SEIKHBAHAEE UNIVERSITY
SCHOOL OF FOREIGN LANGUAGES
TRANSLATION OF SPEECH STYLE IN
POLYPHONIC NOVELS: A CASE STUDY OF THE
PERSIAN RENDERINGS OF FOUR NOVELS
A THESIS SUBMITED IN PARTIAL FULFILLMENT OF
THE REQUERMENTS FOR THE DEGREE OF MASTER OF
ARTS IN TRANSLATION STUDIES
BY
FATEMEH TORKAN
SUPERVISOR
DR.H. VAHID DASTJERDI
DECEMBER, 2012
1
SheikhbahaeeUniversity
School of Foreign Languages
Department of English
THIS IS TO CERTIFY THAT THE CONTENT, FORMAT AND QUALITY OF
PRESENTATION OF THE THESIS SUBMITTED BY
FATEMEH TORKAN
ENTITLED:
TRANSLATION OF SPEECH STYLE IN POLYPHONIC
NOVELS: A CASE STUDY OF THE PERSIAN
RENDERINGS OF FOUR NOVELS
IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF
M.A. IN TRANSLATION STUDIES IS ACCEPTED AND APPROVED BY
THE THESIS COMMITTEE.
SUPERVISOR: DR.H. VAHID DASTJERDI...….…………………………………
INTERNAL EXAMINER: DR. M.H.TAHRIRIAN
EXTERNAL EXAMINER: DR. M.R. TALEBINEZHAD…………….……….…
DEAN OF GRADUATE SCHOOL: DR. S. M. H. FEIZ ….………………….……….
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Declaration
I declare that this thesis was composed by myself, that the work contained herein is my own
except where explicitly stated otherwise in the text. This work has not been submitted for
any other degree or professional qualification except as specified.
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Table of contents
Title
Page
Chapter One: Introduction
1.1. Introduction …………………………………………………………………….
1
1.2. Statement of the Problem ……………………………………………………..
3
1.3. Significance of the Study ………………………………………………………. 4
1.4. Research Questions …………………………………………………………….. 5
1.5. Definition of Key Terms ………………………………………………………. 6
Chapter Two: Review of Literature
2.1. Overview ………………………………………………………………………. 7
2.2. Style: Definitions and Concepts ………………………………………………. 7
2.2.1. Style in Literature ………………………………………………………... 9
2.3. Stylistics ……………………………………………………………………….. 10
2.3.1. The Significance of Stylistics in Literary Studies ……………………...... 11
2.3.2. The Significance of Stylistics in Translation Studies ……………………. 12
2.4. Dickens's Style ………………………………………………………………..... 13
2.4.1. Polyphonic Novel ………………………………………………………… 16
2.4.1.1 Dickens‘s Novel As Polyphonic Text …………………………….. 16
2.5. Idiolect ………………………………………………………………………..... 17
2.5.1. The Significance of Idiolect and Sociolect in Dickens's novel ………...
18
2.5.1.1. Functions of Stephen's Idiolect …………………………………...... 20
2.5.1.2. Functions of Rachael's Idiolect …………………………………........ 21
2.5.1.3. Functions of Sleary's Idiolect ……………………………………...... 22
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Title
Page
2.5.1.4. Functions of Idiolects of Mr. Gamfield, Barney
and Artful Dodger
………………………………………………………………… 23
2.5.1.5. Functions of Jo's Idiolect ……..……………………………….……. … 24
2.5.1.6. Functions of Ham and Daniel's Idiolect ………………………….... 25
2.7. Literary Translation ………………………………………………………… 27
2.7.1. Translation of Style ………………………………………………………. 26
2.7.2. Translation of Idiolect and Sociolect …………………………………… 29
2.8. Van leuven-Zwart's Model of Translation …………………………………… 32
2.9. Conclusion …………………………………………………………………… 33
Chapter Three: Methodology
3.1. Overview ……………………………………………………………………... 34
3.2. Materials …………………………………………………………………….. 34
3.3. Characters
…………………………………………………………………... 37
3.4. Models …………………………………………………………………….…. 39
3.5. Procedures …………………………………………………………………… 39
Chapter Four: Data Analysis
4.1. Overview ……………………………………………..………………………. 41
4.2. Analysis of the Data …………………………………………………………. 41
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Title
Page
4.2.1. Stephen Blackpool …………………………………………………..
4.2. 2.Rachael
41
…………………………………………..…………………… 52
4.2.3. Mr.Sleary
……………………………………………………………... 59
4.2.4. Jo …… .............................................................................................. 66
4.2.5. Artful Dodger ……………………...…………………………………… 74
4.2.6. Mr. Gamfield ………………………… ………………………………... 79
4.2.7. Barney ………………………………………………..………………….. 82
4.2.8. Ham and Daniel …………………………..……………………….…… 84
4.3. Results …………………………………………………………………...……. 93
Chapter Five: Discussion and Conclusion
5.1. Overview ……………………………………………………………………. 95
5.2. Discussion …………………………………………………………………….. 95
5.3. Conclusion …………………………………………………………………… 102
5.4. Implications of the study …………………………………………………… 104
5.5. Limitations of the Study …………………………………………...……….. 105
5.6.. Suggestions for Further Studies …..……….………………………...……… 105
Appendix 1 ………………………………………………………………………. 106
Appendix 2 ……………………………………………………………….……… 124
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Acknowledgement
This thesis is the result of a long time work and the help of the intellectual and
emotional support that I received from my professors and my family. I would like to
thank them all here.
First and foremost, I would like to express my deep and sincere gratitude to my
supportive supervisor Dr.Vahid for his encouragement and illuminating guidance.
This work would not have been accomplished without his helpful comments on
revising and editing this thesis.
My sincere thanks go to all my benevolent and thoughtful professors, who thought
me.
Last but not least, I would like to express my special warm thanks to my family for
their patience, encouragement, and understanding during my studies.
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Abstract
Style is an intrinsic feature of every literary piece of writing achieved through the
special use of linguistic structures, whereby the author tries to have the strongest
possible impression on his readers. In this study the selected model for stylistic
analysis was Bakhtin's (1973) theory of the 'polyphonic' novel.
To investigate how polyphonic structure of the selected novels for this study had been
treated in Persian rendering, this research focused on the translation of idiolects as one
main techniques of creating the polyphonic structure. According to Van leuvenZwart's model any changes to the characters' idiolectal languages as the
microstructural levels impact the polyphonic structure as the macrostructural level.
Therefore nine characters‘ idiolectal languages were selected from four polyphonic
novels, i.e. Hard Times, Oliver Twist, Bleak House and David Copperfield. Then the
translations of the idiolectal languages were compared with their original equivalents.
Results indicated total neglect of idiolects in the translations. The neutral language,
which was the standard language or in the most cases the standard one interspersed
with occasional non-standard forms, was the preferred language for the translation of
idiolectal languages. In doing so, the translators had followed as closely as possible
only the surface structure of the novels at the expense of the underlying polyphonic
structure. Therefore the translators have deprived the target-text readers from a better
understanding and appreciation of the polyphonic structures of the novel.
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Chapter One:
Introduction
1.1. Introduction
Nida (1973) holds that "Style is not the frosting on the cake, but an integral part of the
text right from the beginning (p.36). Nord also (2006) states that most translation
theorists agree that translation should be preceded by textual analysis. One possible
model for stylistic analysis of the structures of the novels is provided by Bakhtin's
(1973) theory of the 'polyphonic' novel (Fowler, 1989).
Bakhtin has proposed that there are two basic modes of representational fiction:
monologic on the one hand and polyphonic or the dialogic on the other. Monologic
novel, which he claims has been the dominant traditional form, undertakes to
subordinate the voices of all characters to the authoritative discourse and controlling
purposes of the author (Abrams, 2005); the author insists on particular ideology which
he voices, and the characters are 'objectified', depending on the authorial position, and
evaluated from the point of view of that position (Fowler, 1989). It is dominated by
the author's single voice and one-sided view. In this type of novel, the author's like
and dislikes, and sympathies and ironies toward particular characters, may be evident
to readers (Masayuki, 2008, p.49). In polyphonic novel, which is the 'ideal' novel where
multiple views are allowed to exist, the characters are liberated to speak "a plurality of
independent and unmerged voices and consciousnesses, a genuine polyphony of fully
valid voices (Abrams, 2005). The characters achieve voices, and points of view, which
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challenge the validity of the authorial position. The musical metaphor of polyphony
refers to the co-presence of independent but interconnected voices (Fowler, 1989).
Bakhtin views all levels of society as the real origin of dynamic power. Customs,
lifestyles, habits, beliefs, thoughts, and images of the popular are the vital energy and
the strongest force in the formation of all societies. They are the real source of the
power of human language.
In the same spirit, the salient feature of novelistic
discourse in a well-written novel are the speeches adopted by the author for his
characters, which directly carry out or reflect the social elements of society (Wu,
2008). He observes that marked linguistic individuation of fictional characters may
lead to an impression of closure, a feeling that the author has definitely analyzed a
character and placed a boundary around its imaginative or moral potential: 'characters'
linguistic differentiation and clear-cut 'characteristics of speech' have the greatest
significance precisely for the creation of objectivized, finalized images of people
(Fowler,1989). So speech styles need not be just caricaturing oddities, but to transcend
caricature they must encode characters world-views as dialectical alternatives to the
world- view of the author and/or other characters.
Originally, Bakhtin (1973; 1984) had claimed that Dostoevsky is the first novelist to
achieve such multiplicity defined as "polyphony". However, polyphony is not
exclusive to Dostoevsky's novels. Bakhtin (1981) includes the novels of other writers
such as Dickens as a type of polyphonic text.
Dickens's Hard Times as a polyphonic novel contains a large number of diverse
characters and groups of characters of very different social origins and affiliations,
putting forward many and clashing points of view. There are contrasts in the speech
style of many characters and the multiple voices in the novel interact with one
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another. These voices are revealed as discordant and fluctuating in terms of views they
express. Bleak House, Oliver Twist and David Copperfield also have polyphonic
structure. The aim of the study is to determine whether the polyphonic structure of
these novels has been reconstructed in their Persian translations or the multiplicity of
voices in these polyphonic novels has been reduced to the monotone translations
through the employment of simplification and normalization of linguistic diversities.
As there are different techniques to create polyphonic structure, the focus of this study
is on the identification and translation of the idiolect as one variety of speech
diversities.
1.2. Statement of the Problem
Bakhtin (1981) defines novel as a diversity of social speech types (sometimes even
diversity of languages) and a diversity of individual voices, artistically organized. The
internal stratification of any single national language into social dialects, characteristic
group behaviour, professional jargons, generic language:;, languages of generations
and age groups, tendentious languages, languages of authorities, of various circles and
of passing fashions, languages that serve specific sociopolitical purposes of the day,
even of the hour, (each clay has its own slogan, its own vocabulary, its own
emphases)- this internal stratification present in any language at any given moment of
its historical existence- is the indispensable prerequisite of the novel as a genre (26263).
These speech diversities as one constituent of polyphonic novel and generally as
essential element of novel as a genre play a truly essential role in the novel because
they are actually "convictions" or "points of view on the world ( Bakhtin.1984, p.33).
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The diversity of speech styles in novels poses specific difficulties for translation. As
Berman (2000) points out this is the central problem posed by translating novels—a
problem that demands maximum reflection from the translator (296). If the translator
is deaf to various voices in the original text and purges his work from these speech
diversities, the result will be reducing a polyphonic structure to monologic one. The
free people of original text with their own world view, capable of standing alongside
their creator and even skipping out of authorial control, capable of not agreeing with
him and even of rebelling against him will turn to voiceless slaves who are dominated
by the author's single voice and one-sided view.
The focus of the present study is on the translation of idiolects as one varitey of
speech diversities and also as one of the main techniques of creating the polyphonic
structure. Idiolects are not peripheral linguistic devices for only creating comic
effects. As Halliday's functional theory of language (as cited in Fowler, 1989) states,
the language varieties and speech styles within a community, or 'registers', encode
different kinds of meaning, different orientations on experience and embody different
worldviews. Thus idiolects are massages as well as mediums. Different voices and
points of view are achieved through them in polyphonic novels.
The researcher has felt the void in research on the translation of idiolect from English
into Persian.
1.3. Significance of the Study
One of the areas of research in translation studies is concerned with individual case
studies. Translation studies as Baker (1998) points out, "cover the whole spectrum of
research and pedagogical activities, from developing theoretical framework to
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conducting individual case studies to engaging practical matters such as training
translators and developing criteria for translation assessment"(p. 277).
Descriptive translation studies contribute to establishment of general theoretical
principles and frameworks for the conduct of translators and a better understanding of
the nature of translation. Based on the Holmes' map of translation studies, the focus of
product- oriented descriptive translation studies is the descriptive of individual
translations (Holmes, 1987).
The focus of this research is on the translation of the polyphonic style. The second of
the "three laws of translation" formulated by Tytler (1997) states that the style and
manner of writing should be of the same character with that of the original. Eugene
Nida (1993) also holds that "Style is not the frosting on the cake, but an integral part
of the text right from the beginning. It is usually better to aim first at a stylistically
satisfactory rendering of the ST and then review it carefully to tighten it up by
analyzing and testing the correspondences" (p.36). Hence, transplanting the original
style into the TL is really an indispensable aspect in translation.
As it was mentioned before, one possible model for stylistic analysis of the structures
of the novels is provided by Bakhtin's theory of the 'polyphonic' novel. This research
aims to shed light on the importance of reconstruction of polyphonic structure of the
novel in translation. So the translation of idiolects as one main techniques of creating
the polyphonic structure is investigated.
1.4.Research Questions
This study aims at finding answers to the following questions:
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1. What strategies have been used by Persian translators to render English idiolects in
the novels under study (Hard Times, Bleak House, Oliver Twist and David
Copperfield)?
2. Are idiolects in the above novels transferred through translation across two
languages (Persian and English)?
1.5.Definition of Key Terms
Style: the manner of linguistic expression in prose or verse-as how speakers or writers
say whatever it is that they say (Abrams, 2005).
Polyphonic novel: in polyphonic novel, the characters are liberated to speak "a
plurality of independent and unmerged voices and consciousnesses, a genuine
polyphony of fully valid voices (Abrams, 2005). The characters achieve voices, and
points of view, which challenge the validity of the authorial position. The musical
metaphor of polyphony refers to the co-presence of independent but interconnected
voices (Fowler,1989 ).
Idiolect: idiolect is the characteristic speech style of an individual. Like dialect, it is a
set of background features of language, supposedly constant and permanent
characteristics which distinguish a person linguistically. In its most sophisticated
realization it is the complex of features, mostly phonetic, by which we recognize our
acquaintances' on the telephone (Fowler,1989 ).
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Chapter Two:
Review of Literature
2.1. Overview
The main concepts of this study were pointed out very briefly in the previous chapter.
To understand better those concepts and to give more clear and precise explanations,
this chapter goes through those concepts in more details.
2.2. Style: Definitions and Concepts
Style is one of the oldest and widest concepts in literary criticism that has been the
subject of discussion for a long time and considered as "...the most tormented... its
meaning controversial... its relevance disputed..." (Fowler, 1973, p.185), "... a highly
complex phenomenon... [and] notoriously slippery and difficult to codify into concrete
terms that allow operational definition" (Enkvist, 1964 & 1985, p.50).
Others,
similarly, reveal the difficulty of defining style by saying that "style is one of the most
vexed terms in the vocabulary of literary criticism" (Lodge, 2001) and "... a
recognized but elusive phenomenon ... [which] evades precision" (Spencer, 1964,
p.59). These views are indicative of the difficulty of obtaining a precise
definition of style, as it is approached from different perspectives. The fact that these
views are indicative of the difficulty of defining style, it needs not lead us to abandon
the concept.
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In the West, the word "style" was derived from the Latin word "stilus", referring to
"carving tool" by means of which, in classic times, letters and words were imprinted upon
waxen tablets. Later, it extended to "speech skill", which was used to persuade others into
accepting one's ideas. Ancient Greeks and Romans, such as Aristotle and Cicero,
advocated that style is the proper garment of thought on which it depends. In the Middle
Age, many well-known definitions emerged. Flaubert said, "Style is life, and it's the bloodof thought." Swift claimed that proper words in proper places make the true definition of
style. Buffon maintained that style is the man, which Schopenhauer regarded as the shell
of one's soul (Ming, 2006).
Several modern critics have, also attempted to sort out the various meaning attached to
the word. Let us begin with Riffaterre ( as cited in Lodge, 2001) who defines Style as the
means by which the writer, or in linguistic jargon 'encoder', ensures that his 'massage' is
'decoded' in such a way that the reader not only understands the information conveyed, but
shares the writer's attitude towards it(p.61). Kennedy and Gioia (2001) defines style as all
the distinctive ways in which an author, genre, movement, or historical period uses
languages to create a literary work. An author's style depends on his or her characteristic
use of diction, imagery, tone, syntax and figurative language.
The above ideas can be summed up in the pretty much definition available in A
Dictionary of Literary Terms as follows:
‗Style is "the characteristic manner of expression in prose or verse; how a particular
writer says things. The analysis and assessment of style involves
examination of a
writer's choice of words, his figures of speech, the devices (rhetorical and otherwise), the
shape of his sentences(whether they be loose or periodic), the shape of paragraphs- indeed,
of every conceivable aspect of his language and the way in which he uses it". Style may
be compared to "the tone and voice of the writer himself, which is as much peculiar to him
16
as his laugh, his walk, his handwriting and expressions on his face". (Cuddon, 1979, p.
663)
2.2.1. Style in Literature
According to Boase-Beier (2006), the main focus of the difference between
literary and non-literary texts is style (p.70). Snell-Hornby (1990) argues that the
situation and function of literary texts are more complex than those of non-literary
texts, and that style is a highly important factor (p.80). Arnold (1973) believes that in
some respects, literature is the most difficult type of language to approach stylistically,
because of the diversity and complexity which will appear in the course of
investigation (p.13).
According to Michael Toolan (1990), close study of linguistic features of a text may
often be "a valuable and useful orientation to approach texts, particularly with regard to
extended literary texts, like novel, which create their own context of situation, which are
revised and rewritten according to various strategies, and where formal differences are
much more consistently felt or expected to be functional than they would be in ordinary
language (p.25). For Leech and Short (2007) stylistic analysis of a literary text can be a
means to a fuller understanding and appreciation of the writer‘s artistic achievement.
William Henry Hudson (as sited in Tanvir, 2010) also considers style as one main element
of literature. He has lucidly elaborated the chief features of literature. According to him,
―first, there is the intellectual element—the thought which the writer brings to bear upon
his subject, and which he expresses in his work. Secondly, there is the emotional
element—the feeling (of whatever kind) which his subject arouses in him, and which in
turn be desires to stimulate in us. Thirdly, there is the element of imagination (including its
17
light form which we call fancy), which is really the faculty of strong and intense vision,
and by the exercise of which he quickens a similar power of vision in ourselves. These
elements combine to furnish the substance and the life of literature. But, however rich may
be the materials yielded by experience, however fresh and strong may be the writer‘s
thought, feeling and imagination, in dealing with them, another factor is wanting before his
work can be completed. The given matter has to be molded and fashioned in accordance
with the principles of order, symmetry, beauty, effectiveness; and thus we have a fourth
element in literature, the technical element, or the element of composition and style.‖
2.3. Stylistics
Hatim and Munday (2004) define stylistics as a branch of literary criticism that
analyses style using interpretive tools from linguistics (p.350). Thornborrow and Wareing
(1998) state that" stylistics is the study of style… just as style can be viewed in several
ways, so there are several different stylistic approaches. This variety in stylistics is due to
the main influences of linguistics and literary criticism….… Stylistics is concerned with
the idea of 'style', with the analysis of literary texts, and with the use of linguistics (p.3).
They also summarize some key aspects of stylistics as follows:

the use of linguistics ( the study of language) to approach literary text

the discussion of literary texts according to objective criteria rather than
according purely to subjective and impressionistic values

emphasis on the aesthetic properties of language ( for example, the way rhyme
can give pleasure)(p.4).
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An important point here is that the goal of most stylistics is not simply to describe the
formal features of texts for own sake, but in order to show their functional significance for
the interpretation of the text; in order to relate literary effects to linguistic causes where
these are felt to be felt to be relevant. … stylisticians want to avoid vague and
impressionistic judgments about the way that formal features are manipulated. As a result,
stylistics drawn on the models and terminology provided by whatever aspects of linguistics
are felt to be relevant (Wales, 1989).
2.3.1. The Significance of Style and Stylistics in Translation Studies
Nida (1973) holds that "Style is not the frosting on the cake, but an integral part of the
text right from the beginning (p.36). Nord also (2006) states that most translation
theorists agree that translation should be preceded by textual analysis. Stylistic
analysis as one means for textual analysis attempts to explain how style produces
meaning. Thus as Leech & Short (2007) point out awareness of the effects of
linguistic choices can help the translator make informed decisions about translation
strategies. Other theorist and studies also have emphasized the importance of style in
translation studies time and time again. For instance the second of the "three laws of
translation" formulated by Tytler (as cited in Munday, 2001) states that the style and
manner of writing should be of the same character with that of the original. For Nida
(1984) translation consists in reproducing in the receptor language the closest natural
equivalent of the source language massage, first in terms of meaning and secondly in
terms of style. Newmark (1998) considers translation as transferring the meaning of a
text from one language to another as accurately and concisely as possible, for a new
readership and keeping the style of the text. Hence, style is really an essential aspect
in translation.
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Nevertheless Snell-Hornby (1995) considers the discussions about style in translation
unsatisfactory, since ―no coherent theoretical approach is attempted‖ and ―the problem
of style recedes perceptibly into the background‖ (p. 119).
2.3.2. The Significance of Style and Stylistics in literary translation
Literature uses language as an artistic medium, not simply for communication or even
expression (Arnold, 1973, p.13). Literary language is different from other languages
because it has specific aesthetic value, or the so-called poetic characteristics. It is the
fruit of the hard labor of writers who use their own familiar idiolect to describe their
special life experience, world outlook, profound life philosophy, or an unusual feeling
towards a certain thing or person. The form of expression they take has a significant
implication in conveying the intended meaning. Sometimes in such devices as
metaphor, irony, and ambiguity etc, stylistic meaning becomes multivalued, and sense
loses its primacy. Some formalists in former Russia and stylisticians believe that the
literariness of the language as a medium and the_ mode of expression -determine the
value of literary writings Ming (2006).
Style is one of the features that distinguishes literary translationfrom other forms of
translation (Connolly, 1998,p.173). Landers (2001) illustrates this issue by using a
vivid freight-train analogy:
In technical translation the order of the cars is inconsequential if all cargo arrives
intact. In literary translation, however, the order of the cars – which is to say the style
– can make the difference between a lively, highly readable translation and stilted,
rigid, artificial rendering that strips the original of its artistic and aesthetic essence,
even its very soul (p. 7).
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