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Translating Confessional Difference: Eco's Semiotic Hermeneutics in Two Persian Translations of Joyce's A Portrait of the Artist as a Young Man | ||
| پژوهش‌های زبان‌شناسی: نظریه و کاربرد | ||
| مقالات آماده انتشار، پذیرفته شده، انتشار آنلاین از تاریخ 27 مهر 1405 اصل مقاله (703.53 K) | ||
| نوع مقاله: مقاله پژوهشی | ||
| شناسه دیجیتال (DOI): 10.22034/jls.2026.146723.1418 | ||
| نویسنده | ||
| Marziyeh Malekshahi* | ||
| Assistant Professor, Department of English, Damghan University, Damghan, Iran. | ||
| چکیده | ||
| James Joyce’s A Portrait of the Artist as a Young Man (1916) traces the religious crisis of Stephen Dedalus, an Irish boy formed by the doctrinal categories of Roman Catholicism. This article asks what happens when such a confessionally specific narrative is translated into Persian, whose readers inhabit a religious horizon shaped overwhelmingly by Shia Islam. Two translations are examined: Parviz Daryush’s 1991 rendering and Manouchehr Badiee’s 2001 retranslation. Drawing on Umberto Eco’s semiotic hermeneutics, including the intentio operis, unlimited semiosis oriented toward a final interpretant, and the distinction between interpreting a text and merely using it, the article develops a framework for assessing how each translation negotiates this confessional distance. The analysis shows that Badiee’s substitution of Islamic theological vocabulary for Catholic concepts exceeds what the text’s internal logic permits more often than it respects it,. Daryush’s translation preserves the foreignness of Catholic concepts at the cost of intelligibility. | ||
| کلیدواژه‌ها | ||
| intentio operis؛ unlimited semiosis؛ James Joyce؛ Persian translation؛ Umberto Eco | ||
| مراجع | ||
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آمار تعداد مشاهده مقاله: 7 تعداد دریافت فایل اصل مقاله: 2 |
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