This document discusses adaptation as a translation strategy where the themes, characters, and plots are preserved from the source language but the culture is converted to the target culture. It provides an example of Shaw's play Pygmalion being adapted to Moroccan Arabic by replacing the place names with Moroccan cities and using the Moroccan dialect. The document also includes tasks to adapt an excerpt from Shaw's Arms and the Man to an Arab culture and to translate common English proverbs while adapting them to Arabic culture.
This document discusses adaptation as a translation strategy where the themes, characters, and plots are preserved from the source language but the culture is converted to the target culture. It provides an example of Shaw's play Pygmalion being adapted to Moroccan Arabic by replacing the place names with Moroccan cities and using the Moroccan dialect. The document also includes tasks to adapt an excerpt from Shaw's Arms and the Man to an Arab culture and to translate common English proverbs while adapting them to Arabic culture.
This document discusses adaptation as a translation strategy where the themes, characters, and plots are preserved from the source language but the culture is converted to the target culture. It provides an example of Shaw's play Pygmalion being adapted to Moroccan Arabic by replacing the place names with Moroccan cities and using the Moroccan dialect. The document also includes tasks to adapt an excerpt from Shaw's Arms and the Man to an Arab culture and to translate common English proverbs while adapting them to Arabic culture.
This strategy is considered as the freest form of translation, and it is not usually differentiated from the following types (free translation). Adaptation is used mainly for plays (comedies) and poetry; the themes, characters and plots are usually preserved, the SL culture is converted to the TL culture and the text is rewritten. The following excerpt from Shaw’s Pygmalion (1912) is translated into Moroccan Arabic where names of places are replaced by Moroccan cities. THE NOTE TAKER: And how are all your people down at Selsey? THE BYSTANDER: [Suspiciously] Who told you my people come from Selsey? اكش؟8كي دايرين داركوم في مر باش عرفتي دارنا في مراكش؟ Selsey is translated asكش8ا8مر, . This choice might be justified by the translator’s attempt to adapt the play to the Moroccan setting; thus choosing a village in Morocco as well as the use of the Moroccan dialect in the translation. TASK 1 Translate the following excerpt from Act 1 of Shaw’s Arms and the Man, adapting it to the culture of an Arab country you are familiar with. RAINA [laughing and sitting down again] Yes, I was only a prosaic little coward. Oh, to think that it was all true – that Sergius is just as splendid and noble as he looks – that the world is really a glorious world for women who can see its glory and men who can act its romance! What happiness! What unspeakable fulfillment! Ah! [She throws herself on her knees beside her mother and flings her arms passionately round her. They are interrupted by the entry of Louka, a handsome, proud girl in a pretty Bulgarian peasant’s dress with double apron, so defiant that her servility to Raina is almost insolent. She is afraid of Catherine, but even with her goes as far as she dares. She is just now excited like the others; but she has no sympathy for Raina’s raptures and looks contemptuously at the ecstasies of the two before she addresses them.] TASK 2 Translate the following proverbs from English adapting them to the Arabic culture. 1. The proof of the pudding is in the eating. ............................................................................................................ .... 2. Love me, love my dog. ............................................................................................................ .... 3. A Jack of all trades is a master of none. ............................................................................................................ .... 4. Haste is waste. ............................................................................................................ .... 5. Still waters run deep. ............................................................................................................ .... " .1تبقى العبرة في التنفيذ’ .2 اللي بغانا نبغيوه .3سبع صنايع و الر8زق ضايع .4في العجلة الندامة .5اللي تحسبه موسى يطلع فرعون