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The Process of Literary Translation

2. 1 Literary Translation

Translation process can be an artistic communication between your author, the translator and the reader and the words employed by the translator constitutes the major part in the process of interacting ideas or emotions of the author. "Literature is both the condition and the place of imaginative communication between senders and addressees or the public" (Basnett, 2002)

The translator is the first person who must comprehend, read and interpret the source content material then to render it in another medium.

Literary translation includes fiction, poetry, theatre and the vocabulary arts must be studied under consideration by the translator.

The purposes of the translator are to transfer the info but also to make an comparative form of artwork.

The beauty of the translators' work is that they bring a great contribution to the creative process being named area of the literary world.

The literary translator must therefore possess a great understanding of both the TL culture and language and the SL culture having the ability to command tone, style to glean so this means for ambiguity and to identify with the author's style and thoughts.

Literary texts are seen as a rhetorical and cosmetic value. There is a strong interconnection between form and content within literary text while the non literary words the content is separated from the composition.

Translation problems and solutions

2. 1. 1 Basic concepts

First of all it is clear that each book is different and it presents its problems. Because of this the translator of literary fiction is the one who makes most of the critical decisions when it comes to create the best translation. It is thought that it is sometimes more important to make a translation that can evoque the heart and particular energy of the initial rather than making a translation faithful to the initial.

Usually this is the primary matter of a translator because one may think that taking these liberties may be observed as unprofessional. The brand new work, the new translation is really an interpretation of the original therefore it is not essential to preserve literal words and phrases in order to be faithfull to the ST. On contrary, , translators are encouraged to use their creative capabilities to adapt the initial text.

Translators maust take hazards as it pertains to provide a good translation in order for the readers to understand the writer 's message. This may not be performed by pursuing "word after word" translation since it would not induce the interest of the readership.

A literary translator must have the skills to transmit emotions, culture, nuances, humour and other components of the masterpiece.

According to Sachin Ketkar in the field of Literary Translation, the "central problem is to get the TL equivalence for top features of the initial as style, genre, figurative terms and historical stylistic proportions, polyvalence, connotations as well as denotations, cultural items and culture specific concepts and values"

2. 1. 2 Titles

Title of an book, articles, or a paper is the factor which captures the attention of the general public.

The name is nowadays a commercial decision and sometimes a total change is necessary in a translator's activity in order to entice the world of consumers, viewers. The decision of changing or adapting a name must be made tough based on this content of the precise text.

One of the instances where the subject was stored in the translated text message as original is the truth of Sandra Smith-the one who translated the book "la suite Francaise"- who made a decision to keep the subject in French even though she was skeptical about the popularity of her translation in the American narket. However the booklet was a great success in UK AND US. in 2007.

The Italian Levi Primo didn't consent to change the subject of his books. The title of one of his books "If this is a man" was an integral part of the booklet, but it was altered in the American release into "Escape from Auschwitz" a title which he considered unacceptable and vulgar.

"La chiave a stella" another book of the Italian copy writer was released in US under a new title "The Monkey's wrench" which was not ideal because the subject refered to a certain form and the apostrophe transformed its sense.

Gill Paul in his publication states that counting on a literal translation for a title is a common mistake because the translator may decide on a misleading title which may affect the visitors' effect.

Literary translators should be creative as it pertains to decide to discover the best title when translating a publication.

2. 1. 3 Stylized language

Translating a wording can be a real task when the precise wording was written in a specific style in the past. Even contemporary authors may have a method which can pe difficult for a translator. The catch is if the translator determines to update the text to make it accessible, therefore may loose distinctive use of vocabulary and other characteristics of the initial text.

"No person would be prepared to read Shakespeare in Modern British" because it would loose its beauty.

Gill Paul suggests some advice to be able to render a proper translation. He declares that if the writer of a booklet is still alive, it would be wise to actually get in touch with the artist to be able to obtain a better knowledge of its masterpiece. Regrettably this option is not necessarily available, therefore translators must become quite simply the artists that can recreate a new style but to really have the same effect that can be percepted by the readership.

Translators must often become their own critics in order to get the correct mood, build and style with the initial.

Sometimes, certain emotions can effect the style of a text which it might be a negative part of your translator;s work. Because of this, translators should always keep a target attitude towards their work, sometimes changing the immediate conversation into indirect talk or sometimes they can leave the passage out.

Something will have been lost but the important thing is the fact translation shouldn't call attention to itself because it can wreck the readers connection with the booklet" (Gill Paul)

Strong language

I privately find "bad dialect" very difficult to convert as literal translation. Translators tend to ignore the strong language because they are uncomfortable with it. In a few ethnicities, swearing is a more common activity than any other thing. In English-speaking countries, bad terms is considered less acceptable. The primary problem is that sometimes there is absolutely no comparative which can match the other culture, language to be translated.

Robert Chandler experienced encountered bad words when translating the Russian words "The Railways"

"Curses and swearwords present a particular problem for translatorsour lexicon of abusive dialect is oddly limited and the more flared curses still common in Russian have a tendency to sound laughable if translated in any way literally"

He suggests simplifying the words by having our own belief of the substance of the bad words in the other culture. Swear words function as vehicles of home expression. You will discover 3 ways to translate the strong dialect.

The most effective method which cannot always be used is to get the word's equal in the TL, but swearwords are occasionally culturally derived plus they have no perfect equivalence or perfect translation.

Another way to convert the bad dialect is to rephrase the word, which means avoiding the word involved, not always faithful to the initial wording. Translating "phrase by phrase" is another way to convert the bad language but it does not always match this is of the term itself.

Translators must deal with censorship and must choose between translating the text as it is worded or changing it to represent the speech patterns of the TL.

Translators agree that is not professional to omit specific words founded only on moral or moral grounds. The text itself is not targeted towards them therefore they shouldn't take it as offence which is in their best interest to provide a faithful translation.


In this area the, the main issue with slang is selecting the appropriate terms.

G. Paull says that in this area "it can be a question of getting the right translator for the job". He also represents the account of the best translator for colloquialism:

Translators with a good working knowledge of colloquialism, dialect and slang in the local country, that can get over the meaning and help come up with equivalents that are appropriate, do not jar with the reader and most notably, do not time.

Translators must be sensitive to the culture and colloquial distinctions of different countries.

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