Drawing upon Julia Kristeva’s 1969 theory of intertextuality and based on Leppihalme's model for translating allusions (1997), this study analyzes how Iranian translators of T. S. Eliot’s poetry have dealt with rendering his allusions into Persian and what major strategies they have used to undertake the task. The analysis of four of Eliot's most heavily allusive poems "The Love Song of J. Alfred Prufrock", The Waste Land, "Hollow Men" and "Ash Wednesday" along with their sixteen different translations into Persian reveals that ‘name retention’ for PN allusions and ‘minimum change’ and ‘explicit explanation’ for KP allusions are the most frequent translating strategies. The study will also show that there has been a significant decrease in the frequency of minimum change strategy and a proportionate increase in the frequency of explicit explanation strategy over the course of the four decades of translating Eliot since the 1960s in Iran. This implies translators’ increasing tendency and preference over time towards producing more target-text, reader-oriented translations.
Ahmadgoli, K., & Menbari, S. (2011). T. S. Eliot's Poetry in Persian:A Case of Translating Allusions. Research in Contemporary World Literature, 16(63), 5-23.
MLA
Kamran Ahmadgoli; Serveh Menbari. "T. S. Eliot's Poetry in Persian:A Case of Translating Allusions". Research in Contemporary World Literature, 16, 63, 2011, 5-23.
HARVARD
Ahmadgoli, K., Menbari, S. (2011). 'T. S. Eliot's Poetry in Persian:A Case of Translating Allusions', Research in Contemporary World Literature, 16(63), pp. 5-23.
VANCOUVER
Ahmadgoli, K., Menbari, S. T. S. Eliot's Poetry in Persian:A Case of Translating Allusions. Research in Contemporary World Literature, 2011; 16(63): 5-23.
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