نقد ترجمه‌هاي فارسي خنده در تاريكي اثر ولاديمير ناباكوف، براساس مدل ارزيابي كيفيت ترجمۀ جوليان هاوس

The purpose of this study is to analyze the quality of Persian translations of "Laughter in the Darkness" based on Julian Houseʹs theory an‎d to determine the closest translation to the original text. It also criticizes non-man‎datory structures an‎d incorrect equivalences in translations, an‎d finally, criticizes the effect of Julian Houseʹs model in increasing the quality of translations. The present study is descriptive-analytical in that first the quality assessment model of Julian Houseʹs translation is explained; Then, parts of the original text are selec‎ted (due to the large volume of components, the first nineteen chapters of the translations have been compared an‎d comparative examined with the original text), an‎d then the Persian translations are placed next to them, an‎d by comparative examination of parts of the translated texts with the original text, the performance of the translators is examined. Therefore, in a comparative study following the Julian House model, the work begins at the level of words an‎d phrases, continues at the level of sentences an‎d clauses; finally, the text is examined in terms of syntax an‎d semantics. Finally, all three translations are assessed in terms of their closeness to the original text. In general, the analysis of obvious errors revealed that in all three translations, the frequency of errors resulting from ignoring the source language (deletion, addition, an‎d incorrect equivalence) is higher, an‎d all three translators have tried to bring the source text closer to the mental framework of the Persian-speaking audience. The results show that the most structural errors an‎d incorrect equivalence selec‎tion were observed in the metal translation, while Nikfarjam an‎d Sojoodi-Moghaddam had fewer errors; However, the metal is closer to the original text in terms of style an‎d tone, which the translations of Nikfarjam an‎d Sujoodi-Moghaddam have become parts of the translations of Rakhanha an‎d Namavaran due to their avoidance of excessive vernacularization an‎d use of a colloquial tone. Overall, the most important metal is the one that is more faithful to the style an‎d tone of the original work.

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