Abstract
The main question raised in this paper is: Is it possible to translate the ‘genre’
of Quran? And if this ‘genre’ is Quran specific, a ‘genre’ of its own, i.e. a unique one,
how can the Quranic text be translated from Arabic into English or any other
language? This question has been raising a lot of controversy among translation
theorists, linguists, philosophers and scholars of Islam and specialists in the sciences
of Arabic language let alone Quran exegetes. Scholars of the Arabic language and
scholars of Islam have argued that because of the genre of Quran is the genre of (ijaz),
translatability can never be possible. Equivalence, thus, cannot be achieved especially
if we know that so far there has been no unanimous definition of the term.
Therefore, what translators of the Quranic text are involved with is transferring
meaning of the Quranic text. But meaning (content) is encapsulated in the Form
which is distinctly and uniquely rhetorical in Quran. In other words, such an
inextricable content-form relationship should make the process of transferring
meaning not an easy one at all, especially as we know that the Quranic text is sacred
and sensitive.
Thus, the periphrastic way which has already been put forward by Raof
(2001: 6) can be seen as a convenient solution to achieve a degree of approximation
between the source text and the target text.
Having supported the notion of approximation, I opted to choose certain
verses with certain syntactic and lexical aspects from the Quran. The point is to
compare three versions of translations of each verse to see which version is most
approximate to the Quranic text of the verse. The three versions are by Abdullah
Yusuf Ali (non Arab Moslem), Marmaduke Pickthall ( a British national who
converted to Islam) and Ahl-lul-Bait institution ( a Moslem Assembly with Arabic as
mother tongue).
To support my argument, I relied on Al-Mezan Fi-Tafseer Al-Quran (Al-
Mezan Exegesis) by the Moslem scholar Mohammed Hussein Tabatabae (2006) and
the authentic monolingual Arabic Dictionary Lisan Al-Arab (Ibn Manzur: 2005 ed.4).
One main conclusion made in this paper is that the task of translating the meaning of
Quran cannot be rightfully carried out by translators on individual basis. Rather, it
must be institutionalized. There is a need for setting up a special institution entrusted
with such a meticulous job.
Approaching the turning of the millennium, the American theatre witnessed an arousing
interest much shown in patients suffering of severe diseases as a subject matter to drama. In a
discussion of Margaret Edson's Wit, the light is shed on how far such patients, who were literally
involved in secular visions during their life-time, become apt to create a different one on their
death beds. The vision newly blossomed becomes much rooted in the spiritual life; it is a
redemptive vision that can amend what those patients' hearts and minds have long ignored.
Further, the human touch that has been ignored during man's healthy secular life is ultimately
needed for the time being. It helps to enhance man's vision towards the
Research summary
Informing means informing and informing, which is conveying information to someone and confirming his narration with it. Accordingly, information is its main content..and it has multiple means, including visual, audio and read, and it has become the dominant role in the process of socialization, and much of what we hear, read, or watch in the media is not devoid of a goal, and expresses that scientifically as “charged with values” ( Value Loaded)..Values that are: the set of beliefs that the individual holds towards things, meanings, and various aspects of activity, which direct his desires and attitudes towards them, and determine for him acceptable and unacceptable behavior, right and wrong, and all of this
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The study of the current study (to the concept of the aesthetics of the imagined in Iraqi ceramics (Saad Shaker) as a model for the study, as it represents one of the most important plastic arts that was characterized by renewal and modernity and its possession of many creative potentials. And by glazing, and the use of color oxides or by the creative act of borrowing the cultural heritage to turn it into a vocal piece of art for creation and innovation.
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In the marsh of the vast technical development and its reflections on the public life in all of its forms man lives in the shade of this and that and he is in a disprate need to took attentively at his reality through a new artistic vision which the imagination gives it , its value, from this point we find the designers pay great efforts in creating advertising designs that creation and fertile imagination are consisting one unit, and through her flying study on the reality of employing the creative imagination in the designing of printed advertisements, the researcher submitted her questions where some of which are: -What are the requirements of employing the creative imagination in the designing process? And -What are the machineries o
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The objective of this study is to enable the role of modern and advanced computerized information systems. The model or mechanism should be developed by collecting the necessary information about the taxpayers and the sources of the taxpayers' income, on the basis of which the accuracy of the inventory process will be adopted. In addition to studies related to computerized information systems and showing their importance to the tax institution. To achieve the objectives of the study and to answer its questions, the researcher relied on collecting data and information on the subject on the literature and previous studies The secondary sources, which also formed the theoretical framework of the study, were obtained either as a practical fr
... Show MoreThis research deals with one scene from the movie Romeo and Juliet, which is the balcony scene, due to the importance of this scene in the formation of the construction of the subsequent events of the movie.
The first chapter contained the methodological framework of the research, where the research problem was identified in how Zeffirelli dealt with the balcony scene in the play Romeo and Juliet and enriched it in the cinematic language with a comparison with the original text of the scene. In the balcony scene with comparative parts between the film and the text and the limits of the research that was limited to the film Zeffirelli and the translated text by Munis Taha Hussein.
The second chapter contained the theoretic
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