Analysis of the Applied Subtitling Strategies from

Persian into English in T.V Series

Case Study: ‘MADARE-SEFR DAREJEH”

Forouzan Dehbashi Sharif

Alireza Sohrabi
 Authors:
Forouzan Dehbashi Sharif
For.dehbashi_sharif@iauctb.ac.ir
Alireza Sohrabi
sohrabi.ali44@gmail.com

Forouzan Dehbashi Sharif is a university assistant in Islamic Azad

University Central Tehran Branch, who works in the field of TEFL &
translation studies and contributed different research articles and books in
these fields.
Aireza Sohrabi is an MA. Holder of English Translation Studies from IAU
central Tehran branch. He is an experienced teacher in Iran education system
who compiled and translated different textbooks for high school students.
 Table of Contents
PREFACE 1
CHAPTER ONE: INTRODUCTION 3
CHAPTER TWO: REVIEW OF LITERATURE 5
2.1. INTRODUCTION 5
2.2. THE AUDIO-VISUAL TRANSLATION 5
2.3. MODELS OF AUDIOVISUAL TRANSLATION 6
2.3.1. INTERACTIVE MODELS 6
2.3.2. NORM-BASED MODELS 8
2.3.3. COMMUNICATIVE INTERACTION IN AUDIOVISUAL TRANSLATION 10
2.4. TYPES OF AUDIO-VISUAL TRANSLATION 11
2.4.1. DUBBING AS THE MOST USED TYPE OF REVOICING 14
2.4.2. SUBTITLING 17
2.4.3. GENERAL PROCESS OF SUBTITLING 23
.2.5 SUBTITLING PROCEDURES AND STRATEGIES 24
2.5.1. BERMAN'S MODEL (1985) 24
2.5.2. GOTTLIEB'S MODEL 27
CHAPTER THREE:SAMPLE OF THE CONTENT ANALYSIS OF THE SUBTITLES OF
T.V SERIES ''MADARE-SEFR DAREJEH” 29
3.1. INTRODUCTION 29
3.2. CONTENT ANALYSIS 29
3.3. TABULATED CONTENT ANALYSIS 35
CHAPTER FOUR: CONCLUSION 51
REFERENCES 54
Preface
Audiovisual translation(AVT) in general and subtitling in particular have been
subjects of growing interest among translation researchers. Diaz-Cintas (2018) sees
audiovisual translation as an increasingly important part of Translation Studies, itself a
fast-evolving discipline.
The term "Audiovisual Translation", also called 'screen translation' or 'film
translation', could be taken to cover all those translation activities in which audio-visual
dimensions of the communicative mode prevail over the others. What makes this
communication distinct from communication through books, radio, telephone, or sign
language, is that "both the acoustic channel through air vibrations and the visual channel
through light waves are simultaneously utilized" Delabastita (1989, PP. 193-218).
The most widespread forms of AVT are subtitling and dubbing. Subtitling is
visual, involving the superimposition of a written text onto the screen. Dubbing, on the
other hand, is oral; it is one of a number of translation methods which makes us use the
acoustic channel in screen translation (Baker& Hochel, 1998, p.74). Gottlieb (1998)
argues that the translator of subtitles should be aware of not only dialogue, background
voices, and sometimes even lyrics, but also of the superimposed titles and written signs
on the screen.
Gottlieb (2001) stresses the need for a quantitative dialogue reduction
particularly considering that the speech tempo on the screen is usually higher than what
can be put as subtitles considering the constraints of time and space. Since the
audiovisual translation in general and subtitling in particular have been subjects of
growing interest in translation studies, this book aimed at introducing to what extent the
Gottlieb’s model of translation strategies for subtitling could be applicable in Persian into
English subtitling considering a very famous Iranian TV series ''MADARE-SEFR
DAREJEH” (Zero-Point Orbit).
The authors of this book hope to highlight the important role of being familiar
with different subtitling models and their functions in both source and target language in
order to produce more accurate and fluent translation and help those planning to start a
career in AVT translation, especially subtitling to get more insight in applying the proper

1
strategies in their careers. they wish to contribute to the improvement of the quality of
subtitled films from Persian into English and open path of reflection to professional
translators in this field.

2
 Chapter One: Introduction
Living in a digital world with the rapid development of communication
technologies made the circulation of audiovisual materials enormous which has led to a
great demand for proper audiovisual translation. Due to new technologies, different kinds
of products such as movies, serials, documentaries, lectures, and so on are instantly or
consecutively distributed beyond their origin country and often translated in many
different languages with different cultures. Subtitles are used to help viewers understand
the film language, understand the film content and core concept of the message of the
foreign language which would probably have been lost and they are usually shown at the
bottom of the screen. Then, subtitles show deep linguistic analysis to ensure that the text
in subtitles is reflecting what is spoken as well as the body language. Subtitling involves
shortening the film text to enable the viewer to rapidly read and understand. This means
that the dialogue is shortened and the written captions in target language are read at the
bottom of the film synchronizing with the film's dialogue.
Van de Poel (2001) regards subtitling informative since it provides viewers with
three different channels of information, which are “the pictorial information”, “the
original sound track” and “the translation of the text in the subtitles.”
Subtitling may be either intralingual (same language i.e. the spoken language is
the same with the subtitles’ language) or interlingual (different languages (Jakobson
1959/2000: 114).
Subtitles are the special mode of audiovisual translation since the one that
converts form from speech into writing. The subtitlers are therefore not only involved in
words but also in linguistic clues and thee context in which those words come from when
subtitling. They should also test different techniques to improve the efficiency and
effectiveness of service delivery in modern translation confronted with the use of.
subtitling is indispensable in audiovisual translation and every form of video requires
subtitling in multiple languages to accurately and effectively reach out to a large audience
both inside and outside of the places of source language speakers.
Madareh-sefr-darejeh was made in the year 1386/2/3. This series is the most
valuable masterpiece that was created in the history of TV series in Iran which contains

3
the elements of different genres at a time and many viewers admit the supremacy of this
masterpiece to every aspect of TV series production in Iran. This series is produced and
directed by Hassan Fathi. He is a director, producer and screen writer. In the production
of this masterpiece the best actors took part, like; Laeia Zangane, Shahab Hosseini,
Nathalie Matti, Roya Teimorian, Masoud Raygan, Pierre Dagher, Ateneh Faghihe Nasiri
and many other famous actor and actresses.
In this book more than 800 authentic English subtitles were analyzed based on
Gottlieb(1992) proposed translation strategies such as transfer, imitation, transcription,
deletion, expansion, paraphrase, dislocation, condensation, decimation, and resignation.
The authors of this research book tried to find out to what extent the Gottlieb model of
translation strategies for subtitling is applicable to Persian into English subtitling of T.V
series ''MADARE-SEFR DAREJEH” and made clear how each of Gottlieb’s strategies
was used. They found that Gottlieb’s strategies often appeared simultaneously in
combination with one another, without any evidence of overlapping one another. The
analysis of the data gathered revealed that the Iranian subtitlers of the film under the
study have applied different strategies to transfer the expressions of the original films.
They applied ''Transfer'' as the most frequent. Transfer conveyed the full expression, and
it constituted the adequate rendering of neutral discourse; therefore, the authors
concluded that Iranian subtitlers did their best in transferring dialogues to English as
understandable and natural as possible. Moreover, ''Paraphrase'' formed the second
translation strategies in this study. Despite the similarities of concepts and ideas between
Persian and English, the phraseology of these languages, in so many cases, needed to be
reconstructed in order to create the same impression and understanding in the target
viewer. ''Paraphrase'' could be corresponded to a 'sense for sense' translation rather than a
literal one. Using ''Paraphrase'', the translators had tried to express the meaning of the
speech using different words to achieve greater clarity. Each language has some forms to
transfer the ideas and concepts to the members of its own society. However, because of
some mismatches between the phraseology of languages and their message conveyance,
there were cases in which a language could not convey a message. This was not because
the target language did not have the tools to do so, but because the need was not felt in
the language to construct a word for that particular situation.

4
 Chapter Two: Review of Literature

2.1. Introduction
Since the audiovisual translation in general and subtitling in particular

have been subjects of growing interest in translation studies, this study aimed at

finding whether Gottlieb’s model of translation strategies for subtitling was

applicable to Persian into English subtitling TV series or not. In this chapter the

audiovisual translation, along with the scholars’ viewpoints in providing and

translating subtitles considering different models would be presented.

2.2. The Audio-Visual Translation

Gambier, (2012) considered that AVT was mainly concerned with the

transfer of multimodal and multimedia speech such as (dialogue, monologue,

comments, etc.) into another language and culture. While two to four years

were needed to produce a film (from a scriptwriting and the search for financial

support through to release and broadcasting), mostly, only a few days were

given to provide the translation. Thus, it was hardly surprising that most people

considered AVT as a ‘problem’, or as a ‘loss’, rather than as a creative solution

to the problems of international distribution (Yves Gambier. Dec 2012).

Matkivska(2014) asserted that audiovisual translation was generally a

translation of verbal component of the video. Its main specific feature was the

synchronization of verbal and nonverbal components. While dealing with

audiovisual product translators did not work only with text but also with other

5
parts of media Art which are of polyphonic nature, such as dialogues,

comments, sound effects, image and atmosphere of the video.

G. Gotlieb(1998) cited in Nataliia Matkivska (2014), distinguished four

main channels of information which were taken into consideration while

translating:

I) Verbal audio channel: dialogues, off-screen voices, songs;

II) Nonverbal audio channel: music, sound effects, off-screen
sounds;
III) Verbal and visual channel: subtitles, signs, notes, inscriptions
that appears on the screen;
IV) Nonverbal visual channel: the picture on the screen
(Gotlieb, 1998).

2.3. Models of Audiovisual Translation

There is different classification in the field of audio visual translation. In
this part Interactive, Norm-Based and communicative models would be
introduced.

2.3.1. Interactive Models

Diaz Cintas (2004) explicitly elaborated that ‘Interactive Model’
(henceforth ‘Model’) aims to contribute to the exploration of the cognitive-
semantic, functional and socio- aspects of audiovisual translation strategies.
The main objective of this Model is to integration between the linguistic
and extra-linguistic features to provide equivalent target versions. It is divided
into two main phases, each one composed by four stages of linguistic and
extra-linguistic analyses. In this Model, translators are constantly called to
compare source texts, and their re-textualization to evaluate the original
intentionality, effects and multimodal cohesion and coherence.

6
 The first phase of the Model is the ‘Multimodal Critical Analysis of
Scripts’ (MuCrAS), with reference to its methodological and theoretical
approaches. The linguistic features together with the visual and acoustic
characteristics of source scripts are examined to infer the clarification of the
original denotative and connotative dimensions, by analyzing “lexical
dimension” and "syntactic dimension", which may also contribute to
determining the features of intended receivers, such as their age, gender, and
background.
After that, source texts aimed to achieve “functional dimension”. As Ross
(1998) declared, it is important to inquire into how the receivers' expectations
are broken by the visual and acoustic features displayed ("multimodal
dimension" of the MuCrAS phase), which are integrated with the verbal text in
prompting the humorous response opposing the denotative meaning (Iaia,
2015, p.202).
The main objective of the second phase, called the ‘Multimodal Re-
Textualisation of Scripts’ (MuReTS), where equivalent effects and multimodal
cohesion and coherence for the target audience are achieved by selecting the
syntactic structures and lexico-semantic characteristics that are perceived
correct and conventional according to their lingua background (“syntactic” and
“lexico-semantic” dimensions).
For humorous texts, the multimodal actualization of the cognitive clash
generating the humorous response is firstly identified in source texts and then
adapted for target audiences by pragma linguistic equivalent scripts whose
lexico-semantic, syntactic and functional levels are consistent with the planned
differences between denotative and connotative one, and respect the original
multimodal construction to prompt similar effects on target receivers.
Target texts are seen as the result of the influence of the receivers’
cognitive processes and constructs connected to their lingua background,
allows the achievement of the translators’ cognitive semantic representation of
source scripts. This representation is semantic because of dealing with the
identification of the original denotative dimension that has to be adapted for

7
target receivers. That is also cognitive because it is the outcome of the
interaction between the textual, bottom-up analysis and knowledge-based, top-
down contributions in achieving the illocutionary dimension of its connotations
and aiming at rendering equivalent elocutionary effects.
The influence of the audiovisual construction in the analysis of the text-
types under analysis leads to the consideration of such a representation – which
is the starting point for the production of a target version – as “mediated”. The
construct of ‘Mediated Cognitive Semantic Representation’ (Me-CSR) is
designed to denote the mental, active bridge between the two phases of the
Model (Iaia, 2015, p. 203).

2.3.2. Norm-Based Models

Hermans (1999) cited from Levý’s generative model (1967) characterized
translation like a decision-making procedure that emphasized the fact that, the
translator should select one option from a sequence of alternatives important
that each result would influence. From an audiovisual perspective,
Karamitroglou (2000) reminded that translation studies considered to be a
normative science. He added that audiovisual translation seems to be
particularly dominated by a strong presence of norms due to the impact of mass
media communication in the audiences and to the fact that, as Ivarsson (1992)
commented, viewers are creatures of habit. He also concluded, norms act not
just on the decisions taken at the lowest textual level, but also on the decisions
that are made beyond that level.
Baker (1998) stated that in the context of translation, norms were the
solution commonly chosen by translators in a particular socio-historical
context. At the end of the seventies, Toury (1995) introduced the concept of the
norm, in translator behavior within a determined socio situation that has had a
great influence on the work done. Hermans (1999) thought that translation was
as social action. For him, learning to translate involved a socialization process,
since it meant learning to handle translation norms. Consequently, the notion of
correctness (behavior, linguistic use or translation) constitutes a social and

8
ideological construct, so that translation correctness is a relative concept from a
linguistic, social, political, and ideological point of view (pp. 83-85).
What Baker (1998) suggested, and Hermans (1995) revealed the concept
of norm gives priority to the target text and, it has effectively replaced the
equivalence concept as an operative term in translation studies. Baker (1993)
also reminded the concept of the norm as the main object of analysis in
translation studies is not an individual translation, rather a coherent corpus of
translated texts (p.240).
Regarding the study of translational norms, Baker distinguished two main
sources to reconstruct the norms:
1) Textual: For all types of norms, the translated texts like analytical
inventories of translations for various preliminary norms;
2) Extra-textual: This source was included by prescriptive and semi-
theoretical theories of translation, declarations made by translators, publishers,
editors, and otherswho involved in or related with the activity, critical
judgments of individual translations, or the activity of a translator or school of
translators, and so forwards.
According to Toury (1995), three types of translation norms which
determined the type and breadth of equivalence in the translations were as
following (pp.56-61):
1. Initial norm. This norm had to do with the basic select between
sticking to the requirements and norms of the source text or to those of the
target text. In other words, this type made up the orientation either to the source
system or to the target system, keeping in mind that a continuum
existedbetween both orientations. It was possible to connect this initial norm
with the notions of foreignization (adequacy) and familiarization
(acceptability).
2. Preliminary norms. These norms had to do with two types of
attentions often connected to each other. On one hand, the existence of a
translation strategy and, on the other, a few considerations that affected the

9
degree of tolerance that exists in concerns to indirect translation (i.e., the
translation of a translation) .
3. Operational norms. In this type, norms were directed decisions which
were made during the very act of translation, governing that which would
probably stay invariable and that which would vary. These norms were divided
into two subgroups: metrical norms that governed the very existence of target-
language material intended as a substitute for the corresponding source-
language material, its location in the text, as well as the textual division, and
the textual-linguistic norms that govern the selection of material to formulate
the target text in, or substitute the original textual and linguistic material with.
It could be said that there were some critics of Toury's theory.

2.3.3. Communicative Interaction in Audiovisual Translation

On the issue of communicative interaction of Audiovisual Translation
(Ascheid, 1997) states that, audiovisual Translation is an unusual type of
Communicative Interaction. It employs target linguistic signals to accompany
other source aural and visual semiotic elements. Quite often, these aural and
visual elements are so characteristic of the source culture, or rather so un-
characteristic of the target linguistic message to them. Although s/he might be
able to manipulate and recreate the verbal part of the source message, s/he can
normally interfere with the rest of the accompanying semiotic elements. (P. 32)
Non-verbal elements like facial expression, intonation and gestures can
crucial parameters that determine the voice of the linguistic signals the
translator will implement. Written rendering (Subtitling) will treat these non-
verbal signals differently from oral rendering (re-voicing), subtitling will have
to respect them and build the linguistic message on them, whereas re-voicing
will erase the source aural elements and create a new set of sense of 'text' as
only a partial carrier of the communicative message, the role of the audiovisual
translator is considerably restricted. (Ascheid,1997)
According to Baker (1998)''interest in translation is as old as human
civilization’’ (p.277). An increasing part of the language in the media

10
worldwide is translated from English (Gottlieb, 2001). In technical terms, the
translation of films is called language transfer or audiovisual translation.

2.4. Types of Audio-Visual Translation

Scholars approximately distinguished ten kinds of audiovisual translation.

But, they could be divided into two larger subgroups: revoicing and subtitling.

Revoicing is the term which was used to denote audiovisual methods of

translation with the aim of the complete or partial coverage of the text of the

original product by the new text of the target language. It could be subdivided

into the following types: voice-over or half-dubbing, narration, audio

description, free commentary and dubbing (CaBKO, 2011).

Gambier (1994), on the other hand, lists the following audiovisual

language transfer methods: ‘’a)subtitling, b) simultaneous translation, c)

dubbing, d) interpreting (pre-recorded and consecutive), e) voice-over, f)

narration, g) commentary, h) multilingual broadcast, i) subtitles and

supratitles/supertitles, and j) simultaneous translation”(PP. 275-283) .

11
 Gambier's
Type of AVT

Simultaneous
Subtitling Subtitling

Simultaneous Surtitles and

Translation Supra-titles

Multilingual
Dubbing
Brodcast

Prerecorded and
consecutive Commentary
interpreting

Narration Voice-Over

Figure 2.4. Gambier's (1994, PP. 275-283) type of AVT

Linde and Kay (1999, P.2) further elaborate on Gambler's (1994)

typology and define the following as the various subtypes of subtitling and

dubbing:

• Simultaneous subtitling in real time, for live interviews and news

broadcasts, etc.

• Simultaneous interpretation taking three possible forms:

live and often with summarizing as, for example, on the radio pre-edited,

much like a voice-over in long distance two-way television interviews or at

tele-conferences

• Voice-over, characterized by a translation reasonably faithful to the

original.

12
 • Narration, where a text is read by a professional reader, actor or

journalist, where the text is prepared, translated and sometimes condensed in

advance and where the original dialogue is evanescent. The form can be

contrasted with a voice-over which attempts to be approximately simultaneous.

• A Commentary, whereby a programme is adapted to suit a new audience

with the possibility of information being added and taken away.

Synchronization is made with the images rather than with the original dialogue,

which is erased.

Both Narration and Commentary (commonly used for children's

programs, documentaries and promotional videos) are like a combination of

translation and interpretation because of the reductions (compressions and

omissions) and other alterations made to the original audio-script and their

orality. Between dubbing and commentary, there are many diverse forms of

oral transfer.

• Multilingual diffusion, where a viewer chooses from a selection of

sound- tracks the one in his or her desired language through Tele-text.

• Surtitles, sometimes used in operas and theaters whereby a translated

text is projected or run across a screen above the stage.

• Simultaneous translation, a form of translation (at sight). It is produced

from either a script, subtitles or from running text, realized in a foreign

language. It is found at some film festivals. Without a script, it would be closer

to a voice-over. (P. 2)

13
However, it should be noted that Gambier believes that "many forms are

a mixture of features found in subtitling and dubbing" as subtitling is a

kind of simultaneous written interpretation while voice-over is something

approaching oral subtitling (Linde and Kay, 1999, P.2).

2.4.1. Dubbing as the Most Used Type of Revoicing

In the 1930s dubbing appeared. Higson and Maltby (1999) stated that

linguistic challenge was not taken up by the production companies but by the

distribution firms and the importing countries. Dubbing was interlinguistic

audiovisual translation which presupposes complete change of the soundtrack

of the source language into the soundtrack of the target language with the aim

of broadcasting in countries where the original language was not their mother

tongue.

Matkivska,(2014 cited from Diaz Cintaz, 2009) since, dubbing should

provide an equivalent influence on the target language audience similar to the

original audiovisual product, as a consequence, “dubbing was oriented at the

target audience so the translator had to adapt the source text which in the end

had to meet the standards existing in the target language or country”.

British scholar G. Luyken in his research work “Dubbing and subtitling

for European audience" revealed main steps of the dubbing process (Luyken,

1991, p.78):

• Check and mapping the script, working out the temporary draft copy
with the mapping and marking;

14
 • The first preliminary translation which serves as the basis for further
work;
• Selection of dubbing actors’ voices;
• Special text layout and translation processing, synchronization with the
actors' mimics;
• The process of recording;
• Editing and authorizing a finished transformation of an audiovisual
product.

Reich (2006) mentioned two stages as followed. The first stage of the

translator's work was called detection or, in other words, finding out

peculiarities of the soundtrack (language image, sound, noise effects) and video

track which also includes decisions about the grade of the necessity to transfer

these, or those elements of the linguistic followed the audiovisual text. The

translator started his work dealing with each of three- components construction.

On one hand, scripts helped translators that do not need to rely only on their

ear. Yet, translators focused mostly on the written alternate who served as a

source for them neglecting at the same time audio and video context which was

necessary both at the stage of discovering and through other stages of

translation.

The second stage of translator's work with an audiovisual text was

synchronization. The main problem for a translator has consisted in the way the

target text should be synchronized with the original one that syntactic

structures of the original texts were not conserved in the translation.

Robin Paquin, (1998) summed up that his first translation was well-

synchronized from a phonetic point of view, but it had a number of

15
grammatical and vocabulary nonconformities meaning both formal mistakes

and awkward foreign constructions. He also added that trying to greatly

synchronize text of the original and that of the translation translators often

became hostages of the target language which leads to language interference.

As a result, Robin mentioned that the original language interfered with the

language system of the translation that was observed even when translating into

the dominant native language and could trespass any language level. In this

part two kinds of dubbing were distinguished:

• One dubbing actor dubbed every character (nevertheless, several

characters could be dubbed by the same actor but only specialists in this
field could see that fact);
• The same dubbing actor dubbed all male roles and all women parts were
correspondingly dubbed by the same actress.
Although lip-sync was the most widely-spread type of revoicing, but also

the temperament of the character and voice age were taken into consideration.

The production of the dialogue lists in the target language could be

limited by work of translators in dubbing when attention was paid to phonetic

synchronization. The translation was performed word by word with comments

and variants of the same word or phrase. Czech Scholar P. Reich(2006) stated

that the translation for dubbing was not the final product which would be

offered to the audience, it was a half-finished product which required further

work (Reich, 2006). Since dubbing author should need to know the original

language, he/she edited the text by identifying sounds which were pronounced

in close-up shots and chose from all offered translations one which fitted the

16
actors' articulation. Sometimes translators might perform the function of

dubbing author and adapt the text.

When the adaptation was prepared, film dialogues were divided into

episodes. These episodes served as working material during recording the track

with dialogues which were supervised by dubbing director and sounded

producer. Yves Gambier (2012, cited in Carmen Millan, Francesca Bartrina

2017) stated that modern technologies allowed using the method of digital lip

movement change of the real actors that led to complete synchronization of the

translated dialogues so that audience did not have to distribute their attention

among the spoken text of the original and dubbing.

It could be said that dubbing was more pleasant and easier for the

audience to perceiving because it did not distract attention from the video and

was the most adapted to the culture of the target recipient.

It could be also mentioned that among other advantages of dubbing the

least grade of reduction of the original dialogue in comparison with subtitling

and voice-over can be highlighted (Yves Gambier 2012, cited in Carmen

Millan, Francesca Bartrina 2017).

2.4.2. Subtitling
“Subtitling is defined as supplementing the original voice soundtrack by

adding written text on screen, and dubbing is replacing the original voice

soundtrack with another voice in another language''(O'Connell,2007,p.169).

Because of the larger costs of dubbing, subtitling has become a popular way of

dealing with the language problem. In fact, ''The role of subtitling is to

17
facilitate access to audiovisual products in a foreign language''

(Kapsaskis,2008,p.42).

Many scholars have provided definition for subtitles. The word subtitling

is defined as the rendering of the verbal message in filmic media in a different

language,in the shape of one or more lines of written text, which are presented

the screen in synch with the original verbal message (Gottlieb,2004). In

addition, subtitling is defined in Shuttleworth and Cowie (1997,p.161) as ''the

process of providing synchronized captions for film and television dialogue.''

Traditionally, there existed two types of subtitles: inter-lingual subtitles,

which imply transfer from an SL to a TL, and intra-lingual subtitles, for which

there is no change of language (Diaz Cintas, 2003).

Hurt, Wilder (1998) believed that subtitling was defined as a presentation

of dialogue translation in a film in the form of titles usually at the bottom of the

image or shot on the screen. Subtitles usually appeared and disappeared in

correspondence to original dialogue part and almost always were added to the

image on the screen later as a result of post-production part.

Gotlieb (1998) in his research work followed R. Jacobson's classification

of texts which worked out his classification of subtitles and distributed them

into the following groups:

• Intralingua that were called vertical subtitles, as they changed

perceptive modality (spoken text was converted into written without

any change);

18
 • Interlingua or so-called diagonal subtitles which would be changed

both perceptive modality and language;

• Open or non-optional signified which were integral physical parts of a

film;

• Closed or elective that has used the correspondent decoder.

Specific character of subtitles was caused by its three peculiarities,

namely correspondence between the image, sound, and text (transmittance of

the translated message should coincide with dialogue in the source text;

subtitles should not contradict what characters did on the screen); change of

spoken language into written one (this peculiarity often makes translator omit

lexical units in translation); temporal and spatial restrictions specified by the

usage sphere (size of a real screen is limited and subtitle text should be adapted

to the width of the screen taking into account possibility to read subtitles).

Reiss (1971) believed that in practice, a line of subtitles should not

contain more than thirty-five signs. For example, only the lowest part of the

screen can be used only two-line titles are considered. Hence, the volume of the

text per one replica was limited by seventy signs. Such a small number was

caused by the fact that subtitles should cover visual information as little as

possible and should comprise not more than 20 % of the image on the screen.

In technical peculiarities of performance, D. Sanchez (2004)

distinguished four methods of subtitling: preliminary translation – adaptation-

spotting; preliminary translation – spotting-adaptation; adaptation – spotting

translation; translation\ adaptation- spotting.

19
 The first method presupposes at first procedure of translation performance

and adaptation and only then spotting, mostly it was used when translators

were limited by time and there was no video available. Whereas using the

second method at first as in the previous method preliminary translation of film

dialogue text was performed but later time marking for every subtitle was

provided by a subtitle and then the final step was adaptation.

In the third method, the subtitles were created in the source language and

were immediately divided into time periods and later were translated into

different languages. Later, translators could choose a ready shortened text in

the source language or individually and independently perform translation and

adaptation using sound and video track and make the text shorter.

As a final point, the last method of creating subtitles required translation

with simultaneous adaptation and spotting at the final stage or vice versa.

According to this method, the work of translator and subtitle were united, that

meant, it was performed by the same person at all its stages.

It can be said that such type of audiovisual dubbing (if it is of high-

quality) was more pleasant and easier for the audience to perceiving, for it did

not distracting attention from the video and was the most adapted to the culture

of the target recipient culture.

Gottlieb (1992) used a different terminology and explains that a subtitler

is faced with formal (quantitative) and textual (qualitative) constraints. Textual

constraints are those imposed on the subtitles by the visual context of the film,

whereas formal constraints are the space factors (a maximum of 2 lines and 30

20
characters) and the time factor. According to Schwarz (2003), the main

problem in subtitling is caused by the difference between the speed of the

spoken language and the speed in reading; both require a reduction of the text.

First, watching subtitled programs fosters foreign language acquisition.

Second, such programs improve reading skills. However, these benefits only

apply if the subtitles meet the quality requirements.

According to Gottlieb (2004), inter-lingual subtitling, having societal and

language-political implications, is instrumental in improving reading skills,

boosting foreign language skills, facilitating easy and cheap international

program exchange, and cementing the dominance of English.

The multiplicity of the semiotic channels involved in the subtitled film

implies that subtitles could be considered "poly-semiotic text" which is (1)

written, (2) additive (i.e. new verbal material, which is actually written text in

the form of subtitles, is added to speech and gives subtitles a dia-semiotic

status), (3) immediate, (4) synchronous, and (5) poly-medial (i.e. at least two

channels are employed) form of translation (Gottlieb, 1992, P.162; 1997, PP.

207-232).

1. Being of written as opposed to spoken, subtitling differs from all other

types of screen translation.

2. The label additive indicates that in subtitling, verbal material is added

to the original, maintaining the source large discourse.

21
 3. The label immediate refers to the fact that in filmic media all discourse

is presented in a flowing manner, beyond the control of the listener-viewer-

reader.

4. The label synchronous refers to the fact that the original film (at least in

non-verbal part) and the translated dialogue are presented simultaneously-

unlike simultaneous interpreting.

5. The term poly-medial translation states the fact that at least two parallel

channels are used to convey the total message of the original (Gottlieb, 1997,

PP. 207-232).

In other words, "a film with subtitles implies the simultaneous

employment and reception of acoustic and visual channels, the former

represented by the original spoken dialogues and the audio-script, the latter by

both the film images and the written text (Delabastita, 1989, PP.196- 199;

Gottlieb, 1998, P.245 cited in Perego, 2003, P.66).

Table 2.1: Semiotic channels involved in a film with subtitles (cf. Gottlieb 1998)
Dialogues
Verbal Background Voices
Lyrics
Acoustic Channel
Music
Non-Verbal Natural Sounds
Sound Effects
Super Imposed Titles
Verbal Written Signs on the Screen
(Display ,Captions)
Visual Channel
Picture
Non-Verbal Composition
Flow

Elaborating on its poly-semiotic feature, Gottlieb talks of iso-semiotic

translation where the translation uses the same channel or set of channels as the

original like in dubbing, voice-over, and commentary which all rely on mere

22
voice replacement or voice-over and dia-semiotic translation where it uses

different channels like in subtitling (Gottlieb, 1998, as cited in Baker 1998). He

further argues that:

"... in dubbing the audiovisual balance is maintained since the four

semiotic channels each keep their original semantic load where the

dialogue is rendered from foreign language into domestic language,

where as in subtitling, the balance is shifted from the verbal auditory

channel to the verbal visual channel’’. (P. 245)

2.4.3. General Process of Subtitling

The mechanics of subtitling for TV and home video ordinarily involves

the processes which may be best described by the following diagram first

proposed by Araujo (2004):

Subtitling(Editing)……Spotting……. Revising……Subtitling (Recording)

Subtitler(Translator)…. Spotter………Reviser…... Subtitler (Technician)

It is inevitable that in some countries, subtitling companies usually do not

give the translators access to subtitling software(s). Instead, translators are

instructed to make a kind of simulation of subtitling software(s) by using an

ordinary computer program, like Microsoft Word, font Times New Roman,

size10.The translators are asked to regulate the Microsoft Word to a certain

size, so as to imitate the subtitling software format. So, after preparing the

rough translation of movie transcripts in a given target language, subtitlers

(translators) with the help of the TCR, spot the beginning and the end of the

titles ''virtually'' and type them in a format which is an approximation of the

23
subtitling program. Of course, not always are translators forced to prepare their

translation in a typed format with breaks and fonts fitted for subtitling

program(s) (Araujo,2004, pp.161-170).

‘’Subtitling, thus, involves a decision-making process described by

Kovacic’’ (1994, PP.245-251). Decision should be made about not only how to

translate the ST and its constituent elements, but also what should be left out.

2.5. Subtitling Procedures and Strategies

By the emergence of cultural turn in early 1980s several TS scholars

shifted gears from considering translation as a linguistic activity that was done

in isolation, but as the product of a broader cultural context that encompassed

plural belief systems. One of the first theorists who adopted this stance is

Andre Lefever who stated that ''Translation needs to be studied in connection

with power and patronage, ideology and poetics, with emphasis on the various

attempts to shore up or undermine an existing ideology or an existing poetics

sources. Another advocate of this perspective is Lawrence Venuty (1997,2000)

who proposed domestication and particularly foreignization as an Invalid

source specified. He defines foreignization as ''choosing a foreign text and

developing a translation method along lines which are excluded by dominant

cultural values in the target language ''. (Venuty ,1997,2000)

2.5.1. Berman's model (1985)

Berman's (1985) strongly support foreignization proposes twelve deforming

tendencies as follows:

24
1) Rationalization: primarily influences the syntactical structures of the original

including punctuation, sequence of sentences, and the word order. Berman

(1985) states that rationalization recomposes sentences rearrange them

according to a certain idea of discursive order.

2) Clarification: concerns the level of ''clarity'' perceptible in words and their

meaning (Zhang, Yan, Wei & Wu, 2011; Zhang &Wu, 2011). Berman

contends that Clarification is inherent in translation, to the extent that every

translation comprises some degree of explicitation. This causes the

manifestation of the untold.

3) Expansion: as a result of the previous tendencies, rationalizing and clarifying,

expansion, an unfolding of what, in the original, is ''folded'' takes place. He

calls this expansion empty from the text point of view as this addition adds

nothing, but it merely augments the gross mass of text.

4) Ennoblement: includes those translators who try to improve the original

through rewriting it in a more elegant style. The process that is called

''poetization'' in poetry since it is called '' rhetorization '' in prose and is the

consequence of an annihilation of the oral rhetoric and formless poly logic of

the ST.

5) Qualitative impoverishment: happens when replacement of words and

expressions with TT equivalents- that lack their sonorous richness or,

correspondingly, their signifying or ''iconic'' features- takes place.

6) Quantitative impoverishment: takes place when the translator faces lexical loss

during the act of translation.

25
7) The destruction of rhythms: happens when a translator attempts to destroy the

rhythm of the text which it even sometimes leads to a multiplicity of rhythms.

Berman contends that this tendency generally happens through an arbitrary

revision of the punctuation.

8) The destruction of underlying networks of signification: Berman's Invalid

source specified states that the misreading of the underlying networks of the

subtext corresponds t the treatment given to groupings of major signifiers in a

work, such as those that organize its mode of expression and may cause the

lack in conveying the intended meaning in the target text.

9) The destruction of linguistic patterning: takes place when a range of

techniques, such as rationalization, clarification and expansion are utilized to

the destruct the original sentence constructions and patterning for the sake of

achieving a linguistically more homogenous target text.

10) The destruction of vernacular networks occurs when translators destruct the

local speech and its language patterns through the use of a TL vernacular or

slang.

11) The destruction of expressions and idioms: is taken into consideration through

the replacement of an idiom or proverb by its TL (Target Language)

''equivalent'' in to consideration as to be an ''ethnocentrism'' that manipulation

of the ''equivalence'' which attacks the discourse of the foreign work.

12) The effacement of the superimposition of languages: which is considered by

Berman as the central problem in translating novels, is the inclination of

erasing the traces of different forms of language that co-exist in the ST.

26
2.5.2. Gottlieb's model
Gottlieb has devised ten strategies that he sees at work in reducing a text to

subtitles, and which he classifies as expansion, paraphrase, transfer, imitation,

transcription, dislocation, condensation, decimation, deletion, resignation.

The Gottlieb's (1992, PP: 161-170) classification includes the following

criteria:

1. Expansion is used when the original text requires an explanation

because of some cultural nuance not retrievable in the target language.

2. Paraphrase is resorted to in cases where the phraseology of the

original cannot be reconstructed in the same syntactic way in the target

language.

3. Transfer refers to the strategy of translating the source text completely

and accurately.

4. Imitation maintains the same forms, typically with names of people

and places.

5. Transcription is used in those cases where a term is unusual even in

the source text, for example, the use of a third language or nonsense language.

6. Dislocation is adopted when the original employs some sort of special

effect, e.g., a silly song in a cartoon film where the translation of the effect is

more important than the content.

7. Condensation would seem to be the typical strategy used, that is, the

shortening of the text in the least obtrusive way possible.

27
 8. Decimation is an extreme form of condensation where perhaps for

reasons of discourse speed, even potentially important elements are omitted.

9. Deletion refers to the total elimination of parts of a text.

10. Resignation describes the strategy adopted when no translation

solution can be found and meaning is inevitably lost.

28
 Chapter Three:
Sample of the Content Analysis of the Subtitles of
T.V series ''MADARE-SEFR DAREJEH”

3.1. Introduction
This research based book is the outcome of an applied descriptive corpus-based

study to find out to what extent the Gottlieb model of translation strategies for

subtitling was applicable to Persian into English subtitling of the Iranian T.V

series ''MADARE-SEFR DAREJEH” which is translated as “Zero Degree

Turn” or “Zero Degree Latitude” and produced by Soroush Sima company in

2007 with the cooperation of Iran, Hungary, France, and Lebanon. Different

episodes of the movie dialogues in two formats were selected: 1) the original

version of the movie, and 2) the subtitled version of the movie. About ten

minutes of all twenty-four episodes was selected randomly and, the unit of

analysis in this study was the frame. The analysis of each frame was done at the

level of word or phrase and sometimes sentence. Then each of the frames in

subtitled version was separately compared with the Persian (original) version

and the applied strategy was traced based on Gottlieb (1992) frame by frame.

Due to the vast number of the episodes which contained different

cultural viewpoints and also some culture specific items, subtitlers had to

consider more than one strategies in their translation to make the text as

intelligible as possible.

3.2. Content analysis

The content analysis of this research was done by Mr. Sohrabi under

supervision of dr. DehbashiSharif and would be presented at the end of this

29
chapter. A sample of their findings regarding the most to the least applied

translation strategies in subtitling based on what Gottlieb (1998) proposed, are

presented in the following part.

Transfer strategy was the most frequent subtitling strategy which involves

producing full expressions and the adequate rendering of original film

segments. Transfer is not media-specific strategy and is applied in a neutral

discourse that contains a slow tempo and refers to the strategy of translating

the source text completely and accurately. For example:

[Episode one , Min.1:3'']:/rǣghs nǣ Pesǣr jän/ ‫ رقص نه پسرجان‬: subtitled to

“No dance, dear boy.”

Paraphrase was the second most frequent subtitling strategy which concerns

the production of altered expressions from the original film segments which

is not media-specific. Paraphrase is resorted to in cases where the

phraseology of the original cannot be reconstructed in the same syntactic way

in the target language. For example:[Episode one , Min.1]:/ eftekhär midin

bänouye mǣhboube mǣn?/:‫ افتخار می دین بانوی محبوب من ؟‬subtitled to “Shall

we, my darling lady?

Imitation concerns the production of identical expressions through

equivalent rendering of original film segments. It is applied for subtitling

segments such as proper nouns, international greetings. etc. Imitation

maintains even the same forms, typically with names of people and places.

30
For example: [Episode 16, sec.30]:/lotfǝ sǣrgord fǣtähi bṳd/: “ ‫لطف سرگرد‬

‫”فتاحی بود‬. subtitled to “It was Major Fatahi’s help.”

Resignation concerns the rendering of untranslatable elements which often

results in a distorted content. It describes the strategy adopted when no

translation solution can be found and meaning is inevitably lost, e.g. when

translating idioms and expressions in a non-idiomatic manner. For instance:

[Episode 19, Min.9:30] :/nǝgǣrän nǣbäsh. bädǝmjän bǣm äfǣt nǣdärǝ/:

“.‫ بادمجان بم افت نداره‬.‫ ”نگران نباش‬subtitled to “Never mind. Nothing happens to

me.”

Dislocation is also common in subtitling more than other forms of translation

and concerns the production of different expressions with adjusted contents.

This strategy includes the use of synonymy in subtitling. However, in this

study it was not applied very frequently. It is adopted when the original

employs some sort of special effect, for example a silly song in a cartoon

films, where the translation of the effect is more important than the content.

For example: {Episode 16, Min.1:55’}: /äy bäghäli därǣm bäghäli därǣm

bäghäliyǝ tazǝ äy jǣfǣri därǣm jǣfǣri därǣm jǣfǣriyǝ tazǝ /: “ ‫ای باقالی دارم‬

‫ای جعفری دارم جعفری دارم جعفری تازه‬ ‫ ” باقالی دارم باقالی تازه‬subtitled to “Fresh

broad bean for sale! Fresh parsley for sale!

Condensation was another frequent subtitling strategy in this series that

includes the condensation of the expression and the concise rendering of

normal speech. Normally, the only loss in condensation is the loss of

31
redundant oral language features. For example/[Episode 3 ,

Min.8:48’]:/nemidounǣm in sämǝ disäb čǝ kӧfto zǣhremari ghӧti bṳd/:

‫ نمیدونم این شام دیشب مسافرخونه چه کوفت و زهر ماری قاطی بود‬translated to “I don't

know what they have put in the last night's dinner”.

Decimation was one of the few subtitling strategies in which the original

verbal segment suffers a loss of (semantic or stylistic) information in the

process of subtitling. It is an extreme form of condensation where, perhaps

for reason of discourse speed, even potentially important elements are

omitted. [Episode 22, Min.48:55]: / ǣsämiee kǝ khändǣm hǣr čǝ zṳdtǣr

bǝrǣn vǣsäyǝkǝŝṳno jǣm konǣn/: ‫"اسامی ای که خواندم هر چه زودتر برن وسایلشونو‬

"‫جمع کنن‬translated to “Pack your stuff fast.”

Deletion was one of the few strategies that was used. The segments deleted

in subtitles are utterances produced in a fast speech, have less importance or

carry no verbal content. Deletion refers to the total elimination of parts of a

text. [Episode 19 , Min.10:30] : “zinǣtolmolṳk heyf bṳd mädǣr,heyf” :

‫ حیف‬.‫زینت الملوک حیف بود مادر‬

.‫ بود‬is subtitled to “It was a pity. Alas!”

Expansion was used as a kind of strategy comprising the production of

expanded expressions and the adequate rendering of such film segments as

culture-specific references, etc. It is also not a media –specific strategy.

Expansion is used when the original text requires an explanation because of

some cultural nuances not retrievable in the target language. This is a kind of

32
 explicitation of information. For example: [Episode five , Min.2:23]:/tä

khord zǣdänǝŝ?."‫ " تا خورد زدنش‬subtitled to “And hit him as much as he could

be hit.”

Transcription was not used remarkably in this study however it is usually a

more common strategy in subtitling than in printed translation and the

production of anomalous expressions and the adequate rendering of non-

standard speech and elements of film segments. It is used in those cases

where a term is unusual even in the source text, for example the use of a third

language or nonsense language. For example: [Episode 21, sec.15]:/inkǝ mä

ki hǣstim to ro sǣnǣnǣn/: “‫”اینکه ما کی هستیم تو روسنن‬ is subtitled to “Who

we are is none of your business” the underlined part is a Turkish expression.

In the following table (3-1) the summary of the above applied strategies are

presented.

Table 3.1 Frequency and percentage of strategies used in 838 subtitled version
No. Strategy Frequency Percentage
1. Transfer 425 47.01
2. Paraphrase 304 33.63
3. Imitation 64 7.08
4. Resignation 39 4.31
5. Dislocation 32 3.54
6. Condensation 22 2.43
7. Deletion 8 0.88
8. Decimation 5 0.55
9. Expansion 3 0.33
10. Transcription 2 0.22

As it can be seen transfer with the frequency of 425 and percentage of

47.01 was the most used strategies in translating the subtitles from Persian to

33
English and transcription was the least used strategies with the frequency of

2 and percentage of %0.22. The authors concluded that Iranian subtitlers did

their best in transferring dialogues to English in the most understandable and

natural way as possible. Moreover, ''Paraphrase'' formed 33.63% of the

translation strategies in this study. Despite the similarities of concepts and

ideas between Persian and English, the phraseology of these languages, in so

many cases, needed to be reconstructed in order to create the same impression

and understanding in the target viewer. ''Paraphrase'' could be corresponded

to a 'sense for sense' translation rather than a literal one. Using ''Paraphrase'',

the translators had tried to express the meaning of the speech using different

words to achieve greater clarity.

Subsequently, ''Imitation'' was used in 7.08% of the whole strategy

instances. ''Imitation'' constituted the identical expression, equivalent

rendering of proper nouns, international greetings, etc.

Next, ''Resignation'' constituted 4.31% of the translation strategies in

this study. It was used in cases of different expression or content of

untranslatable elements. Each language has some forms to transfer the ideas

and concepts to the members of its own society. However, because of some

mismatches between the phraseology of languages and their message

conveyance, there were cases in which a language could not convey a

message. This was not because the target language did not have the tools to

do so, but because the need was not felt in the language to construct a word

for that particular situation.

34
 Next, ''Dislocation'' formed 3.54% of the translation strategies in this

study. It was used for different expressions and adjusted content of musical

or visualized language-specific phenomena. However, the number of

dislocation traced in the corpus was considerably low, and subtitlers referred

to paraphrasing the message rather than using ''dislocation'' as a subtitling

strategy in most cases. In addition, ''Condensation'' constituted 2.43% of the

overall strategies used in this study. Adopting ''condensation'', some of the

redundancies were eliminated, and, thereby, coherence was enhanced

through a shorter sentence. However, this low percentage (2.5%)was used,

some other strategies such as ''deletion'' and ''paraphrasing'' were used to

make the expressions condensed.

3.3. Tabulated Content Analysis

In the following table a sample of the results of comparative analysis of

Persian and English subtitles would be presented.

35
 Table 3.2: Persian- English subtitles and applied strategies

1
Episode 1: Time: minutes from 1:00-900

No. Source text (ST) Target text (TT) Translation

strategy
1. .‫ خاخام اسحاق‬Rabbi Issac. Transferring /
Imitating

2. ‫ می بخشید مدتیه فشار کاریه زیادی‬These days I am under a lot Paraphrasing

‫ اینه که پرت و پال‬.‫ را تحمل میکنم‬of pressure, so I’ve spoken
.‫ میگم‬lots of nonsense lately.

3. ‫ این صفحه اورجینال همین امروز‬This original record, I just Transferring

.‫ صبح به دستم رسید‬got it this morning.

4. ‫ مستقیما از طرف یک بنگاه صفحه‬Straight from a record Transferring

.‫ پرکنی بسیار معتبر به دستم رسید‬company in Berlin.

5. .‫ افتخار می دین بانوی محبوب من‬Shall we my darling lady? Paraphrasing

6. !‫ خودتو لوس نکن‬Don’t feel so close. Paraphrasing

7. .‫ خجالت بکش خرس گنده‬See the situation, you big Paraphrasing/

guy. Resignation

8. ‫ پس می رم سراغ مادر زن عزیزم که‬Now I will turn my beloved Transferring

.‫ هرگز روی دامادشو زمین ننداخته‬mother in law who has never
put me down.

9. .‫ احتشام‬،‫ این یه مورد دیگه کوتاه بیا‬Please forget this one Paraphrasing
Ehtesham / Resignation

10. .‫ نقلی نیست‬،‫ نقلی نیست‬There’s no talk about it, no Paraphrasing

talk. /Condensatio
n
11. ‫ ولی حتم دارم کسی که بزم امشب به‬But I am so sure that the guy Transferring
‫ افتخار موفقیت او منعقد شده به‬whose tonight party is
.‫ شوهر خواهرش نه نمیگه‬brought up for him.

12. ‫ جناب‬، ‫ ولی من رقص بلد نیستم‬But I don’t know how to Transferring
. ‫ احتشام‬dance, majesty Ehtesham.
13. .‫ رقص نه پسر جان‬No dance dear boy. Transferring

36
14. ‫ حرکات موزونی که چرخش و گردش‬Rhythmic moves which the Resignation
‫ اهم امور عالم خاکی بر پایه اون قرار‬most important
.‫ گرفته‬commitments of the world is
circling around them.

15. .‫شب و روز‬،‫دریا‬،‫خورشید‬،‫ ماه‬The moon, the sun, the sea Transferring
and the day and night.

Cd1
Episode 2: Time: minutes from 1:05-1:13

No. Target text (TT) Source text (ST) Translation

strategy
16. ‫ پدر‬، ‫ شام امشب خوب طبخ شده‬I think tonight’s dinner well Transferring
.‫ جان‬cooked, dear father?
17. ‫ مگه میشه دختر زنی مثل آسیه‬. ‫ هوم‬Is it possible that daughter Imitation/
‫ دست پخت خوبی نداشته باشه؟‬of a woman Asieh doesn’t a Transferring
good cooking skill?

18. ‫حیف که مادر امشب کشیک‬،‫ حیف‬It’s a shame, such a shame Paraphrasing
/‫ بیمارستانه‬that mother is not home
today/

19. ‫ و از چشیدن دست پخت دخترش‬So that she can taste this. Dislocation/
.‫ خوش به حال شوهرت‬.‫ محرومه‬Your husband is so lucky. Paraphrasing

20. ‫ خب اجازه بدید من می رم کمی‬Well, if you let me I am Transferring

.‫ استراحت کنم‬going to rest a little.

21. .‫ کجا ؟ تو که چیزی نخوردی‬Where? You haven’t eaten Transferring

anything yet.

22. ‫ طبق برنامه رژیم غذایی مادام‬Due to Madam Du Istall’s Dislocation/

/‫ دواستال‬diet/ Imitation

23. (‫ که اخیرا از فرانسه به ایران امده بود‬Which I have seen her Paraphrasing
)‫ و در ضیافتی مالقاتش کردم‬lately.

24. For keeping your body in Transferring /

‫ جهت رعایت تناسب اندام شب ها شام‬shape. There’s no meal at Paraphrasing
.‫ بی شام‬night.

25. ‫ پس من باید مراقب باشم اگه رفتم‬So I must remember that Paraphrasing
.‫ فرنگ زن فرنگی نگیرم‬while I am there I shouldn’t
take a woman from there as
a wife/

37
26. ‫ چون تا یکی دو ماه باید حکما درازشم‬or I should be ready to Paraphrasing
‫رو به قبلم‬. starve after a few months. / Resignation

27. ‫ یه چند وقت بیاین مطب و کمک‬It won’t be bad to come help Dislocation /
.‫ حال پدرت باشی بد نیست‬your father at the office. Transferring

28. .‫سرگرد فتاحی اومد‬. Major Fatahi has come. Transferring /

Imitation
29. ‫سالم و علیکم‬. Hello. Expansion

30. ‫ ببینمت دختر خانم‬، ‫سالم‬. Hello, let me see you little Paraphrasing
girl.

31. ‫ جناب سرگرد ترو خدا به من بگین‬Major , please tell me that Transferring
‫ پسرم خوب میشه؟‬my son will get well.

Cd2
Episode 3 : Time: minutes from 3:05-6:09

No. Target text (TT) Source text (ST) Translation

strategy
32. ‫ الو تلفنچی! از ستوان محب علی‬No calls or messages from Imitation
‫" پیغامی چیزی برای من ندارید؟‬Captain Moheb Ali" for
me?
33. ‫ نقدا که بزشک معالجش دستور اکید‬Just now his doctor have Transferring
.‫ به استراحت داده‬ordered a complete rest.

34. ‫روز بخیر سربازرس‬. Good day Major. Transferring

35. /‫ فرمایشی بود‬If there were any orders/ Paraphrasing

36. .‫ خبرم می کردید می آمدم خدمتتان‬I would have come to you Paraphrasing
on your notice. /Dislocation

37. /‫ قصد بازرسی از دوایر را داشتم‬I wanted to take a visit to Paraphrasing

department/

38. ‫ گفتم فکر کردم سری هم به اینجا‬I told myself to meet you Paraphrasing
.‫ بزنم‬too.

39. ‫ خوب! چه خبر؟‬Well! What’s new? Paraphrasing

38
40. /‫ آنچه نقداً قابل عرضِ اینه که‬What we already have here Paraphrasing
is this/
41. ‫ بنا به شهادت سرایدار "اصغر‬According on the testimony Paraphrasing
/‫ در عمارت متعلق به‬،‫ صفدری" ساکن‬of the keeper Asghar Safari / Imitation

living on the building which

belongs to/

42. "‫" "زینت الملوک جهان بانی‬Zinat Almolook Jahanbani" Imitation

43. ‫ صاحب خانه هیچ نسبت و آشنایی با‬The owner has no Condensation
/‫ وقایع پیش آمده کرده نداشته‬knowledge of the incidents/

Cd2
Episode 4: Time: minutes from 17:30-25:30

No. Target text (TT) Source text (ST) Translation

strategy
44. ‫ خوشحالم که هنوز زنده میبینمت‬I am happy to see you alive, Transferring
.‫ سرگرد‬Major.
45. ِ‫ البته این مطلب را تا حدودی مدیون‬But you owe this somehow Imitation /
‫ ستوان محب علی هستی که به رغم‬to Captain Moheb Ali/ that Paraphrasing
even he had such a severe
‫ ابتال به عارضه اسهال بی فوتِ وقت‬diarrhea he informed me.
.‫منو در جریان گذاشت‬
46. ‫ تا شما این دوتا آدم کش رو به موقع‬So that you can send these Transferring
.‫ بفرستید سر وقتِ من‬tow assassins to me.
47. .‫ متاسفانه هنوز خیر‬With shame not until now. Transferring

48. ‫ اما محب علی نشانه اون خونه رو نمی‬But "Moheb Ali" didn’t Transferring /
.‫ دونست‬know the address. Imitation

49. .‫ مگه اینکه کار خود جنابعالی باشه‬unless it is your own job. Deletion

50. ‫ البته مدتی بود که به رفتار های شما‬Although it was sometime Transferring
.‫ ظنین شدم‬that I was suspicious about
what you did.
51. ‫ پشت پرده نشین ها قوی تر از اونی‬Those who sit behind the Paraphrasing
‫ هستند که من و تو بتونیم جلوشون‬curtains are too strong for us
to defeat.
.‫ سرگرد‬،‫قد علم کنیم‬
52. ‫ این مطلب چه دخلی به پرونده یک‬What is this thing doing Paraphrasing
‫ یهودی بی گناه داره؟‬with killing an innocent
Jew?
53. .‫ داستان از این قراره‬The story is like this. Transferring

39
54. ‫ مطلب مربوط میشه به تلگراف جمعی‬The content belongs to some Imitation
/‫ از علمای قم‬of the Qom’s scientists/
55. ‫ از جمله شیخ عبدالکریم حائری و‬including "Abdulkarim Imitation
/‫ سید محمد بهبهانی‬Haeri" and "Seid
Mohammad Behbahani"/
56. .‫ نقلی نیست‬There’s no problem. Paraphrasing

Cd3
Episode 5: Time: minutes from 1----6
No. Target text (TT) Source text (ST) Translation
strategy
57. ‫ شب بخیر این بی وقتی کفش و کاله‬Good night where are you Paraphrasing
‫ کردی کجا؟‬going this late? / Resignation

58. ‫ طبق معمول نا سالمتی اومدیم‬As usual we have gone to Condensation

.‫ پاریس‬Paris, if you want to know.
59. .‫ یه ابی به هوایی یه صفایی‬Some water, some weather Transferring
some joy.
60. .‫ توام که انگار نه انگار‬You don’t look like it at all. Transferring

61. .‫ فقط چسبیدی به درس و مشق‬You are just studying and Paraphrasing
nothing else.
62. .‫ اوال که برای تفریح و سیاحت نیامدیم‬First of all we haven’t come Transferring
here to enjoy ourselves
63. ‫ در ثانی بنده به دلیل اشتغال در‬. ‫ اره‬Second is because of Transferring
‫ سفارت در مقایسه با نظریه جنابعالی‬working in the embassy I
have less time from others
‫ فرصت کمتری برای مطالعه درسام‬like to study.
‫دارم‬
64. ‫ بچه ها بچه ها بیاین پایین دیگه از‬Boys, Boys come here I am Paraphrasing
.‫ کت و کول افتادم‬dying
65. ‫ این اینجا چیکار میکنه؟‬What is he doing here? Transferring

66. ‫ رفته بودیم کافه تو" کارته التا " خیر‬We have gone to a Café in Paraphrasing
.‫ سرمون یه چیزی بخوریم‬Carte La Tan to have / Imitation/
something.
67. ‫ تو خیابون چندتا لش فرانسوس هجوم‬That some French tramps Transferring
.‫ اوردن طرفش‬attacked him.
Cd3
Episode 6: Time: minutes from 59’-64’
No. Target text (TT) Source text (ST) Translation
strategy
68. .‫ وقت بخیر‬Good day. Transferring

69. .‫یه اتوموبیل بیرون منتظر شماست‬ A car is waiting for you
Transferring
outside.

40
70. ‫ کسی رو گذاشتی مراقبشون باشه؟‬Do you have someone Transferring
watching them?
71. .‫سالم حبیبم‬ Hello my Habib. Transferring

72. .‫ منم خواهرت سعیده‬It’s your sister, Saideh. Paraphrasing/

Imitation

73. ‫ سالم ابجی خانم‬Hello sister. Transferring

74. .‫قربونت برم الهی‬ I love you so much.

Paraphrasing/
Condensation

75. ‫ از کجا زنگ میزنی؟‬Where are you calling from? Transferring

76. ‫ تو فکر میکنی از کجا؟‬Where do you think I am Transferring

calling from?
77. .‫ اذیت نکن دیگه بگو‬Don’t play with me say it. Paraphrasing

78. ‫ حالت چطوره‬. ‫ سالم به روی ماهت‬Hello, to you dear. Condensation

‫حبیب جان؟‬
Cd4
Episode 7: Time: minutes from 7:00-12:00
No. Target text (TT) Source text (ST) Translation
strategy
79. ‫ طوری به اسمون خیره شدی که فکر‬The way you were starting Transferring
.‫ کردم هوا پیما های آلمانی رو دیدی‬at the sky I thought you’d
seen German planes in the
sky.
80. ‫ حاال بعد از اشغال دیدن اون آهن پاره‬Seeing those scraps Paraphrasing
.‫ ها نباید تعجب آور باشه‬shouldn’t be surprising after
the occupation.
81. ‫ و‬. ‫ داشتم به ستاره ها نگاه میکردن‬I was looking at the stars Paraphrasing
.‫ عظمت خاموش الهی‬and the silent divine
magnanimity.
82. ‫ خاموش ؟ اما چرا؟‬Silent? Why? Transferring

83. . ‫ وقتی جنگل روی زمین در می گیره‬When there’s a war on earth. Transferring
‫ به گمام خداوند به حدی اندوهگین‬I think god gets so sorrowful
:‫میشه که‬
84. .‫ برای مدتی سکوت اختیار میکنه‬He’ll be silent for some Transferring
time.
85. ‫ بهتر نبود به جای خاموشی به سر‬Instead of being silent, Transferring
.‫ جنگ طلب ها همان می آورد که‬wasn’t it better if he did to
warmongers.

41
86. ‫ به سر فرعونیان در عصر موسی؟‬What He did to the pharaoh Paraphrasing
in Moses’ era?
/ Imitation

87. ‫ اگر انسان عصر امروز مثل انسان عصر‬If today’s man believed in Transferring
‫ قدیم با همه وجودش به معجزه اعتقاد‬miracles from the bottom of
this heart like the people.
.‫داشت‬
88. .‫ اونوقت حتما این اتفاق می افتد‬The miracle era come to an Dislocation
end for us westerners
centuries ago.
89. ‫ به خواست خداوند جان گرفت تا زیبا‬It became alive by the will Dislocation /
.‫ ترین جلوه آفرینش او باشد‬of God to be the most Paraphrasing
beautiful manifestation of
His creation.
Cd4
Episode 8: Time: minutes from from 60-66

No. Target text (TT) Source text (ST) Translation

strategy
90. ‫ باالخره تصمیم گرفتی وسایلتو جمع‬At last you decided to pack? Condensation
‫ نه؟‬، ‫کنی‬
91. .‫ به اخر هفته چیزی نمونده‬It’s almost weekend. Paraphrasing

92. /‫ البته داورفر میگفت با‬Davarfar said our return may Imitation /
be delayed/
Paraphrasing

93. ‫این اوضاع قاراشمیش جنگ و ازدحام‬ for a week due to the hectic
Imitation /
‫جاده ها و بنادر جنوبی ممکنه تاریخ‬ wartime situation and the
Paraphrasing
crowdedness of the roads
‫مراجعت یه هفت هشت روزی با‬ and southern ports
‫تاخیر بیافته‬
94. .‫که ا ینطور‬ Is that so?
Paraphrasing

95. ‫ چیه مثل اینکه کیفت خیلی کوک‬What is it? You don’t seem Paraphrasing
‫ نیست‬to be in the mood.
96. ‫ نکنه انتظار داری برات بزنم و برقصم‬Do you expect me to sing Paraphrasing
and dance?
97. ‫ البته بدم نمیاد یه چشمه ای از‬Well , I don’t mind seeing Resignation
.‫ جیگر‬، ‫ نیناشناشت و ببینم‬you dance , sweetie!
98. ‫ مثل اینکه این روزا اوضاع سور و‬Seems your debauchery has Paraphrasing
.‫ ساتت بد جوری کساد شده‬really stopped these days
99. .‫ اخ اخ بله یاد باد ان روزگاران یاد باد‬It has badly. Good old days! Condensation
‫ تف به گور پدر هرچی المانی اشغال‬Damn all German invaders.
.‫گره‬
100. ‫ بی پدرا انگار خاک مرده تو این شهر‬As if it’s ghost town .will Decimation /
‫ پاشیدن تو باالخره میگی چه مرگته یا‬you say what the hell’s
wrong with you or not?
‫نه؟‬

42
 Cd5
Episode 9: Time: minutes from 2’:30’’- 10’:0’’

No. Target text (TT) Source text (ST) Translation

strategy
101. . ‫هنوز اونجاست‬ Is he still there?
Transferring

102. . ‫ نه ظاهراً که کسی نیست‬No. It seems there's nobody Transferring

there .
103. . ‫ شاید بهتر باشه راه بیفتی‬Perhaps you'd better set out. Paraphrasing

104. ‫ محض احتیاط تا چند تا خیابون‬I'll accompany you for a few Dislocation
. ‫ همراهی ات می کنم‬streets just in case
105. ‫ ممنون میشم اینکارو‬، ‫ فکر خوبیه‬Good idea. Thank you Paraphrasing
. ‫بکنی‬
106. ‫قبل از خروج از شهر باید این اسناد و‬I must hide these documents
Paraphrasing/
‫ جایی که‬. ‫جای امنی پنهان کنم‬ in a safe place before
Dislocation
leaving the city , somewhere
.‫دست هیچکس بهش نرسه‬ nobody can find them .
107. ‫ می دونم که خیلی ها دنبال این‬I know many people are Transferring
.‫ مدارکن‬after these documents.
108. ‫ در پاریس اشغال شده جای امنی‬There is no safe place in the Transferring
. ‫ وجود نداره‬occupied Paris .
109. ‫ بهر حال تو که داری از فرانسه خارج‬After all , you're leaving Transferring
.‫ می شی‬France .
110. ‫ عجله‬، ‫ درست می گی‬، ‫ حق با توئه‬You're right .Hurry Paraphrasing/
.‫کن‬ Condensation

Cd5
Episode 10: Time: minutes from 1:07’- 1:13’

No. Target text (TT) Source text (ST) Translation

strategy
111. ‫ منم طبق وعده ای که در خصوص‬I will keep my promise Paraphrasing
‫ مرحوم "ساروخانی"به شما دادم عمل‬about Sarokhani.
.‫خواهم کرد‬
112. ‫ به قول ما ایرانی ها که میگیم شتر‬Saw nothing ,heard nothing. Resignation/
.‫ ندیدی‬،‫دیدی‬ Nida(dynami
c)

113. ‫ امیدوارم شما را در مهمانیهای سفارت‬I hope to see you in the Transferring
.‫ بازهم ببینم‬embassy’s parties again.
114. . ‫ مادام"الکساندریا"هم هستند‬Yes, Madame Alexandria Paraphrasing
will be present too.
/ Imitation

43
115. ‫همینطور مادمازل های‬،‫ همینطور‬So will the Parisian Imitation
.‫ پاریسی‬mademoiselles.
116. ‫ چی شد؟امیدی هست یا نه؟‬Well? Is there any hope? Transferring

117. ‫ خواسته شما براورده شده سرکار‬Your wish is done. Transferring

.‫خانم‬
118. ‫ گشتاپو با تحویل اون جوانک به دولت‬Gestapo agreed to extradite Transferring
.‫ ایران موافقت کرد‬that youth to the Iranian
government.
119. .‫ بابت این موضوع ازت متشکرم‬Thank you for that. Transferring

120. .‫الزم به تشکر نیست‬ No need for thanking me .

Transferring

121. ‫ فقط سعی کن ممبعد با من روراست‬Just be frank with me from Transferring

.‫در همه ی امور‬، ‫ باشی‬now on in all affairs.
122. ‫ یار آمده شیرینی جان‬،‫ یار آمده‬The beloved’s coming. The Resignation
‫ آمده‬sweet soul’s coming.
123. ‫سر مست و‬ ‫ جان آمده جان آمده‬The soul’s coming .Joyful Resignation
‫ هوشیار آمده‬and lively, he's coming.
124. ‫صبر و‬ ‫ هوشیاریم از کف برفت‬I’ve lost patience. My Resignation
‫ قرارم آمده‬calmness is coming.

Cd6
Episode 11: Time: minutes from 2’:00-7’:00

No. Target text (TT) Source text (ST) Translation

strategy
125. ‫ تو این موج به موج چرخوندن رادیو‬What are you looking for in Paraphrasing
‫دنبال چی میگردی؟‬: those stations? / Resignation
126. ‫ اخباری که اندکی بوی واقعیت داشته‬For the news with a bit of Paraphrasing
.‫ باشه‬reality in it.
127. ‫ چی می خوای بدونی که نمیتونی از‬What do you want to know Transferring
‫ من بپرسی؟‬that you can’t ask me?
128. ‫ تو یا یه چیزایی رو می دونی و نمی‬Either you know something Transferring
/‫ خوای بگی‬but don’t want to tell/
129. .‫ یا اینکه خودتم بی اطالعی‬or you don’t know anything, Transferring
130. ‫ مثال چی؟‬What for example? Transferring
131. ‫ مثال اینکه متفقین برای ورود به ایران‬The Alies are ready to Paraphrasing
.‫ بند کفشاشونم بستن‬invade Iran.
132. ‫ اینکه قوای متفقین قصد حمله به مارا‬The Alies' intention to attack Transferring
.‫ دارن مطلب تازه ای نیست‬Iran is not something new.
133. .‫ ولی مطمئن باش که جرات ندارن‬However, be sure they won’t Transferring
dare to do it.

44
134. ‫ چرا؟ از قوای ظفرنمون شاهنشاهی‬Why? Are they afraid of the Paraphrasing
.‫ می ترسن‬victorious Royal Army?
135. .‫ حکما یه دلیلش همینه‬That’s certainly one reason. Transferring
Cd6
Episode 12: Time: minutes from 1:07'- 1:17'

No. Target text (TT) Source text (ST) Translation

strategy
136. .‫ تاریخ داره عینا برام تکرار میشه‬History is being repeated for Paraphrasing
me exactly. / Dislocation
137. ‫ چنین تصویری رو در کوران جنگ‬I saw this image during the Transferring
‫ جهانی اول در خیابونای فلسطین هم‬world war I in the streets of
my Palestine.
.‫دیدم‬
138. .‫ و حاال در وطن حبیبم‬Now I see it in the homeland Transferring
of my Habib.
139. ‫ اغلب این مریض ها به واسطه عوارض‬Most of these patients are Transferring
‫ ناشی از مصرف نانی که پر از آشغال و‬hospitalized because of
consuming the bread which
.‫ کثافته کارشون به بیمارستان کشیده‬is full of dirt and rubbish.
140. ‫ از پسرتون خبری نشد؟‬Any news from your son? Transferring
141. .‫ هنوز خیر‬Not yet Transferring
142. .‫ سالم مامان منم سعیده‬Hello, mother. It's me Paraphrasing
143. .‫ این یکی دو روزه چند بار زنگ زدم‬I called you a few times in Paraphrasing/
the past few days? Dislocation
144. ‫ مگه خونه نبودی؟‬Weren’t you home? Transferring
145. .‫ خونه بودم‬I was. Paraphrasing
146. ‫مبادا‬.‫ اما میترسیدم گوشی رو بردارم‬But I was afraid to pick up Transferring
...‫ که‬the phone . I feared…
147. .‫چشم به هم بزاری خودمو رسوندم‬ I'll be there very soon. Paraphrasing
148. ‫ نه؟‬Is that not right? Paraphrasing
149. .‫ شاهد و ساغی می خوان‬They're after fun. Paraphrasing
150. .‫ کالتونو بزارید باال تر‬Shame on you all!Paraphrasing
Cd7
Episode 13: Time: minutes from 27:00- 30:00'/32:00-37:00

No. Target text (TT) Source text (ST) Translation

strategy
151. ‫ علیکم السالم‬. ‫ منزل پارسا بفرمایید‬Parsa residence . Hello , Mr Paraphrasing
.‫ جناب احتشام‬Ehtesham. / Imitation
152. .‫ خیلی وقته ازتون بی خبریم‬It’s a long time we haven’t Transferring
heard of you.
153. ‫ حال و احوالتون به قاعده هست‬Are you fine, I hope? You’re Paraphrasing
.‫ بحمداهلل که مشکل حل شده‬.‫ انشااهلل‬problem’s been solved?
154. ‫ چه عجب به صرافت افتادی از‬At last you thought of Paraphrasing
.‫ مخفیگاه نا معلومت بیای بیرون‬leaving your hide out!

45
155. ‫ تو حتی اینقدر دل و جرات نداشتی‬You didn’t even have Paraphrasing
.‫ که به مراسم خاکسپاری پدر زنت‬enough guts to attend my
father’s funeral.
156. .‫ امیدوارم منو حالل کنید خانم بزرگ‬I hope you forgive me, Transferring
madam.
157. ‫ می دونم خواهرم از خیلی وقت پیش‬I know she wanted a divorce Transferring
‫ خواهان متارکه بود اما من و پدر‬since a long time ago, but
her late father and I ….
..‫مرحومش‬
158. ‫ خوشحالم سالم و سالمت می بینمت‬I’m glad to see in good Transferring
.‫ حبیب جون‬health , Habib dear.
159. /‫ منم از شما تشکر میکنم جهت‬Thank you for doing Paraphrasing
‫ خالصی من همه سعی خودتونو‬everything you could do
release me.
.‫کردید‬
160. .‫ منم برای تو ارزوی موفقیت می کنم‬I wish you success. Paraphrasing
161. .‫ سالم منو به سارا برسون‬Say hello to Sara. Transferring
Cd7
Episode 14: Time: minutes from 1:11’-1:13’/ 1:16’- 1:21’

No. Target text (TT) Source text (ST) Translation

strategy
162. The poetic rain in Tehran
‫باران شاعرانه تهران تنها چیزی بود‬ Paraphrasing
‫که این اخریها اندکی به پدرت ارامش‬was the only thing that
calmed down your father a
.‫می داد‬
little.
163. ‫ شما چه طور ؟‬How about you? Transferring
164. ‫ وقتی همقدم و هم نفس سالیان‬When you lose your friend Paraphrasing
.‫ خودتو از دست می دی‬and companion of long
years,
165. ‫ فکر می کنی چقدر خوبه چیزی‬You think how good it is if Transferring
.‫ تسالت بده‬/‫ باشه‬something soothes you a bit.
166. ‫ مدتیه بال وقفه خودتونو وقف‬It’s some time you’re Paraphrasing
.‫ بیمارستان کردید‬working at the hospital all
the time.
167. ‫ کمی به فکر سالمتیه خودتون باشین‬You should be thinking Paraphrasing
.‫ بد نیست‬about yourself too.
168. .‫ تو یه چیزی می خوای بگی‬You want to say something. Transferring
169. .‫ پس سرراست حرفتو بزن‬Say it. Paraphrasing
/
Condensation
170. ‫ خوب من فکر می کنم سعیده علیرغم‬I think Ehtesham loves you Paraphrasing
‫ اینکه احتشام پیش قدم متارکه با تو‬although he took the first
step for divorce.
.‫ ولی هنوز دوست داره‬، ‫شد‬
171. ‫ ولی شایدم اگه تو مایل باشی حاضره‬Maybe if you agree , he’ll be Transferring
... ‫ که‬willing to …
172. ... ‫ ای ای‬، ‫ چون‬Because …. Oops ! Transcription
173. ‫ این نشریه شما یگانه تریبونه که‬Your Magazine is the only Paraphrasing
‫ اینجانب از طریق اون به واسطه‬means through which I can

46
 ‫اشعاری که سرودم می تونم با محبوب‬ get in touch with my
‫دل خودم که در خونه نا پدری‬ beloved who's been
imprisoned at home by her
‫سنگدلش محبوس شده ارتباط بر قرار‬ cruel stepfather!
.‫کنم‬
Cd8
Episode 15: Time: minutes from 8:00-14:00
No. Target text (TT) Source text (ST) Translation
strategy
174. .‫ منزل دکتر پارسا بفرمایید‬Dr.Parsa ‘s residence. Paraphrasing
175. .‫ سالم سعید جون‬Hello, Saideh. Imitation
176. .‫ منم زینت‬This is zinat. Imitation
177. .‫ چه عجب یادی از ما کردی‬How are you? Paraphrasing
178. ‫ دلم برات تنگ شده بود گفتم تلفنی‬I missed you, so I thought Transferring
.‫ بزنم‬to call you.
179. .‫ کار خیلی خوبی کردی‬You did a good thing. Transferring
180. ‫ من اگه تماس نمیگیرم فقط به خاطر‬I don’t call you because of Paraphrasing
.‫ خواست خودته‬your request.
181. .‫ اوضاع منم باالخره اینجوری نمیمونه‬It won’t be the same forever. Paraphrasing
182. ‫الاقا تو یکی خودتو از اون‬،‫ خدارو شکر‬Thank god you rid yourself Transferring
.‫ زندگی اجباری خالص کردی‬of that forced life.
183. ‫ شاید از خوش شانسیم بود که طرفم‬Perhaps I was lucky that he Paraphrasing
‫ این اخری ادم واقع بین و با انصافی از‬became so realistic and fair
in the end.
.‫اب درامد‬
184. ‫ هیچ خبری ازش نداری؟‬Any news of him? Transferring
185. ‫ خبری هم باشه که همایون پناه به ما‬Homayonpanah won’t tell Paraphrasing
.‫ نمیگه‬me anything.
186. ‫ نگرانشی نه؟‬You’re worried for him? Paraphrasing
187. ، ‫ دل من که از سنگ خارا نیست‬I don’t have a heart of Condensation
.‫ زینت جون‬stone.
Cd9
Episode 17: Time: minutes from 2:00-7:00
No. Target text (TT) Source text (ST) Translation
strategy
188. ‫ می خواستم بدونم مکتوباتی را که‬I wanted to ask if you read Paraphrasing
‫ سرگرد فتاحی آوردن به دقت مطالعه‬carefully what major Fattahi
had brought.
‫فرمودید؟‬
189. ‫ بیش پای تو با رنجبران راجب‬، ‫ بله‬Yes , we were just talking Paraphrasing
‫و‬.‫ همین موردصحبت می کردیم‬about it . And result?
‫نتیجه؟‬
190. ‫ خصوصا که‬. ‫ماجرای تکان دهنده ایه‬ It’s most shocking ; Paraphrasing
‫انجمن صهیونیست کما فی السابق‬ especially now that the
Zionist society is working
‫مشغول همکاری با آژانس یهود در امر‬ with Judaism agency , like
before to encourage the Jews
to immigrate to Palestine.

47
 ‫ترغیب کلیمیان به جهت مهاجرت به‬
. ‫فلسطینه‬
191. ‫یه روی دیگر سکه اینه که ما هنوز از‬ Another point is that we are Paraphrasing
‫زیر مطلبی که در مورد خروج عتیقه‬ still under pressure for the
publication of the article
‫جات از کشور چاپ کردیم کامال‬ about the smuggling of
‫بیرون نرفتیم‬ antiques.
192. ‫ چاپ این مطلب حکما پیامد‬، ‫فلذا‬ So , publishing this article Transferring
.‫هایی می تونه برامون داشته باشه‬ will definitely have
consequences for us.
193. ‫خوب در فقره قبلی این اشکال وجود‬ Regarding the previous Paraphrasing
‫داشت که ما اخالقا نمی تونستیم‬ article , we couldn’t
introduce our source due to
‫منبع خبریمون رو صراحتا معرفی‬ ethical considerations.
.‫کنیم‬
194. ‫ ما در این مورد این یادداشت ها بحث‬However, it’s totally Paraphrasing
.‫ کامال فرق می کنه‬different with these notes.
195. ‫ عجیبه که این رفیق شما انگاری زده‬Seemingly , your friend’s Resignation
.‫ به سیم آخر‬ready to go all the way
196. ‫ به هر حال ساجدی مصر به چاپ‬He is so insistent that the Transferring
/‫ شدن این یادداشت ها‬notes will be published /
197. ‫ که اگه حتی ما این کارو براش نکنیم‬That if we don’t do it for Transferring
.‫ میره سراغ نشریات دیگه‬him, he’ll go to other
magazines.
198. ‫ فی المثل همین روزنامه مرد امروز که‬Man of today , for one. It’s Transferring
‫ در شماره امروزش مقاله ای چاپ‬published an article today
about the activities of the
‫ کرده مبنی بر فعالین شعبه ایرانی‬Iranian branch of the
‫ سازمان شبه نظامی "هاگانا" جهت‬militant organization ,
.‫ جمع آوری کمک های مردمی‬Haqana to collect donations.

Cd9
Episode 18: Time: minutes from 1:08 '-1:16'

No. Target text (TT) Source text (ST) Translation

strategy
199. ‫ حالت چطوره؟ اردشیر‬،‫ به به سالم‬Ardashir! How are you? Paraphrasing
/ Imitation
200. ‫شنیدم چند نفر زیر‬.‫ ای بدک نیستم‬Not bad. I’ve heard a few Registration
.‫ چشمات چاغاله بادوم کاشتن‬thugs have made you black
and blue.
201. . ‫ جای شما خالی یکی دوتا هم گردو‬Wish you were in my place ! Registration
202. .‫ پس قضیه خیلی جدّیه‬So it’s serious. Transferring
203. . ‫ تا حدودیم جدّی‬And somehow funny. Paraphrasing
204. ‫ حاال مطلب ناموسی بود یا پای‬Was it about a girl or the Registration
‫ مخالفان هفته نامه تون در میون بود؟‬weekly was involved too?

205. .‫ واال فکر کنم یه جورایی هر دوتاش‬:I think both. Paraphrasing

48
206. ‫ تو امروز دادگاه نرفتی؟‬You didn’t go to the court Transferring
today?
207. .‫ نه نشد برم‬I couldn’t. Paraphrasing
208. ‫ دختر یانکیه احضارم کرده که االوباهلل‬The Yanki girl has Paraphrasing
. ‫ همین امروز برم مالقاتش‬summond me to see her /Resignation
today.
209. ‫ خوبه ! خوشم میاد خوب ازش‬Good ! You pbey her orders Paraphrasing
. ‫ حساب می بری‬well.
210. ‫اگه‬.‫نیش مار غاشیه‬.‫ زهرحالحل‬Shut it , stupid boy! Call on Decimation
.‫ تونستی یه سر بیا ببینمت‬me.

Cd10
Episode 19: Time: minutes from 6:00-14:00

No. Target text (TT) Source text (ST) Translation

strategy
211. ‫ مزاحم که نیستم؟‬Am I disturbing? Paraphrasing
212. .‫ نه چه مزاحمتی بیا بشین‬Of course not. Take seat, Paraphrasing
213. .‫ دیر وقته دیگه باید برم‬It’s late. I must be going. Transferring
214. ‫ ببخشید امشب مصاحبت خوبی برات‬Sorry, I wasn’t a good Transferring
‫ نبودم‬companion for you tonight.
215. ‫ چون اون الت و لوتایی که ریختن‬Never mind , buddy! we Condensation
‫ بی خیال شو رفیق که با‬، ‫ سرت‬shouldn’t be so formal.
‫هرکی مهدی داستیم از این حرفا‬
.‫نداشتیم‬
216. ‫ مرده شور اون ترکییبشو ببره با اون‬Damn them! They were Condensation
‫ دست سنگینشون‬really strong.
217. ‫ هر چند نحوه حرف زدنشون شیرین و‬However, the way they Transferring
.‫ شنیدنیه‬talked was somewhat sweet.
218. ‫ به قول رفقای حزبیم دو دسته الت‬My comrades ‫ه‬n the party Transferring
.‫ داریم‬say we have two types of
thugs.
219. ‫ الت های با شخصیت و الت های بی‬Dignified and undignified! Paraphrasing
.‫شخصیت‬
220. ‫ دیگه از بد اقبالی تو بوده که صابون‬It was your bad luck you Resignation
.‫ الت های دست دوم خورده به تنت‬came across the second
group!
221. ‫ حاال از این نظر رفقای حزبی تو بلوای‬What do your party Paraphrasing
‫ هیوده هازن از کجا اب میخوره؟‬comrades say about the riot
on Dec.7?
Cd10
Episode 20: Time: minutes from 6:00-14:00

No. Target text (TT) Source text (ST) Translation

strategy
222. ‫ حالتون چطوره مادر؟‬How are you mother? Transferring

49
223. ‫ همان حال همیشگی مادری که فقط‬As usual. A mother who Paraphrasing
‫ به خاطر تنها فرزندش رنج زیستن را‬bears the pain of living only
for her only child’s sake.
‫تاب آورده‬
224. ‫ تو براچی این وقت شب هنوز بیداری؟‬Why are you awake so late Transferring
at night?
225. .‫ مطمعن نیستم بیدارم مادر‬I’m not sure t’m awake Transferring
226. .‫ شاید دارم خواب میبینم‬Perhaps I’m having a bad Paraphrasing
dream.
227. .‫ یه خواب بد‬A night mare! Transferring

228. ‫ خواب سنگینی که در اون طلوع‬A bad dream in which the Paraphrasing
.‫ خورشید در هر صبحگاه دروغه‬risking of the sun at down is
a lie.
229. .‫ دیگه درختان در بهار شکوفه نمیکنند‬The trees don’t bloom is Transferring
spring.
230. ‫ گلها برای زیبا تر کردن چهره جوان‬Flowers are not born to Transferring
‫ متولد نمیشن‬make the world more
beautiful.
231. ‫ و خداوند به حدی گرفتار امورات‬and god is so busy with his Transferring
‫ شخصی خودشه که انگار برای همیشه‬own affairs that it seems he
has forgotten man forever!
.‫انسان و فراموش کرده‬
232. .‫ دختر بیچاره من‬My poor daughter! Transferring

50
 Chapter Four: Conclusion
In this age of globalization, digitalization, and the dominance of media,

audiovisual translation has an increasingly important role to play in

communication across cultures and languages. Technological developments

have made audiovisual translation the most dynamic field in translation studies.

This is as the result of living in a society heavily confined by the images

provided by the mass media which are broadcasted on numerous national and

international stations that make their journey from one country to another and

obliges translating them as they are to be consumed by the speakers of other

languages. It is stated that working on subtitling also helps people to learn that

foreign language, it is also expected that it is benefit for those who suffer from

hearing problem and want to understand the content of a movie.

During the process of this research at the theoretical level different

scholars’ opinion have been introduced. the strategies proposed by different

scholars such as Gottlieb’s (1994), Berman’s (1985) were studied thoroughly.

As Gotllieb(2001) states,in the context of translation, and expressed in

general and rather technical terms, subtitling consists (1) in the rendering in a

different language, and this basic sub-condition excludes intralingual subtitling,

typically subtitling for the deaf and hard of hearing, (2) of verbal messages

which include not only speech (film dialogue, commentary etc.) but also

displays (written signs, e.g. newspaper headlines and street signs, “seen” by the

camera), and captions (superimposed titles indicating for instance the

profession of interviewees, added in post-production), (3) in filmic media

51
including cinema, video, television, laser disk and DVD, (4) in the shape of one

or more lines of written text which may be read left to right (e.g. with

languages using Latin, Cyrillic or Greek alphabets) or right to left (e.g. with

writing in Arabic or Hebrew), (5) presented on the screen as they are not

needed to be subbed, and (6) in sync with the original verbal message.

In some countries, TV stations accept subtitles on the top of the screen in

cases where important visual information is found in the lower fifth of the

picture. Subtitles need not be horizontal, either. In Japan vertical subtitles are

sometimes used to supplement horizontal subtitling. Normally, subtitles are

cued in advance, allowing for absolute synchrony (Gottlieb, 2004). With news

items, and on TV stations not yet equipped with state-of-the-art subtitling units,

subtitles – though prepared in advance – are cued on air, in real time. Due to

human physiology, this causes a delay of approximately one third of a second.

Still, such subtitling must be considered synchronous, as opposed to

simultaneous subtitling, in which not only cueing, but also the phrasing of

subtitles is performed in real time, leading to massive delay (Díaz-Cintas &

Remael, 2007).

Gottlieb (1994, P.294) arrived at a typology of subtitling strategies,

employing ten categories which was introduced and applied as the theoretical

frame work of this study. This study confirmed that in Persian to English

Subtitling, the strategies did not appear exclusively. Instead, Gottlieb’s

strategies often appear simultaneously in combination with one another and

52
they were applicable to the corpus of this study with some degree of variation

of distribution among different episodes.

The findings of this research could highlight the important role of being

familiar with different subtitling models and their functions for translation

students in order to do more accurate and fluent translation.

The fast increase in new translational activities required translators to learn

new skills. It would be satisfactory to include appropriate training courses at

universities including AVT training courses in the same way as other areas of

translation are taught.

In short the authors hoped the findings of the present study be useful for

those interested in the topic, professionals, and those planning to start a career

in AVT translation, especially subtitling.

53
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