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Descriptives
Descriptive Statistics
N Minimum Maximum

Mean

Std. Deviation

32.00

55.00 41.6000

8.79204

34.00

59.00 46.0000

11.15796

42.66

73.33 55.4500

11.73081

45.33

74.66 59.3280

12.43490

Valid N (listwise) 5

Means

Report
A
B

Mean

N Std. Deviation

34.00 55.0000 1

37.00 38.0000 1

44.00 45.0000 1

56.00 38.0000 1

59.00 32.0000 1

Total 41.6000 5

8.79204

T-Test
Paired Samples Statistics
Mean
Pair 1

N Std. Deviation Std. Error Mean

A 41.6000 5

8.79204

3.93192

B 46.0000 5

11.15796

4.98999

Paired Samples Test

Paired Differences
95% Confidence Interval of
the Difference

Mean

Std.
Deviation

Std. Error
Mean

df

.526

Sig. (2tailed)

Upper
Lower

Pair
1

AB
4.4000

18.70294

8.36421

-27.6228

18.8228

.627

T-Test
Paired Samples Statistics
Mean
Pair 1
Pair 2

N Std. Deviation Std. Error Mean

A 41.6000 5

8.79204

3.93192

B 46.0000 5

11.15796

4.98999

C 55.4500 5

11.73081

5.24618

D 59.3280 5

12.43490

5.56106

Paired Samples Test

Paired Differences
95% Confidence Interval of
the Difference

Mean

Std.
Deviation

Std. Error
Mean

df

Sig. (2tailed)

Upper
Lower

Pair
1

AB
4.4000

18.70294

8.36421

-27.6228

18.8228

.526

.627

Pair
2

CD
3.8780

22.15973

9.91013

-31.3929

23.6369

.391

.716

(4 2 )

N Minimum Maximum Mean Std. Deviation
N2 "

45

73 62.25

13.150

N4 "

40

79 64.75

14.705

Valid N (listwise) 4

Case Processing Summary

Cases
Included

Excluded

Total

N Percent N Percent N Percent

N2 * N4 4 100.0% 0

.0% 4 100.0%

Report
N2
N4

Mean N Std. Deviation

48

45.00 1

57

72.00 1

75

59.00 1

79

73.00 1

Total 62.25 4

13.150

(4 2 )


Std. Deviation

Mean

N Minimum Maximum

9.38083

55.00 45.0000

34.00

VALUE

12.51799

59.00 44.8000

30.00

VALUE2

Valid N (listwise) 5

Case Processing Summary

Cases
Excluded

Total

Included

N Percent N Percent N Percent

.0% 5 100.0%

VALUE * VALUE2 5 100.0% 0

Report
VALUE
N Std. Deviation

Mean

VALUE2

38.0000 1

30.00

34.0000 1

36.00

54.0000 1

43.00

44.0000 1

56.00

55.0000 1

59.00

9.38083

45.0000 5

Total

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_______________________________

: -
Funoti, Lawrance, (1996) Translation and the Pedagoy of Literature College of
English, Volume 58, Number 3, March 1996.
Hanna, Smah (2001). Arabic Translation of Shakespears Great Tragedies In
Egypt: A socio-cultural critique Unpublished Ph. D. Dissertation.
Ali, Zaneb ( 2001). Translation and Ideology, with special reference to ArabicEnglish translation during political crises Unpublished Ph. D. Dissertation.
Kenny, Dorothy ( 2001). Norms and Creativity: Lexis in Translated Text A
corpus- based Study, Manchester: St. Jerome.
David Galantai (2002) Literal meaning in translation. STUDIES IN
TRANSLATOLOGYPERSPECTIVES: 2002: 3 Volume 10: 167- 194

Abstract
This article presents a new perspective on the literal versus free translation debate in
Translation Studies; central to this still influential debate is the notion of objectively definable
literal utterance meanings. A critique of this notion is given in the light of findings from the
study of metaphors and other speech figures. It is investigated how concepts relate to words
and how language relates to thought. Finally, a tentative model of the translation process,
excluding the notion of literal meanings, is set up on the basis of Reddys and Lakoffs
investigations concerning metaphors.

Oana-Helena Andone
Gender issues in translation 135
Abstract
The cultural turn in Translation Studies allows us to understand translation as being
related to other aspects of communication. It defines translation as a process of mediation
which moves through ideology and identity.
Translation has traditionally been looked upon as a secondary reproductive activity.
This is associated with misogynist stereotypes of women, and it can therefore be argued that
translation is described in gendered terms, negatively related to women. It is a fact that,
historically, women have been discouraged from participation in the public sphere. Some
turned to translation as the humble alternative to authorship. In so doing, they stayed within
accepted parameters and formally acknowledged their inferiority only to challenge the norm
and make their voice heard.
In feminist theory, translation is viewed as production, not reproduction. Language is
a means of creating meaning, and meaning is created in order to reveal feminine identity.
Feminist translation redefines the notions of fidelity, equivalence and the invisibility of the
translator. These are directed not at the original but at the feminist project, i.e. the reworking
of meaning so as to reverse the effects of male social and cultural domination.


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( ) .
The Ode of Tarafah

Muallaqat Tarafah ibn al- Abd

The early Arabic love poem, or Qasida, has a very simple structure:
1. a glimpse of the loved one's face on the deserted campsite,
2. riding one's camel and with one's tribe to try to forget how beautiful she is.
In later times Abu Nuwas would mock this, for he was a city person. But these
early poems are still rooted in the hearts of Arabs, and reading one in English
translation is a way to savor the beauty of the bedouin woman, and Iraq and
Syria's flora and fauna.
This is one of the 7 "posted," or "hung--as in hung up for all to see-" poems, or
mu'allaqat, translated by A. J. Arberry:
"The Ode of Tarafah"
A young gazelle there is in the tribe, dark-lipped, fruit-shaking,
flaunting a double necklace of pearls and topazes,
holding aloof, with the herd grazing in the lush thicket,
nibbling the tips of the arak-fruit, wrapped in her cloak.
Her dark lips part in a smile, teeth like a comomile
on a moist hillock shining amid the virgin sands,
whitened as it were by the sun's rays, all but her gums
that are smeared with colyrium -- she gnaws not against them;
a face as though the sun had loosed his mantle upon it,
pure of hue, with not a wrinkle to mar it.
Ah, but when grief assails me, straightway I ride it off
mounted on my swift, lean-flanked camel, night and day racing,
sure-footed, like the planks of a litter; I urge her on
down the bright highway, that back of a striped mantle;
she vies with the noble, hot-paced she-camels, shank on shank
nimbly plying, over a path many feet have beaten.
Along the rough slopes with the milkless shes she has pastured
in Spring, cropping the rich meadows green in the gentle rains;

to the voice of the caller she returns, and stands on guard

with her bunchy tail, scared of some ruddy, tuft-haired stallion,
as though the wings of a white vulture enfolded the sides
of her tail, pierced even to the bone by a pricking awl;
anon she strikes with it behind the rear-rider, anon
lashes her dry udders, withered like an old water-skin.
Perfectly firm is the flesh of her two thighs-they are the gates of a lofty, smooth-walled castle-and tightly knit are her spine-bones, the ribs like bows, her
underneck stuck with the well-strung vertebrae,
fenced about by the twin dens of a wild lote-tree;
you might say bows were bent under a buttressed spine.
Widely spaced are her elbows, as if she strode carrying the two
buckets of a sturdy water-carier;
like the bridge of the Byzantine, whose builder swore
it should be all encased in bricks to be raised up true.
Reddish the bristles under her chin, very firm her back,
broad the span of her swift legs, smooth her swinging gait;
her legs are twined like rope untwisted; her forearms
thrust slantwise up to the propped roof of her breast.
Swiftly she rolls, her cranium huge, her shoulder-blades
high-hoisted to frame her lofty, raised superstructure.
The scores of her girths chafing her breast-ribs are water-courses
furrowing a smooth rock in a rugged eminence,
now meeting, anon parting, as though they were
white gores marking distinctly a slit shirt.
Her long neck is very erect when she lifts it up
calling to mind the rudder of a Tigris-bound vessel.
Her skull is most like an anvil, the junction of its two halves
meeting together as it might be on the edge of a file.
Her cheek is smooth as Syrian parchment, her split lip
a tanned hide of Yemen, its slit not best crooked;
her eyes are a pair of mirrors, sheltering

in the caves of her brow-bones, the rock of a pool's hollow,

ever expelling the white pus more-provoked, so they seem
like the dark-rimmed eyes of a scared wild-cow with calf.
Her ears are true, clearly detecting on the night journey
the fearful rustle of a whisper, the high-pitched cry,
sharp-tipped, her noble pedigree plain in them,
pricked like the ears of a wild-cow of Haumal lone-pasturing.
Her trepid heart pulses strongly, quick, yet firm
as a pounding-rock set in the midst of a solid boulder.
If you so wish, her head strains to the saddle's pommel
and she swims with her forearms, fleet as a male ostrich,
or if you wish her pace is slack, or swift to your fancy,
fearing the curled whip fashioned of twisted hide.
Slit is her upper lip, her nose bored and sensitive,
delicate, when she sweeps the ground with it, faster she runs.
Such is the beast I ride, when my companion cries "Would I might ransom
you, and be ransomed, from yonder
waste!"
His soul fluttters within him fearfully, he supposing
the blow fallen on him, though his path is no ambuscade.
When the people demand, "Who's the hero?" I suppose
myself intended, and am not sluggish, not dull of wit;
I am at her with the whip, and my she-camel quickens pace
what time the mirage of the burning stone-tract shimmers;
elegantly she steps, as a slave-girl at a party
will sway, showing her master skirts of a trailing white gown.
I am not one that skulks fearfully among the hilltops,
but when the folk seek my succour I gladly give it;
if yo look for me in the circle of the folk, you'll catch me.
Come to me when you will, I'll pour you a flowing cup,
and if you don't need it, well, do without and good luck to
you!
Whenever the tribe is assembled you'll come upon me

at the summit of the noble House, the oft-frequented;

my boon-companions are white as stars, and a singing-wench
comes to us in her striped gown or her saffron robe,
wide the opening of her collar, delicate her skin
to my companions' fingers, tender her nakedness.
When we say, "Let's hear from you," she advances to us
chanting fluently, her glance languid, in effortless song."

Anthology of Islamic Literature, James Kritzeck, ed., 1964 Holt, Rinehart and
Winston, NY., p.58-60 with acknowledgements for "The Ode of Tarafah," from
THE SEVEN ODES, translated by A.J.Arberry, copyright by George Allen &
Unwin, Ltd.