻠﻔًﺎ ﺑﺄداء ﺟﻤﯿﻊ اﻟﻔﺮاﺋﺾ اﻟﻤﻔﺮو‬،‫ ﻣﻦ ﻋﻤﺮه‬13 ‫ ﺑﺎﻟﻌﺒﺮﯾﺔ )ברמצוה( ھﻮﺣﻔﻞ ﯾﮭﻮدي دﯾﻨﻲ ﯾﻘﺎم ﻋﻨﺪ ﺑﻠﻮغ اﻟﺸﺎب اﻟﯿﮭﻮدي‬:‫ ﺑﺎر ﻣﺘﺴﻔﺎ‬iii
‫ اﻟﻤﺘﺮﺟﻢ‬.‫ﺿﺔ ﻋﻠﯿﮫ ﺣﺴﺐ اﻟﺸﺮﯾﻌﺔ اﻟﯿﮭﻮدﯾﺔ؛اﻟﮭﺎﻻﺧﺎه‬
‫ وﯾَﺤﻀﺮھﺎ‬،‫ أﺣﺪ اﻟﻄﻘﻮس اﻟﮭﻨﺪوﺳﯿﺔ اﻟﺘﻲ ﯾﺤﺘﻔﻞ ﻓﯿﮭﺎ اﻟﻮاﻟﺪان ﺑﺘﻨﺎول اﻟﻄﻔﻞ اﻟﺮﺿﯿﻊ ﻷول وﺟﺒﺔ ﻏﯿﺮ اﻟﺤﻠﯿﺐ وﺗﻜﻮن ﻏﺎﻟﺒﺎ وﺟﺒﺔ أرز‬:Annaprasan: iv
.(‫ )اﻟﻤﺘﺮﺟﻢ‬.food feeding "‫ وﺗُﻌﺮف ﺣﺮﻓﯿًﺎ ﺑﺎﺣﺘﻔﺎل "ﺗﻨﺎول اﻟﻄﻌﺎم‬،‫راھﺐ ﻋﺎدة‬
.‫اﻟﻨﻈﺎﻣﺎن اﻵﺧﺮان ھﻤﺎ اﻹﯾﻮﻧﯿﻮاﻟﻜﻮرﻧﺜﻲ‬. ‫ أﺣﺪ ﺛﻼﺛﺔ ﻧﻈﻢ ﻗﺪﯾﻤﺔﻣﻦ اﻟﻌﻤﺎرة اﻟﯿﻮﻧﺎﻧﯿﺔاﻟﻜﻼﺳﯿﻜﯿﺔ‬:‫اﻷﻋﻤﺪة اﻟﺪورﯾﺴﯿﺔ(؛ دورﯾﺴﻲ‬v) :Doric pilasters:
‫اﻟﻤﺘﺮﺟﻢ‬
‫ اﻟﻤﺘﺮﺟﻢ‬.1603 ‫ إﻟﻰ‬1485 ‫ ﻧﺴﺒﺔً إﻟﻰ أﺳﺮة ﺗﯿﻮدور اﻟﻤﻠﻜﯿﺔ واﻟﺘﻲ ﺣﻜﻤﺖ إﻧﺠﻠﺘﺮا ﺧﻼل اﻟﻔﺘﺮة ﻣﻦ‬vi
‫ اﻟﻤﺘﺮﺟﻢ‬.‫طﻨﻒ’ ﻓﻲ ﻓﻦ اﻟﻌﻤﺎرة وﺗﻌﺮف ﻛﺬﻟﻚ ﺑﻨﺎﻓﺬة إﻓﺮﯾﺰ وﻗﺪ اﺷﺘﮭﺮت ﻓﻲ ﻓﻦ اﻟﻌﻤﺎرة اﻹﻏﺮﯾﻘﻲ‬ ُ ‘ ‫ ﯾﻄﻠﻖ ﻋﻠﯿﮭﺎ أﯾﻀًﺎ‬:viiFrieze-band window
‫ اﻟﻤﺘﺮﺟﻢ‬.‫ ﻓﯿﻌﻄﻲ اﻧﻄﺒﺎﻋًﺎ ﺑﻮﺟﻮد ﺷﺮﻓﺔ‬،ً‫ اﻟﺘﻲ ﺗﻤﺘﺪ ﺣﺘﻰ اﻟﺴﻘﻒ ﻋﺎدة‬،‫ ﺣﯿﺚ ﯾﺤﯿﻂ دراﺑﺰﯾﻦ ﺑﻨﺎﻓﺬة اﻟﺤﺠﺮة‬،‫ ﺷﺮﻓﺔٌ وھﻤﯿﺔٌأوﻣﺎ ﯾُﻌﺮف ﺑﺸﺮﻓﺔ روﻣﯿﻮوﺟﻮﻟﯿﯿﺖ‬viii
‫ اﻣﺘﺮﺟﻢ‬.‫ﺐ وﻏﯿﺮھﺎ‬ ٍ ‫ ﻣﻠﺼﻘﺎ‬،‫ رﺳﺎﻟ ٍﺔ ﻏﺮاﻣﯿ ٍﺔ‬،‫ا ﻟﮭﺪﯾﺔ اﻟﻮرﻗﯿﺔ ﻣﺜﻞ ﺻﻮرةٍ ﻓﻮﺗﻮﻏﺮاﻓﯿ ٍﺔ‬ix
ٍ ‫ ﻛﺘ‬،‫ت‬
‫ﺷﺠﺮ أوﻟﻌﻠﮭﺎ ﺗﺸﺒﮫ اﻟﻘﻄﯿﺮة وأﺻﺒﺤﺖ ﻋﻼﻣﺔً ﻣﻤﯿﺰة ً ﻟﺸﺎﻻت‬ ٍ ‫ ھﻲ رﺳﻤﺔٌ ﻟﻮرﻗﺔ‬.‫ ﯾﺸﯿﺮ اﻟﻨﺺ اﻷﺻﻠﻲ إﻟﻰ اﻟﺰرﻛﺸﺔ اﻟﺘﻘﻠﯿﺪﯾﺔ ﻋﻨﺪ اﻟﮭﻨﻮد وھﻲ ﻓﺎرﺳﯿﺔ اﻷﺻﻞ‬x
‫ ‘اﻹﺟﺎص‬Welsh Pears ‫أو‘اﻟﻤﺨﻠﻼت اﻟﻔﺎرﺳﯿﺔ’ ﺑﯿﻨﻤﺎ ﯾُﻄﻠَﻖ ﻋﻠﯿﮭﺎ ﻓﻲ ﻟﻐﺔ إﻗﻠﯿﻢ وﯾﻠﺰ‬Persian Pickles ‫ ﯾﻄﻠﻖ ﻋﻠﯿﮭﺎ اﻷﻣﺮﯾﻜﯿﻮن اﻟﺘﻘﻠﯿﺪﯾﻮن اﺳﻢ‬.‫اﻟﻜﺸﻤﯿﺮ‬
‫ اﻟﻤﺘﺮﺟﻢ‬.’‫اﻟﻮﯾﻠﺰي‬
‫ اﻟﻤﺘﺮﺟﻢ‬.‫ أوراقٌ ﻣﺼﻮرة ٌ ﺗﺴﺘﻌﻤﻞ ﻓﻲ ﻗﺮاءة اﻟﻄﺎﻟﻊ واﻟﺘﻨﺒﺆ ﺑﺎﻟﻤﺴﺘﻘﺒﻞ‬:‫ أ وراق اﻟﺘﺎرو‬xi
‫ ﯾﺘﻤﯿﺰ ھﺬا اﻟﺮﻣﺎد ﺑﺄﻧﮫ ﻻ طﻌﻢ ﻟﮫ وﻻ‬.‫ﻣﻨﻈﺮا ﻣﻤﯿﺰً ا‬
ً ‫ ﻓﻲ ﺗﺎرﯾﺦ ﺻﻨﺎﻋﺔ اﻟﺠﺒﻦ ﯾﻀﺎف اﻟﺮﻣﺎد اﻟﻨﺎﺗﺞ ﻋﻦ اﺣﺘﺮاق اﻟﻤﻠﺢ واﻟﺨﻀﺮاوات اﻟﻤﺠﻔﻔﺔ ﻟﻠﺠﺒﻦ ﻹﻛﺴﺎﺑﮫ‬xii
‫ اﻟﻤﺘﺮﺟﻢ‬.‫راﺋﺤﺔ‬
(‫ )اﻟﻤﺘﺮﺟﻢ‬.‫ وھﻲ ﻣﺰﯾﺞ ﻣﻦ اﻟﻌﺪس واﻟﻔﺎﺻﻮﻟﯿﺎء واﻟﺒﺎزﯾﻼء اﻟﻤﺠﻔﻔﺔ‬dal or dahl ‫ ﺗُﻌﺮف ﺑﺎﻻﻧﺠﻠﯿﺰﯾﺔ‬xiii
‫ اﻟﻤﺘﺮﺟﻢ‬.‫اﻟﺴﻤﻚ أواﻟﺨﻀﺮوات اﻟﻤﻄﺒﻮﺧﺔ ﻓﻲ اﻟﺼﻠﺼﺔ اﻟﻐﻨﯿﺔ ﺑﺎﻟﻘﺸﺪة أواﻟﺰﺑﺎدي‬/‫ طﺒﻖ ھﻨﺪي دﺳﻢ ﯾﺘﻜﻮن ﻣﻦ اﻟﻠﺤﻢ‬,‫ ﻛﻮرﻣﺎ‬xiv
 ‫‪IJCLTS 5(1):80-86, 2017‬‬ ‫‪86‬‬

‫‪ xv‬ﺑﺎﯾﺎ؛ طﺒﻖٌ إﺳﺒﺎﻧﯿﱞﯿﺘﻢ إﻋﺪاده ﻣﻦ اﻷرز واﻟﻠﺤﻢ واﻟﺨﻀﺎر واﻟﻤﺤﺎر‪ .‬اﻟﻤﺘﺮﺟﻢ‬

‫‪ xvi‬ﺑﯿﺴﺘﻮ‪ ,‬ﺻﻠﺼﺔ إﯾﻄﺎﻟﯿﺔ ﺧﻀﺮاء ﻣﺼﻨﻮﻋﺔ ﻣﻦ اﻟﺮﯾﺤﺎن واﻟﺼﻨﻮﺑﺮ واﻟﺜﻮم وزﯾﺖ اﻟﺰﯾﺘﻮن‪ .‬اﻟﻤﺘﺮﺟﻢ‬
‫‪ xvii‬ﺷﺮاب ﻏﺎزى ﻋﺎدة ﻣﺆﻟﻒ ﻣﻦ ﻋﺼﯿﺮى ﻓﺎﻛﮭﺔ اواﻛﺜﺮ ﻣﻊ ﺳﻜﺮ وﻣﺎء‪ .‬اﻟﻤﺘﺮﺟﻢ‪.‬‬
‫‪ xviii‬ﻣﺸﺮوب اﻟﺤﻠﯿﺐ واﻟﺸﻌﯿﺮ اﻟﺴﺎﺧﻦ‪ .‬اﻟﻤﺘﺮﺟﻢ‬
‫‪ xix‬ﺑﯿﺮﻧﻮ‪ :‬ﻣﺸﺮوب ﻛﺤﻮﻟﻲ ﺑﻨﻜﮭﺔ اﻟﯿﺎﻧﺴﻮن‪ .‬اﻟﻤﺘﺮﺟﻢ‬
‫‪ :Suede jacket xx‬ﻧﻮع ﻣﻦ اﻟﺠﻠﺪ ﻟﮫ زﺋﺒﺮ؛ أي زﻏﺐ وﯾُﻌﺮف ﺑﺎﻟﺠﻠﺪ اﻟﺴﻮﯾﺪي‪) .‬اﻟﻤﺘﺮﺟﻢ(‪.‬‬
‫‪ :Rickshaw xxi‬ﻋﺮﺑﺔ ھﻨﺪﯾﺔ ﺧﻔﯿﻔﺔ ﺑﻌﺠﻠﺘﯿﻦ ﯾﺠﺮھﺎ ﺷﺨﺺ واﺣﺪ‪) .‬اﻟﻤﺘﺮﺟﻢ(‬
‫‪ xxii‬اﻟﺒﺎرﻛﺔ ﺳﺘﺮة ﻓﺮاﺋﯿﺔ ﻣﻘﻠﻨﺴﺔ‪ .‬اﻟﻤﺘﺮﺟﻢ‬
‫‪ xxiii‬ﺑﻨﻄﺎل اﻟﻜﺎﺑﺮي )"اﻟﻜﺎﺑﺮﯾﺰ"( ھﻮأﺣﺪ أﻧﻮاع اﻟﺒﻨﺎطﯿﻞ وﯾﻠﺒﺲ ﻋﺎدة ﻓﻲ اﻟﺠﻮاﻟﻤﻌﺘﺪل وﺻﻤﻢ ﻟﯿﺼﻞ إﻟﻰ ﻣﻨﺘﺼﻒ اﻟﺴﺎﻗﺄوﺗﺤﺘﺎﻟﺮﻛﺒﺔ‪ .‬ﺑﻨﺎطﯿﻞ اﻟﻜﺎﺑﺮي راﺋﺠﺔٌ ﻋﻨﺪ‬
‫اﻟﻨﺴﺎء أﻛﺜﺮ ﻣﻦ اﻟﺮﺟﺎل‪ .‬اﻟﻤﺘﺮﺟﻢ‬
‫‪ xxiv‬ﺗﺸﺒﮫ اﻟﻔﯿﺪورا ﻗﺒﻌﺔ راﻋﻲ اﻟﺒﻘﺮ‪ ،‬أﻣﺎ اﻟﺒﯿﺮﯾﮫ ﻓﮭﻲ أﺷﺒﮫ ﺑﺎﻟﻘَﻠَ ْﻨ ُ‬
‫ﺴ َﻮة اﻟﻤﺴﺘﺪﯾﺮة‪ .‬اﻟﻤﺘﺮﺟﻢ‬
‫ﻮﻗﻤﯿﺼﺨﺎرﺟﻲ‬
‫ٍ‬ ‫ﻓﻀﻔﺎﺿ‬
‫ٍ‬ ‫ﻮاﺳﻊ‬
‫ٍ‬ ‫‪ xxv‬ﺳﻠﻮارﻛﺎﻣﯿﺰأوﺷﺎﻟﻮار ﻗﻤﯿﺺ‪ :Shalwarkameez‬أﺣﺪ أﻛﺜﺮ اﻷزﯾﺎءﺷﯿﻮﻋﺎ ً ﺑﯿﻦ رﺟﺎل وﻧﺴﺎء ﺑﺎﻛﺴﺘﺎن‪ ،‬وﯾﺘﻜﻮن ﻣﻦ ﺳﺮوا ٍﻟ‬
‫ﻓﻀﻔﺎض‪ .‬اﻟﻤﺘﺮﺟﻢ‬
‫‪ xxvi‬ﺣﻘﯿﺒﺔ ﻣﺼﻨﻮﻋﺔ ﻣﻦ اﻟﻘﻤﺎش اﻟﺴﻤﯿﻚ أﺳﻄﻮاﻧﯿﺔ اﻟﺸﻜﻞ ﺗُﻨﺴﺐ إﻟﻰ ﻣﺪﯾﻨﺔ دﻓﯿﻞ ﻓﻲ ﺑﻠﺠﯿﻜﺎ ﺣﯿﺚ ﺗُﺼﻨﻊ‪ .‬اﻟﻤﺘﺮﺟﻢ‬
‫‪ xxvii‬ﻣﻘﺎﻋﺪ ﺧﺸﺒﯿﺔ ﺗﺴﺘﺨﺪم ﻓﻲ اﻟﺤﺪاﺋﻖ وﺳﻤﯿﺖ ﻛﺬﻟﻚ ﻧﺴﺒﺔ إﻟﻰ ﺟﺒﺎل آدﯾﺮوﻧﺪاﻛﻮھﻲ ﺳﻠﺴﻠﺔ ﺟﺒﺎل ﺗﻘﻊ ﻓﻲ اﻟﺠﺰء اﻟﺸﻤﺎﻟﻲ اﻟﺸﺮﻗﻲ ﻣﻦ وﻻﯾﺔ ﻧﯿﻮﯾﻮرك ﺣﯿﺚ‬
‫ﺻﻨﻌﺖ ھﺬه اﻟﻜﺮاﺳﻲ ﻷول ﻣﺮة‪ .‬اﻟﻤﺘﺮﺟﻢ‬ ‫ُ‬
‫‪ xxviii‬ﺷﻌﺎر ظﮭﺮ ﻓﻲ اﻟﺴﺘﯿﻨﯿﺎت ﺣﯿﺚ ﺧﺮﺟﺖ اﻟﻨﺴﺎء ﻓﻲ ﻣﺴﯿﺮات ﻗُﻤﻦ ﺧﻼﻟﮭﺎ ﺑﺤﺮق اﻟﺼﺪرﯾﺎت وﺗﺨﻠﺼﻦ ﻣﻦ رﻣﻮز اﻷﻧﻮﺛﺔ ﻟﻠﻤﻄﺎﻟﺒﺔ ﺑﺘﺤﺮرھﻦ وﻣﺴﺎواﺗﮭﻦ‬
‫ﺑﺎﻟﺮﺟﺎل‪) .‬اﻟﻤﺘﺮﺟﻢ(‪.‬‬
‫‪xxix‬ا ﻟﺒﯿﻠﻜﺴﯿﻐﻼس‪ :‬ﺑﻼﺳﺘﯿﻚ ﻣﺮن ﻣﻘﻮى‪ ،‬ﯾﺴﺘﺨﺪم ﺑﺪﻻ ﻣﻦ اﻟﺰﺟﺎج‪ .‬اﻟﻤﺘﺮﺟﻢ‬
‫‪ xxx‬ﻏﻄﺎء ﻟﻸرض ﺳُ ْﻤﻜﮫ ﻣﻠِﻤِ ﺘﺮان أوﺛﻼث ﻣﻠِﻤِ ﺘﺮات‪.‬‬
‫‪ xxxi‬ﻟﻮﺳﯿﺖ‪ :‬ﻣﺎرﻛﺔ ﺗﺠﺎرﯾﺔ ﻟﻠﺒﻼﺳﺘﯿﻚ اﻟﺨﺎل ﻣﻦ اﻟﺸﻮاﺋﺐ وھﻮراﺗﻨﺠﻤﯿﺘﺎﻛﺮﯾﻠﯿﺖ اﻟﻤﯿﺜﯿﻞ‪،‬اﻟﺒﺮﺳﺒﯿﻜﺲ‪ .‬اﻟﻤﺘﺮﺟﻢ‬

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