چکیده:
This study aims at investigating voices in the Persian translation of Katherine Mansfield's The Garden Party. In so doing, after a stylistic analysis of the voices in the original is done, it is argued by the authors that the polyphonous nature of the story is to a great extent due to the deployment of various sociolects in the story as well as the choice of Free Indirect Discourse (FID) as the mode of narration. Then, consider-ing these stylistic features, a comparison is made between the original text and translation. In the light of the comparison, it is revealed that the range of voices heard from the translation is limited compared to the original. This diminishing of the voices in the translation is argued that is partly attributable to the observed decrease in the range of sociolects in the translation as well as the partial failure in reproducing the grammatical features of FID. All in all, this study adds one more piece of evidence to the hypothesis made in the discussions of voices and ideology in translation as to the tendency of translators to bring voices together.
خلاصه ماشینی:
As stated by Han- son (1990) there is a connection between Mans- field's position as a woman writer, her position as an inferior colonial, her choice of short story for her literary expression, which is perceived as a minor form, and the emphasis of her work on voices which implies an emphasis on voiceless- ness: they all share the very element of margin- ality.
Along the same lines, Munday (2008) in his insightful discussion on discursive presence, voice and style in translation refers to three ele- ments of narrative fiction in contemporary narratology: story, text and narration.
Voices are sometimes fragmentary, half-heard and half-imagined implying the inadequacies of language in conveying transparent moments (Feenstra, 2009), and this goes hand in hand with the form of short story which is chosen to reflect the problems of articulation and representation (McDonald, 2005): Never a more delightful garden-party .
To fully discuss the voices, the authors put forward a two-partite general classification of the techniques employed by Mansfield to incorporate voices into her story: variations in the sociolect of the characters and the use of FID as the mode of narration.
ناج زیزع The choice of words and expressions like "بموگ", "قیفر", "وهنیع", "مشچ یوت دروخب تشم وهنیع", and the use of broken language to show colloqui- alism in cases such as "موناخ", "وهنیع", "هی", "هسکع", "یچیه", "هد یمن نوشن" and "شنیشخب یم" sub- stantiate the above-made claim about the aware- ness of the translator.