بررسی تطبیقی دو ترجمه اتللو با رویکرد نشانه شناسی فرهنگی

Abstractthis article is a comparative analysis between shakespeare’s othello and two persian translationsof this drama by abol ghasem khan naseralmolk and m.a. beh’aazin. the current study tries toconsider problems of dramatic translation of the text. the main objective of this article is to considerthe necessity of cultural semiotics in translating of dramatic texts. although in these texts, it is impossibleto separate text from performance, since theatre consists of the dialectical relationship betweenboth of them, and also dramatic texts are not complete without performance. but the authors havetried to look at dramatic texts as independent elements. they mainly tend to find some answers to thefollowing questions: in addition to dominance to the source language and target language, is it necessarythat the translator dominate cultural semiotics? should translator compare signs- and especiallythe cultural ones- meaning in the source and the target languages? culture and cultural code have anessential role in sign decoding especially in translation process. culture is made of various kinds ofdiscourses as artistic, literal, politic, religious, etc. therefore literary discourse is just one part of culturein each society. in translation, especially in literally ones, cultural code should be considered asimportant as metaphoric and metonymic relations and indeterminacy of signs and semantic deviation.the signs are different in each language. they are encoded by language readers and context. in literarytranslation, poetic sense should be conveyed as well as intended message and sign meaning. thatis why some of the signs are transformed without any change, some transform according to the culturalcode of target language and some disappear. some times in this process, translator adds signs tothe text. because of different meanings of the signs, it is impossible to attain to the author’s mind. inthe process of translation, the cultural differences cause to not relate with text. besides each writer hashis/her “personal accent”. it is a product of personal ideology, the period and climate, experiences andcontinents, cultures, observations, religions, contemporary politics and other factors. in translationthe” personal accent” of the writer is as important as the translator’s one. it is clear that shakespeare’s“personal accent” in not exactly the same as m.a. beh’aazin or abol ghasem khan naseralmolk’saccent. in other words shakespeare’s cultural lung had been filled with different kind of oxygen. suchfactors act as finger prints that everyone has his/her own special one. whilst it seems that the sourcetext and target text are equal and tantamount, translating act is a process of renovation and recreationof text. the processes of translation involved in making another culture comprehensible. there are directrelations between languages and literary texts and culture. if there is an interconnection betweenlanguage and the thought, and culture and what the writers write, understanding the culture is veryessential factor. translation of dramatic texts is formed in two steps. first the task of translator is totranslate text to the target language and then the director, again, translates the text into a specific languagewhich belongs to the stage. in this process, culture and cultural semiotics have important roles