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Showing 2 results for Adaptation
Aysa Arjmandpour, Hossein Bahri,
Volume 25, Issue 2 (9-2022)
Abstract
The novel Les Miserables (Hugo, 1985) is one of the most universally translated works, and there are a number of adaptions in several languages. One recent adaption is the Persian musical play performed in Iran. In this performance, culture-specific items (CSIs) were translated differently since visual and aural elements were added to the stage. The present study aims to investigate translation strategies used in the above adaptation to indicate what translation solutions are possible when the medium changes. After watching the ninety-minute recorded play in VOD format, culture-specific items were selected purposively corresponding to those in the novel. Subsequently, they were analyzed based on Newmark's model (1988). The findings showed that the most frequent translation strategies applied were adaptation, followed by communicative translation, and literal translation. Compared with the original performance, some scenes were deleted from the recorded play. Hence, there was no exact one-to-one correspondence with the original text of the book. While instances of censorship contributed to some of these omissions, probably one reason for the issue is the publishing regulations administered in Iran for VOD formats of the plays. These results suggest that while target language-oriented strategies dominated the entire translation approach, the translator of the play tried to familiarize the audience with French culture through literal translations and with the help of visual and aural aids. Since the audience were presented with pictures and songs, it was easier for them to locate themselves in the era of the French Revolution and French customs.
Mr. Mohammadtaghi Ghasemi, Ms. Fatemeh Bornaki, Mr. Abbas Godarzi,
Volume 27, Issue 2 (9-2024)
Abstract
Few dramatists have achieved the global reach and adaptability of William Shakespeare. In Iran during the Pahlavi era (1925–1979), Shakespeare’s works entered cinema in ways shaped by modernization, secularization, and Western influence, yet mediated by censorship and persistent patriarchal norms. While tragedies addressing regicide and royal authority were largely unstageable, filmmakers adapted “safe” plays like The Taming of the Shrew into the commercial filmfarsi genre, blending melodrama, comedy, and spectacle. Davoud Esmaili’s 1969 feature The Cat Is Killed at the Bridal Chamber, inspired by both Shakespeare’s play and Zeffirelli’s 1967 film adaptation, exemplifies this process, presenting the comedy through exaggerated humor while normalizing masculine aggression and female subordination. Employing Linda Hutcheon’s theory of adaptation and Laura Mulvey’s concept of the male gaze, this article examines how the film reinterprets The Taming of the Shrew not as critique but as reinforcement of patriarchal authority, revealing how filmfarsi both reflected and intensified gender hierarchies.
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