Journal of Positive School Psychology [Link]

com
2022, Vol. 6, No. 8, 4802-4823

An Assessment Of Translating English Allusive

Expressions In "Othello " Into Arabic
Sara [Link]*1 , Asst. [Link] T.Muhammed2

M.A Student in Translation Dept. Mosul University, Iraq., email: ssaadahmed @yahoo.com1
2
Faculty Member in Translation Dept. Mosul University, Iraq, email: [Link]@[Link]

Abstract

The translation of cultural references is one of the biggest problems, which often faced by the
translators in their attempt to transmit the same feeling experienced by the SL receptors to the
TLT. However, during the process of rendering, guided decisions should be taken by the
translators to familiarizing such expressions in the TL culture and remove any kind of
foreignness might arise because of the differences in the cultural norms between the two
languages involved in the process of translation between the two different cultures. Arabic
language is a Semitic language and belongs to a very different family if compared to English
which belongs to an Indo-European family. Consequently, we expect that overlooking such
differences by the four selected translators in this study will pose real problems especially in
translating the English allusive expressions used by Shakespeare's in Othello into Arabic. The
study will focus on the intercultural gaps between the two languages as well as the strategies
and procedures followed by these translators to find the appropriate renditions of such
expressions into Arabic. Leppihalm's model of (1997) and the suggested strategies and
procedures will be followed as a local model in this work besides Venuti's model of (1995)as
a global one.

Keywords: allusive expressions, assessment, culture-bound, strategy .

The Problem: works in general and the translators of

Shakespearean works in particular since
Literary works are an abundant field of he uses old English in his works and the
rhetorical devices use due to the beauty allusions used by him in many cases are
and eloquence they add to the text. They very old and self-made and not easy to
are used to say something without saying find an equivalent for.
it. They are used to make the language of
such genre unique of its type but
unfortunately such use of language, even it The Hypotheses:
adds a special flavor to such kind of texts,
it poses in many cases a real problem for The study hypothesizes the following:
the readers to identify the exact meaning 1. Not all those who translated the AEs in
of these devices and the situation becomes Othello could find the appropriate
worse when the text is a translated version translation.
from a language that is in incongruity with 2. Following the strategies proposed by
SL as the case of our study, i.e.(English (Leppihalme, R, 1997) as the best way to
into Arabic). Allusion, as one of these produce appropriate translations of SL
devices, is expected to pose many allusive expressions used in
problems for the translator of literary
4803 Journal of Positive School Psychology

Shakespearean Othello. Jamal (1983), Jabra Ibrahim Jabra (1986),

and Muhammed Mustafa Badawi (2004).
3. Those translators who are men of letters 3. Searching for all AEs used in Othello
are expected to give more accurate then classifying them according to their
translation than their counterparts, i.e. types.
(ordinary translators). 4. Assessing the strategies and procedures
4. The translators who represent the data followed by the respondent translators to
of the study have adopted different identify the one who succeeded the most
procedures and consequently, they in his attempt in translating AEs into
followed different strategies in translating Arabic as well as knowing the orientation
the same allusive expressions in Othello. of each translator.
5. Screening the findings of the study to
5. Appropriate use of AEs strategy of the pave the way for the conclusions.
translation may minimize the gap between 6. Giving recommendations and
SL and TL. suggestions for further studies related to
the translation of allusion in other fields.
The Aims :
The Value of the Study:
The present study attempts to answer the The value of this study lies in bringing the
following: light to one of the most important areas of
1. What is an AE? translation which has always been a tricky
2. What are the main and appropriate area for novice translators. Such topics are
strategies and procedures in translating loaded with cultural references that require
literary AEs into Arabic? careful treatment on the part of the
3. Why did the selected translators use translator otherwise the produced
different strategies and procedures in translation becomes real nonsense.
translating (AEs) of the SL into the TL? Investigating the different translations of
4. Who succeeded the most among the (AEs) in Othello by Shakespeare is a
other four translators in translating brand-new topic that tries to show how
Shakespear's (AEs) in Othello into Arabic these (AEs) are not only difficult for SL
and why? readers but also they are difficult for TL
5. Who failed the most among the other readers to understand because they belong
four translators in translating the (AEs) to very old time and most of them
into Arabic and why? invented by Shakespeare and used by him
6. What is the role of the translator's in his literary works
cultural background in choosing the
appropriate equivalent of the (AEs) in the [Link]:
target language? An allusion is a reference to a person,
place, or thing, real or fictional, outside of
Methodology and Data Collection : the text at hand. Successful allusions
This study applies the following enrich the work by bringing in additional
procedures: associations for the reader. An allusion to
1. Bringing light to the theoretical the Glorious Quran, for example, might
characteristics of the AEs. allow an author to call up an entire
2. Choosing four Arabic versions of worldview and moral code. The danger in
Shakespearean Othello by four different using allusion is that the reader may not be
translators: Khalil Mutran (1971), Ghazi familiar with whatever it is that the author
is alluding to. In some cases, this does not
Sara [Link] 4804

pose a major problem especially when the allusion as; "a reference, usually brief,
two languages in question share the same often causal, occasionally indirect, to a
entity of allusion. The success of person, event or condition presumably
translating any work of literature or even familiar but sometimes obscure or
other works that tend to use allusion unknown to the reader" (ibid.).
highly depends on decoding the Leppihalme assumes such reference is
expressions that require more effort to made for comparing A to B. For Lass & et
understand on the part of the reader and al (1987) as cited in Leppihalme (1997:6)
here is the role of the successful translator an allusion is "a figure of speech that
who should put such allusive expressions compares aspects or qualities of
in TL in a way that goes with its norms counterparts in history, mythology,
and make it easy for TL recipients to scripture literature, popular or
identify the translated allusion otherwise it contemporary culture".
would problematic especially when the An allusion is an indirect or passing
reader is faced with a work from a reference to some people, places, events,
different culture, that does not hold the or artistic works. The writer doesn't
same frame of reference used by the explain the nature and relevance of which
author and thus the reader faces difficulty but it depends on the reader's familiarity
to understand the references to particular with what is thus stated. The allusive
traditions and works of literature. technique is an economical tool for calling
Shakespeare's works are an abundant upon the history or literary tradition that
source of allusion since he, in contrast the reader and author are supposed to
with other writers, alludes to many spheres share (Baldick, 2001:7). For Murphy&
of life, public or private. The study Rankin (2020:120) an allusion is a
concludes that translating allusive "reference to another work, concept, or
expressions from English into Arabic may situation which generally enhances the
pose serious problems not only for the meaning of the work that is citing it".
average reader but also to professional Ruokonen (2010:32-33) summarized the
translators, and this an inevitable problem main characteristics of allusion in the
due to the great cultural gap between the following points:
two languages involved in the process of 1. An allusion is a reference which
translation i.e. ( Arabic & English). So conveys implicit meaning by using means
researchers expect a big amount of that activates its reference text or part of
translational mistakes on the part of the it.
translators; the respondents of the present 2. The allusion may take an explicit or
study. implicit form. It should resemble its
reference enough to be recognized.
[Link] Concept of Allusion in English: 3. The referent belongs to assumed
As it is mentioned previously allusion is background knowledge the author and at
one form of intertextuality. It is introduced least some of his/ her audiences are
in Leppihalme (1997:6) by different proposed to be familiar with it (ibid.).
scholars as sharing the idea of ' reference
to something': Schott (1965) defines [Link] of Allusion :
allusion as "Latin alludere, to play with, to This study will expose the different types
jest, to refer to. A reference to characters of allusion as they are introduced by
and events of mythology, legends, history" different scholars. Carmella Perri (1978)
(ibid.). Furthermore, Shaw (1976) also as as cited in Hylen (2005:53-56) proposed
cited in Leppihalme (1997:6) defines five types of allusions:
4805 Journal of Positive School Psychology

1. Proper naming is the first type of Such type contains a proper name (ibid.).
allusion which makes direct reference to Proper name allusions could be fictional
the evoked text by using a proper name or figures or real life, names of famous
quotation. Sometimes quotation is people in the past, artists, writers, etc.
separated from allusion as a different sometimes they are quoted from films,
device, based on the degree of the author's myths, advertisements, various
intention. catchphrases, proverbs, or clichés (Hassan
2. The definite description is a second type 2014:52). An example of this type can be
that is defined as a "broad category in taken from Leppihalme (1997:3) 'I felt like
which the allusion parallels the evoked Benedict Arnold'. According to Delahunty
text in content or form". Such allusion is & Dignen (2012:24), Benedict Arnold was
probably considered into significant word, an American general in the American
or it is inherent in the repletion of famous Revolution, remembered mostly as a
rhythmical phrasing. An example is the betrayer who tried to betray the American
comparison of Mitton of fallen angels to post at West Point to British in 1780 with
bees that alludes to comparison in Homer British army Major John Andre. Arnold
and Virgil of bees to a crowd of people escaped when the conspiracy was
(ibid.54). discovered. Later he fought alongside the
3. Paraphrase is the third type of allusion British. This proper name is used to allude
which is proposed to include narrative to the traitor who changes sides during
parallels "in which an author doesn't conflict or war. The person who betrays
another's story per se, but adopts it for his his friends or countrymen.
character". Such type may include only a [Link]-phrase allusion (KP) _ an allusion
segment of the story or the entire one. This that doesn't contain a proper name, for
type exists mainly in the inner-biblical use example ' Apparently taxis all turn into
of the Exodus story (ibid.). pumpkins at midnight' (Leppihalme,
4. Self-echo is the fourth type of allusion 1997:10). This phrase 'Turn into pumpkins
that "may entail repeated meaning or at midnight' refers to the tale of Cinderella,
words from alluding text". The difference when a good fairy transformed pumpkins
between this type and the other types of to be carriage to take Cinderella to the
allusion is that evoked text lies within the party. The fairy said this phrase to warn
alluding text (ibid.). Cinderella that carriage would return to its
5. Perri doesn't name the fifth type of origin at midnight. These words are used
allusion. She states "echoes conventions of when a sudden and negative change
literature to evoke the attributes associated happens especially at midnight (Delahunty
with them throughout literary history. The & Dignen, 2012:295).
choice of particular meter, style, genre, or
even title may remind us of tradition Both of them are subdivided into:
association"(ibid.56). a. Regular allusion_ it is an unmarked
category of prototypical allusion. For
Leppihalme (1997:10-11) sets a limited example, someone got to stand up and say
classification of allusions: that the emperor has no clothes'
(Leppihalme, 1997:10). This phrase is
1. Allusions proper _such class of used to allude to the fairy tale by Hans
allusion is divided into: Christian Anderson in which the emperor
[Link] name allusion (PN) was given a set of clothes and told that are
visible only to non-fools people. No one
can say there are no clothes except little
Sara [Link] 4806

child says that the emperor has no clothes. a. Semi allusive comparisons (SACs) _
This phrase alludes to something "superficial comparisons or looser
meaningless or wrong that is automatically associations", for example, ' Like the land
agreed with, (Webber & Feinsilber, of Oz, technology has good and bad
1999:157). witches'(Leppihalme,1997.11). The phrase
[Link] allusion_ is an allusion that 'the land of Oz' alludes to Lyman Frank
contains a 'twist', that is, alteration or Baum's 'The Wizard of Oz' in 1900. this
modification of performed material. For allusion refers to an illusion or deception
example 'where have all the soldiers gone? (Delahunty & Dignen, 2012:387).
In the graveyards, everyone. This phrase is b. Eponymous adjective_ it is an adjective
taken from Pete Seeger's song 'Where that derives from names such allusion does
have all the flowers gone? not form fixed collocations with their
(Leppihalme,1997:10-11). existing headwords, for example, '
1. Stereotyped allusion_ this type has lost Orwellian image; in her most Jamesian
its freshness and doesn't need to evoke its manner', (Leppihalme,1997:11). The
sources. It also involves proverbs and allusive expression 'Orwellian' refers to
clichés, for example, ' We were ships that George Orwell's novel 'Nineteen Eighty-
pass in the night' (ibid.10). The phrase Four'. The big brother's character is a
'ships that pass in the night' is taken from dictator. The Orwell's name is used to
'Tales of a Wayside Inn' part III, allude to the power and omnipresence of
'Theologian's Second Tale' by Henry dictatorial states. The corresponding
Wadsworth Longfellow. It is used to refer adjective is Orwellian, (Delahunty &
to those people who meet and move away, Dignen, 2012:265). 'Jamesian' alludes to
unlikely, or never meet them again Henry James, (Leppihalme, 1997:11).
(Partridge, 2005:396). Leppihalme's taxonomies can be
2. The third class is divided into: summarized in the following diagram:

Allusions

Allusion Proper Stereotyped Allusion Semi_ Allusion

Proper Name Allusion (PN) Key Phrase Allusion (KP) Semi-Allusive Eponymous Adjective
Comparisons (SACs)

(
Regular Allusion Regular Allusion

Modified Allusion Modified Allusion

(Figure NO.1 Leppihalme's Classification of Allusion)

Niknasab (2011:49-50) suggests the Religious scripture is considered a rich

following types of allusions: source of inspiration for literary authors
[Link] allusion and poets they use it to give value to their
4807 Journal of Positive School Psychology

works. These references could be History is another basic source where the
explicitly or implicitly refers to a verse author and poet take their allusion from
from religious scripture, e.g. 'seeds and which. The historical figures and events
snake Baptists ' refers to a story of Adam affect upon characters, themes, images,
& Eve in the bible. The references also and symbol, language employed in it, e.g.
may refer to a proper name related to the allusion ' wars of roses' alludes to a
specific religion ' saints, holy places and series of civil wars fought in Medieval
the name of prophets', e.g. Steven's name England from (1455- 1487) between the
alludes to first Christian martyr Saint House of York and the House of Lan
Steven (ibid.49). caster. These wars are based on the badges
[Link] allusion used by both sides, the white rose for
Yorkists while the red roses for the
It is the reference to another literary work Lancastrians (Niknasab, 2011:50).
explicitly or implicitly, such work should
be clear enough to be recognized by the [Link] Source of Allusion :
reader. This allusion might refer to the To analyze and translate the allusive
literary character, e.g. ' Bend down your expressions appropriately, the translator
faces, Oona and Allele'. Oona and Allele has to know the source as well as the
is a drama written by William Yeats. The connotation which these expressions have
literary allusion may also refer to a for the competent readers of the original
specific style used in another literary text (Leppihalme, 1997:71). In English,
work, e.g. Joyce's Ulysses alludes to The Bible is the main source of
Home's Odyssey (ibid.). uncountable allusions. Biblical phrases are
1. Mythological allusion found in several pages of English prose
Fabled tales can be a good source of from the 17th century to the present day.
allusion. They reach back to the dim past The words of the Bible are often familiar
that includes god's tale, loves, hate, to both the writer and the reader. The
victory, and defeats, their birth, and death allusions to the New Testament were more
(ibid.50). Myth provides authors, common than those to the Old.
composers, and artists with inspiration. It Ecclesiastes (the race is not to the swift,
helps the reader to appreciate music and nor the battle to the strong) and Psalms
art also in understanding literature. The (the paths of righteousness) were the most
reader can grasp the allusion if he knows often quoted books of the Old Testament;
the myth, e.g. in the New Matthew (the meek shall
Helen, thy beauty is to me inherit the earth) was the most popular
Like those nice barks of yore, source of biblical allusion. The Book of
That gently, o'er a performed sea, Common Prayer (amid life we are in
The weary, wayworn wander bore, death) is another source of allusion in
To his native shore. addition to the different hymns and
From Edgar Allan's poets 'To Helen' religious songs (sheep may safely graze),
This poem was written to a woman her (ibid. 69).
name is not Helen. But the poet used such Shakespeare's works rank the second
a name to suggest that his woman is place of sources after The Bible. Most of
beautiful as Helen of Troy the most the Shakespearean allusions as (that way
beautiful woman in the ancient Greek madness lies; O, my prophetic soul; this
(Carroll, 1997:7-8). sceptered isle, and many more) are found
[Link] allusion. in the texts that are written in the English
language. Children's tales and nursery
Sara [Link] 4808

rhymes are also alluding to, as ('pumpkins For Lennon (2004:90) allusion is also
at midnight' and ' three blind mice'). found in the press in both headlines and
Furthermore, songs can be a source of the body of magazine and newspaper
allusion as prestigious patriotic songs articles, for instance, the headline of the
('Rule, Britannia' and 'The Star-Spangled article 'The South Asia States Swamped by
Banner') even the popular songs are Sea of Troubles' (Time 12.9.95:10) has
alluded to(I never promised you a rose allusion. This article is talked about
garden)(ibid.). political problems in the South Asia States
The history is also a rich source of as the first line refers to "internal upheaval
allusions, there are many allusive and external middling". The allusive
expressions taken from The Middle Age expression 'Sea of Troubles' alludes to
as (to die of a surfeit of lampreys), the literary phrase "or to take arms against a
Second War World (never was so much sea of troubles" Hamlet, (ibid. 103-104).
owed by so many to so few) and alludes to Another example includes allusive
a space-age exploration as (one small step expression in the body of the article "Mr.
for a man, a giant leap for mankind). The Schremp, himself, as Dasa former head,
sources of allusion can be characters from cannot wash his hands of the division's
mythology, popular culture, film, TV, current difficulties" (Financial Times
literary works, or comic strip characters 12.9.95:24). A biblical allusion ' wash his
(ibid.). hands' alludes to the statement "Pilate sent
Allusion can be used in different places as for water and washed his hands in full
in advertisement, press, music, film, TV, sight of the multitude, saying as he did so,
and even in everyday life. It is adopted to I have no part in the death of this innocent
add cultural value to a text because it man, it concerns you only. And the whole
serves to put a text in a textual relation people answered, His blood be upon us
that forms cultural tradition (Montgomery and our children" (Matthew 27.24-22,
& et al, 2007:156). For rhetoricians, Knox version). The reader can grasp such
literary allusion enriches the work in the allusion that becomes a conventional
novel while it is revealing in political metaphor from a mental lexicon. The title
speech (Rasheed, 2018:3). An allusion is of this article is "Daimler See Red", using
a common device in advertisements, for the word ' red' may also associate to the
instance, there is an advertisement in the 'blood', (ibid.105).
observer magazine of 8 May 1988 that has The allusion may be present in most
allusive expression. It is about a 'Renault cultural and artistic forms. It is not
Car' advertised with the caption 'a room of confined to literary work and
my own'. With this advertisement, there is advertisements. Music may allude to other
a picture of a woman in a Renault Car. music e.g. Beatles allusion to the French
One reason for alluding is to evoke some national anthem and ' Greensleeves' in '
of the cultural connotations of the source All you need is love' (Montgomery & et
text and through a process of transference al, 2007: 158).
five them on the product being promoted. Furthermore, films may have allusions,
So in this example, the women are e.g. film of Woody Allen frequently have
encouraged to buy this car by assuming it allusive expressions that refer to other
will give them some of the freedom and films and literature ' Play it Again Sam'
independence that Virginia Woolf sought (1972) makes series of allusions to
for women in 'A Room of One's Own' Casablanca (1942),(ibid.).
(1929), (Montgomery & et al, 2007. 157). In addition to that allusion may be found
in TV, e.g. the television series ' 'Star Trek
4809 Journal of Positive School Psychology

Voyager (1995)' is a new version of the to him, and to display the writer's world
film ' The Wizard of Oz (1939)'. This new knowledge, values, beliefs, and wit (ibid.).
version has narrative and musical allusions
even the clothing of characters allude to Rasheed (2018:4) states that the authors
the film. The alien creature ' Neelix' is probably use allusion for a wide range of
dressed and whiskered as a 'munchkin' in explanations:
the film (ibid. 158-159). 1. To give a layer of meaning to the text
by adding a cover this is not clear for all
[Link] Function of Allusion : readers.
As a rhetorical device, allusion can serve 2. To establish a sense of cultural kinship
many functions for the writer of between the authors and the readers since
newspaper texts. For that reason Lennon those who grasp the allusion have a sense
(2004:235-236) sets five functional of being "in the know".
domains, namely: 3. To express a big idea by using few
[Link] intertextual domain words.
To add dimension to a text by linking it to
The function of such a domain is to catch other texts.
the reader's eyes. 4. To prove their cultural literacy or
[Link] inter(con)textual domain examines that of their listeners or readers.
In this domain the functions are to achieve
5. To put their works in dialogue with
stylistic effects, the physical economy of
expression, to exploit the productive other works who influenced them.
6. To encourage listeners/ readers to focus
ambiguity of terms and phrasal units and
on the parallels between their life and the
finally to mean more than what is said.
life of the original author and characters.
[Link] domain
7. To give credibility to an argument that a
The functions are to assess new speaker has put in a particular context.
information against existing cultural
Allusions may have a negative sense when
values and vice-versa. Also to achieve
the author uses allusions too frequently or
ironic effects of criticism, to achieve
without making accurate assumptions
humorously grotesque results, and finally
about whether his audience understands an
to convince by appeal to cultural values
utterance (ibid.).
shared with the reader.
[Link] domain
[Link] As A Cultural Bump:
There are two functions in this domain. For Leppihalme (1997: viii, 4 ), an
The first one is to ease the cognitive allusion is considered as a kind of cultural
processing load for both writer and reader. term in other words it is a kind of cultural
The second one is to change the reader bump which may convey a meaning that
cognitively and encourage him to keep goes beyond the words used. She extends
reading. the function of this notion to translating
[Link] interpersonal domain allusion. Such a term is used to describe a
situation where the reader of TT has
In such a domain, there are many difficulty in understanding an SC allusion.
functions. It is used to pave a common This allusion may fail in TL since it is not
ground with the reader and convince him a part of the TC. It may remain unclear
syllogistically by implicit analogy. and confusing. Rather than conveying a
Furthermore to achieve aesthetic function coherent meaning to the TL reader.
Sara [Link] 4810

The term culture pump is used firstly by According to Halabi (2016:60), there are
Carol Archer (1986 ) to indicate the three categorical levels that must be taken
problems in a face to face intertextual into consideration in translating allusion:
communication that is milder than culture [Link]
shocks (ibid. 4). For Archer (1986:70-71)
a person may find himself or herself in a The translator has to be aware of such
strange, different, or uncomfortable expressions, if he doesn't recognize the
situation while interacting with another allusive suggestion found in ST then s/he
person from a different culture at that time will eventually misrepresent the subject
a culture bump occurs. and the purpose of allusion as a result he
The task of translating allusion is not easy. will fail to convey the text adequately to
Many challenges may face the translator the TL reader (ibid.).
when translating allusion. The first [Link]
problem that may face him is to recognize Such a phase is also very important since
that the ST includes allusive suggestions. if the translator doesn't understand the
The second challenge is to grasp the allusive reference at all then s/he will
allusive meaning by reference to the literally convey it then the TT reader will
meaning of quotation or saying evoked. only understand its denotative meaning
The third problem is to convey the force of (ibid. 62). For Hatim & Mason (1990:137)
the allusion in the TT (Hervey & Higgins, the main point of such reference is to
1992: 107). analyze it in terms of the contributions it
Kussmaul (1995:65) deals with allusion as makes to its host text. For Halabi
one of the cultural problems that occur (2016:62) if the translator doesn't
when there is a distance between SC & understand the meaning of allusion then
TC. The translator must decide if he will s/he may convey a different message. So
make the allusion more explicit or to omit
the TT will understand the meaning in a
it altogether. For Kussmaul the translator way that differs from the original. Dealing
has to take into account "the function of with such issue Leppihalme (1997:36)
allusion within overall text and
states that analyzing the ST requires
embeddedness of the text within its recognition of connotative meaning by the
culture". Kussmaul (ibid.67) adds that the translator.
SC allusion should be replaced by TC one. [Link]
Replacement is the technique that is
proposed by Nida (1964) for translating According to Almazan (2002) as cited in
the Bible according to his principles of Halabi (2016:63) regardless of the
Dynamic equivalent. translation strategies that is used the
It is worth noting that the decision making translator has to maintain the following
relies on many factors such as (text type, factors through his task:
genre, intended audience, the function of [Link] the meaning and function.
the text, context, etc.) that are considered [Link] with the expectation of a TT
earlier through the process of translation. reader.
Thus the global strategy will affect the [Link] with global strategy.
local one, for example using reduction to [Link] to text type & genre.
sense can be more suitable in informative [Link] for TT audience & TT function.
rather than in literary texts and target [Link] with context.
cultural replacement in TV & film rather 7. Avoiding cultural bumps.
than in print (Leppihalme, 1997:125). 8. Reflecting on the ST reader's
response.
4811 Journal of Positive School Psychology

[Link] for Translating (AEs): 3. "The use of additional allusive guidance

According to Leppihalme (1997:4), the to be added in the text".(KP3)
translator of AEs needs not only to be a 4." Giving more information by footnotes,
bilingual or even multilingual but also s/he endnotes, or other specific explanations
needs to be bicultural or even multicultural which are not included in the text".(KP4)
to understand and convey the allusive 5." Adding intra-allusive features such as
content of SL text in a good manner. After marked words or syntax which deviate
making a distinction between PNs and from the style of the context".(KP5)
KPs allusive expressions, Leppihalme 6." Replacing SL (KP) by a TL performed
suggested different strategies for item".(KP6)
translating each type. These strategies, 7."Reduction of SL (KP) to its sense by
which give solutions for translating such rephrasing".(KP7)
culture laden PNs and KPs, will be given 8."Re-creation, using a fusion of
shortcodes to be used later on in the techniques: SL allusion and original
following discussion tables as a space- content are omitted altogether, but the
saving procedure. Now, consider same effect is created in TLT".(KP8).
Leppihalme's(1997) strategies and the 9." The omission of the allusion".(KP9)
shortcode suggested by the researcher for
each:
[Link] Analysis & Discussion:
[Link] of the PN: To fulfill the desired objectives of the
a. "Using the PN as such".(PN1a) present study and examine the soundness
b. "Using the PN with some of all the previously mentioned
additional guidance". (PN1b) hypotheses, we adopt the following
c. "Using the PN with a detailed technique of data analysis:
explanation". (PN1c) 1. Choosing four different renditions of
2. Replacing the PN by: Othello by four Arab translators; those of(
a. "Another SL PN". (PN2a) Khalil Mutran :1971, from now on T1),(
b. "TL PN." (PN2b) Ghazi Jamal :1983, from now on T2),
(Jabra Ibrahim Jabra :1986, from now on
3. The Omission of PN: T3), and (Muhammed Mustafa Badawi
a. "The PN is omitted but the sense is :2004, from now on T4).
kept through the use of some other 2. Selecting (6) allusive expressions from
means like the use of a common noun Othello, then categorizing them into two
in TL".(PN3a) groups: Key phrase allusions(KPAs) &
b. "The PN & allusion are completely Proper name allusion (PNAs).
omitted". (PN3b) 4. Testing the appropriateness and
inappropriateness of the decisions made
Moreover, Leppihalme (1997:84)sets nine by the selected translators according to the
different strategies which can be used for criteria of accuracy, and economy. The
translating (KP)allusions : symbols (-) &(+) will be used as indicators
of the achievement or the violation of the
1."The use of a standard translation if it is previously mentioned criteria.
available".(KP1) 5. Finally, the study will conduct an
2."The use of literal translation with assessment of translation bias on each
minimum change. No consideration at all translator according to the overall number
to the contextual or connotative meaning". of strategies followed by each translator to
(KP2) see which one of them is SL biased the
Sara [Link] 4812

most and which one is TL, as well as to the selected translators.

see if there are other stances adopted by

SLT "Call up her father," "Rouse him, make after him, poison his delight," "Proclaim
No.1 him in the streets", "incense her kinsmen," "And, though he in a fertile climate
dwells, Plague him with flies." ( Act 1, Scene 1, P. 5)

S No. TL(AE) Strategy/ Assessment Appropriateness Orientation

Strategies A E
T1 ‫أقتله بذبابه‬ _ _ _ Foreignization
)14,‫(صفحة‬ KP2
T2 ‫أطعنه بالذباب‬ _ _ _ Foreignization
)22,‫(صفحة‬ KP2
T3 ‫عذبه بالذباب‬ _ _ _ Foreignization
)74,‫(صفحة‬ KP2
T4 ‫سلط عليه سربا‬ _ _ _ Foreignization
‫من الذباب‬ KP2
)40,‫(صفحة‬

Discussion:

According to Manser & Pickering black horse, and thus they can get rid of
(2003:296), the KP "plague him with flies" him.
constitutes a clear biblical to the plague
that befell the Pharaoh of Egypt when God (T1) ,(T2),(3),&(4): Translators
punished him as he oppressed the no.1,2,3&4 followed (KP2)to provide an
Israelites and did not acknowledge the appropriate rendition for the English
power of God (Exodus 7_12).In this allusive key phrase depending on the fact
scene, Iago tries to manipulate Rodrigo, that the same expression does exist in
the flag-bearer of Othello, and uses him as Arabic language and that everyone should
a tool of revenge upon Othello, the moor, previously have heard the famous story of
whom he never likes or respects even he is the prophet Moses (PBUH) from the
his servant. In this scene, we see, for the glorious Qur'an or the Bible. While the
first time, the real face and color of Iago. translators made a suitable choice in
We see how jealousy pushes him to following( KP2)in their attempt to find the
destroy the name and life of Othello right TL equivalent since both languages
through the sedition he tries to stir have an overlap in this respect, some of
between Desdemona's father and the moor them committed serious mistakes in word
through urging Rodrigo to shout near selection and combination in
Brabantio's house using shocking words Arabic.T1&T2, for example,
and phrases that upset Desdemona's father inappropriately provided " ‫"أقتله بذبابة‬,
and kinsmen and turn them against "‫ "أطعنه بالذباب‬as equivalents of the English
Othello. Rodrigo shouts out loud to KP "Plaque him with flies".Thus, they
endlessly irritate Brabantio with his words produced faulty rendition because the
as God did with Pharaoh when He plagued Arabic verbs "‫يطعن‬, ‫ "يقتل‬make fuzzy sense
him with flies. Iago and Rodrigo wanted to with the lexical item "‫ "ذبابة‬and don't
make everyone hear about the shameful convey the intended meaning of SL (KP)
doings of Desdemona with the Barbaric which is "irritate endlessly". As for
4813 Journal of Positive School Psychology

T3&T4, we see that it is better to add kind of insects is mentioned here and not
further information to make it clearer in the others. Thus, an appropriate rendition
Arabic since the expressions" ‫عذبه‬ might be through (KP4). Consider the
‫بالذباب‬, ‫"سلط عليه سربا" من الذباب‬are following translation:
addressing very professional Arabic
readership while leaving the layman, those
who belong to other religious sects and the
people who have no religious interests at
all wondering about the torture that is
caused by flies and why in particular this
SLT " Like the base Indian who threw a pearl away richer than all his tribe".
N0.2 (Act 5, Scene 2, P.189)
S No. TL (AE) Strategy/ Assessment Appropriateness Orientation
Strategies A E
T1 …………. KP9 _ _ _ Domestication
)170,‫(صفحة‬
T2 ‫كا لهندي الغبي‬ KP2 _ _ _ Foreignization
)159,‫(صفحة‬
T3 ‫كهندي غبي جاهل‬ KP2 _ _ _ Foreignization
)214,‫(صفحة‬
T4 ‫كلجاهل األحمق‬ KP7 + + + Domestication
)210,‫(صفحة‬

‫سلط عليه سربا من الذباب‬

) ‫(* اشارة الى قصة نبي هللا موسى وفرعون مصر عندما عصى أمر هللا فسلط عليه سربا" من الذباب ليعذبه‬

Discussion expressions and it is for all translators the

In this scene, Othello compares himself to final resort procedure. For Leppihalme
an idiot savage person who does not know (1997), this procedure is applicable when
the worth of the precious things that he the allusive expression is mentioned many
has. In this part of the play, Othello gives times before in the texts that one can
his famous speech " Like the base Indian easily compensate for its meaning.
who threw a pearl away richer than all his Otherwise, its omission will seriously
tribe" Thus, he provides us with a clear affect the meaning of the message.
image of a deceived lover who had a Consequently, T1 committed a serious
precious jewel but foolishly threw it away, mistake when he followed this procedure
using an analogy of a base character of an because the AE "like a base Indian" is
Indian tribe that threw a precious pearl. mentioned only one time in the play and
the reader will find it difficult to
compensate what has been lost. Also, the
features of accuracy, economy, and
(T1): Translator no.1 inappropriately appropriateness were all seriously violated
followed (KP9) which entails the by the translator due to the inappropriate
omission of the allusion and the allusive procedure adopted by him in translating
expression in SL. This procedure proposed this part of the play.
by Leppihalme (1997) as one of the
solutions in translating KP allusive
 Sara [Link] 4814

(T2) & (T3): Translators no.1&2 (T4): Translator no.4 on the other hand,
inappropriately followed ( KP2 )which could successfully choose the appropriate
requires the preservation of the SL procedure by following (KP7) which
original allusion since it is familiar to both requires the omission of SL allusive
SL&TL audience and both cultures share expression in TL while transferring its
the same connotative meaning of the intended meaning by rephrasing. Even
expression. Since the English allusive though such a procedure doesn't convey
(KP),i.e.," like a base Indian" is deep- the creativity and the playfulness of the SL
rooted in English culture and does not allusive expression, it attempts to evade
exist in Arabic, the retention of the KP as the needless confusion and conveys the
such is of no benefit at all and needs for a intended meaning to the TL audience. This
real modification to convey the intended procedure is very appropriate with this
meaning of the writer. Again, T2&T3, example due to the lack of the
could not achieve any feature of accuracy, corresponding image in the Arabic
economy, and appropriateness. language. Thus, T4 could achieve the
features of accuracy, economy, and
appropriateness. As for the proposed
rendition of this text, one can adopt T4
rendition which is like the following:

!‫كلجاهل األحمق‬

SLT "I will have some proof. Her name, that was as fresh as Diana's visage, is now
N0.3 begrimed and black as mine own face". (Act 3, Scene 3, P.105)
S No. TL(AE) Strategy/ Assessment Appropriateness Orientation
Strategies A E
T1 ‫كوجه ديانا‬ PN1a _ _ _ Foreignization
)98,‫(صفحة‬
T2 ‫كوجه ديانا‬ PN1a _ _ _ Foreignization
)94,‫(صفحة‬
T3 ‫كوجه ديانا‬ PN1c + + + Domestication
Footnote:
.‫*ربة العفاف‬
)150,‫(صفحة‬
T4 ‫كوجه ديانا( ربة‬ + _ _ Domestication
)‫العفة‬ PN1b
Footnote: +
‫*االلهة ديانا في‬ PN1c
‫األساطير الرومانية‬
‫يرتبط أسمها بلعفة‬
.‫و بالقمر‬
)133,‫(صفحة‬

According to Findlay(2010:105) & Jordan

Discussion: (2004:77), in Roman mythology, Diana is
a goddess of moon, and virginity. She is
4815 Journal of Positive School Psychology

equivalent to the Greek goddess Artemis, followed by both T1&T2 in this text, the
the symbol of beauty and chastity. In this features of accuracy, economy, and
part of the play, Othello is deeply lured appropriateness, were all violated and not
into the pain of envy by Iago. He achieved.
compares Desdemona's face with that of
Diana the goddess of moon and virginity, (T3): Translators no.3 appropriately
then he compares Desdemona's face with followed ( PN1c ) procedure which entails
his black grim face as he comments on the the use of the same name plus some
way Desdemona's image has altered. He detailed explanation or footnote. The use
says " Her name, that was as fresh as of SL (NP) as such is acceptable here
Diana's visage, is now begrimed and black since the PN in question is very restricted
as mine own face". to SL culture and has no one to one
equivalent in TL. Also, the footnote
(T1) & (T2): Translators no.1&2 provided by the translator,i.e."‫"ربة العفة‬
inappropriately followed ( PN1a )which is gives a clear clue that there is a direct
a subcategory of name retention strategy analogy between the chastity of
proposed by Leppihalme (1997) as one of Desdemona and Diana the goddess.
the solutions to find accurate renderings Consequently, the features of accuracy,
for the cultural allusions of SL (PNs). economy, and appropriateness all have
Consequently, translators no.1&2 been achieved.
committed serious mistakes when they
retained SL (PN) and its allusion in TLT (T4): Translators no.4 inappropriately
since such name has allusive meaning followed a combination of procedures,i.e.
restricted to SL culture only not ( PN1b ) &(PN1c) that entail the use of the
recognized by TL readership. It is worth same name plus some guidance
mentioning here that the retention of SL ( PN1b )and the use of the same name
(PN) with cultural nature addresses only accompanied by a detailed explanation, for
the bicultural expert readers, but when the instance, the use of a footnote(PN1c).This
SL (EA ) is not known by TL readership combination of procedures by T4 is not
and it is deeply rooted in SL culture, the justifiable since SL PN connotation can be
retention of the name as such, as a accurately conveyed to the TL by( PN1b )
procedure is of no benefit at all and needs alone and with a little number of words.
for a real amendment to convey the Although the feature of accuracy is
intended meaning. One then can use other achieved via this combination of
procedures of retention, for instance, using procedures, the other features of economy
the same name accompanied with some and appropriateness are violated. As for
guidance, or using the same name the proposed translation of the PN in this
accompanied with detailed explanation. text, we recommend that of T3. Consider
Due to the infeasibility of the procedure the translation:
‫كوجه ديانا‬
)‫(* ربة العفاف‬

SLT "You, mistress, that have the office opposite to Saint Peter" .
N0.4 (Act 4, Scene 2, PP.143-145 )
S No. TL(AE) Strategy/ Assessment Appropriateness Orientation
Strategies A E
T1 ‫أنت ياسمحة أنت‬ PN1a _ _ _ Foreignization
Sara [Link] 4816

‫التي تمتهنين‬
‫نقيض مهنة‬
‫بطرس‬
)131,‫(صفحة‬
T2 "‫أنت "ياريسة‬ PN1a _ _ _ Foreignization
‫ألتي تمتهنين‬
‫نقيض مهنة‬
‫القديس بطرس‬
)125,‫(صفحة‬
T3 ‫أنت التي تتولين‬ PN1a _ _ _ Foreignization
‫النقيض من‬
‫وظيفة القديس‬
‫بطرس‬
)181,‫(صفحة‬
T4 ‫أنت يا امراة يامن‬ PN1a _ _ _ Foreignization
‫تقومين بالوظيفة‬
‫المقابلة لوظيفة‬
‫القديس بطرس‬
)169,‫(صفحة‬

Discussion:
According to Salgādo (1976:142), St Peter here that the Biblical allusive (PN) used
is the guardian of the pearly gate of by Shakespeare in this scene is deeply
heaven and the holder of its keys. In this rooted in SL religious culture . At the
scene, as Shaheen(1999:90) puts it, same time, it is very common among SL
Othello refers to Emilia's complicity with readers while it is very strange for TL
Desdemona's supposed unfaithfulness and readership who belong to a different
he implies that Emilia's trade is door religious environment. Since it is
keeping of the brothel house or impossible to find a TL equivalent for the
figuratively speaking, the hell kingdom SL (PN)used in this part of the play, it is
which is a trade opposite to St Peter's advisable to look for another way that can
heavenly one,i.e.(keep the keys of the convey the intended meaning of the
paradise). (PN)in question. This might be possible
through the use of another procedure that
(T1) ,(T2),(3),&(4): Translators helps, at least, in providing the functional
no.1,2,3&4 inappropriately followed sense of the PN even at the expense of the
(PN1a) which is a subcategory of (PN) cultural color of the original text. Thus one
allusion translation strategy proposed by can, for instance, use guidance, footnotes,
Leppihalme (1997) as solutions to find endnotes, or other explanations as
accurate renderings for the culture-bound additional information to convey the
allusions of SL (PNs). Due to the use of intended meaning.A proposed translation
the name as such, all the selected might be as the following:
translators seriously damaged the feature
of accuracy, economy, and
appropriateness. It is worth mentioning
4817 Journal of Positive School Psychology

! ‫أنت ايتها العشيقة التي تمتهنين نقيض مهنة القديس بطرس‬

) "‫( * مهنة القديس بطرس هي حراسة باب الجنة واما مهنة الفتاة في حراسة باب جهنم او حرفيا" "دار الفسق‬

SLT "By Janus, I think no". (Act 1, Scene 2, p.13 )

N0.5
S No. TL (AE) Strategy/ Assessment Appropriateness Orientation
Strategies A E
T1 ……….. PN3b _ _ _ Domestication
)21,‫(صفحة‬
T2 .………. PN3b _ _ _ Domestication
)28,‫(صفحة‬
T3 ‫وهللا‬ PN2a _ _ _ Domestication
)80,‫(صفحة‬
T4 .‫يالخداع البصر‬ PN2a _ _ _ Domestication
)48,‫(صفحة‬

Discussion:
According to Jordan (2004:148), Janus is Shakespeare wanted to convey to his
an ancient Roman double-faced god. One readership.
of the faces looks backward to the past
while the other looks forwards to the (T3) & (T4): Translators no.3&4
future. In Othello, Shakespeare used this inappropriately employed (PN3a) which is
expression to show the duality of Iago's also a subcategory of omission strategy
character as a double-faced cheating proposed by Leppihalme (1997) as one of
person with two opposite faces. Iago uses the solutions to find accurate renderings
his good face when he talks to Othello but for the cultural allusions of SL PNs.T1
when he plots against him, he shows his inappropriately provided the sublime name
real demonic face. of God " ‫ "ألل‬as a general equivalent for the
SL PN used to refer to the pathway god
"Janus". Since "Janus" is deeply rooted in
(T1) & (T2): Translators no.1&2 SL mythological culture and absent in TL
inappropriately followed (PN3b) which is culture one, the translator had to bring an
a subcategory of omission strategy equivalent TL mythological item or try to
proposed by Leppihalme (1997) as one of keep the SL PN followed by a detailed
the solutions to find accurate renderings explanation, for instance, a footnote. T2,
for the cultural allusions of SL PNs. on the other hand, inappropriately
Consequently, translators no.1&2 provided " ‫ "خداع البصر‬as a procedure of
committed serious mistakes when they transferring the sense of the SL PN
omitted the name, and allusion together "Janus" by other means such as a neutral
due to the infeasibility of such procedure expression as ‫"خداع البصر‬. The expression
with this example. As for the features of provided by T2 seems unclear and lacks
accuracy, economy, and appropriateness, the connotation and the functional
both could not achieve any features due to meaning of SL PN. Again, T2 failed to
the inappropriate decision they made to convey the intended meaning of the SL
covey the intended meaning that item due to the inappropriate use of
Sara [Link] 4818

(PN3a). As for the features of accuracy, PN allusion might be carried successfully

economy, and appropriateness, both could through the employment of another
not achieve any of these features due to procedure, namely(PN1c), that keeps
the inappropriate use of the decision they economy, accuracy, and appropriateness.
made. An appropriate translation of this Consider the following translation:

.‫أقسم بجيونس لن يكون االمر كذلك‬

‫وجهه ينضر للماضي ووجه ينظر للمستقبل وقد حلف اياكو بهذا االله ليعبر ان له‬, ‫(* "جينس" أحد االلهة التي لها وجهان‬
).‫وجهان يستخدم احدهما مع اوثلو واالخر ضده‬

SLT "Are we turned Turks?" (Act 2, Scene 3, P. 65)

N0.6
S No. TL(AE) Strategy/ Assessment Appropriateness Orientation
Strategies A E
T1 ……….. KP9 _ _ _ Domestication
)69,‫(صفحة‬
T2 ‫هل تحولنا الى‬ KP7 _ _ _ Domestication
‫ساحة قتال؟‬
)67,‫(صفحة‬
T3 ‫هل انقلبنا اتراكا؟‬ KP2 _ _ _ Foreignization
)121,‫(صفحة‬
T4 ‫هل انقلبنا اتراك؟ا‬ KP2 _ _ _ Foreignization
)99,‫(صفحة‬
vengeance instead of turning the other
Discussion: cheek. These are the "Turkish" qualities.
In this part of the play, all are having fun
and everything is going well, then (T1): Translator no.1 in his attempt to
suddenly the mood changes and everyone render the SL (KP) that has a culture-
becomes insane and points his sword at bound allusive connotation, he resorted to
the other. All that happens because of the zero translation or omission
sedition made by Iago between Montano procedure(KP9) to avoid this cultural item
and Cassio and pushed them to fight each which is loaded with an intended
other. In his attempt to stop that fight, connotative meaning. This (KP) is very
Othello tries to remember his fellows that important due to the meaning it holds, thus
they are civilized guys not as barbaric as one can not omit it and if the omission is a
the Turks who represent the top enemy of must due to the nonexistence of such (AE)
Venetian society. According to in SL one can resort to another procedure
Vitkus(2000:2) When Othello asks, "Are to convey the sense by other means, for
we turned Turks, and to ourselves do that! instance, by reduction of the allusion to
Which heaven hath forbid the Ottomites" sense or through the explicit explanation
he refers to the incorporation of the Turks' or footnotes.T1 seriously failed to achieve
stereotypical features, which include the feature of accuracy and as a result, he
aggression, lust, suspicion, murderous failed to achieve the feature
conspiracy, saddened cruelty appropriateness and economy.
masquerading justice, merciless violence
rather than "Christian charity," wrathful
4819 Journal of Positive School Psychology

(T2): Translator no.2, on the other hand, might happen due to such unsuitable
followed ( KP7) to render the SL (KP) decision made by them. As for the features
"Are we turned Turk" as he provided " ‫"هل‬ of accuracy, economy, and
‫انقلبنا ساحة قتال‬.T2 tried to deculturalize the appropriateness, they are violated due to
SL allusive KP through the reduction of the inappropriate procedure adopted.
the allusion into it sense via a rephrased An appropriate translation of the (KP)
expression that expresses the meaning of mentioned in text no.6 might be by
the SL allusive KP and at the same time following (KP4) procedure. Consider the
omits the allusive element in TL. Such a following proposed translation:
procedure is very successful if managed ‫هل أنقلبنا اتراكا"؟‬
well especially when there is non one to ‫(*كان أالتراك ألد االعداء اليطاليا وهم بالنسبة‬
one correspondence between SL and TL. )‫رعاع اليعرفون سوى لغة السيف‬,‫لاليطاليون قوم همج‬
But the use of the expression "‫ "ساحة قتال‬is
not enough to convey the intended Findings & Conclusions
meaning of the writer since the expression
" ‫ "ساحة قتال‬does not hold all the negative This research paper has come up
connotations assigned to Turks by the with the following conclusions and
writer and does not show the reason findings:
behind comparing the Turks and the fight
that happened between Othello's men. As 1. Allusion does exist in both English and
for the features of accuracy, economy, and Arabic but the one-to-one equivalence is
appropriateness, they are violated due to very rare between the two languages due
the inappropriate use of the procedure to the different language families they
adopted. belong to.

(T3)&(T4): Translator no.3&4, in their

turn, followed ( KP2) to render the SL 2. Most of the mythological allusive
(KP) "Are we turned Turk" as they expressions belong to a very remote time
provided " "‫"هل انقلبنا أتراكا‬. T3 &T4 tried the fact that makes them very hard to
to keep the SL allusive KP through the understand even by TL readership.
adoption of ( KP2) which gives no regard
to the connotation or the contextual 3. Since the majority of the Arab people
meaning of the SL (KP). Since there is no are Muslims, they have very little ideas
cultural overlap between English and about all the figures mentioned in the Holy
Arabic, one cannot employ the literal Bible and their connotations as used by
translation procedure in this context. The Shakespeare in Othello.
literal translation is only possible when the 4. In many cases, the selected translators,
translation between the two languages as subjects of this study, have resorted to
does not require lexical, or stylistic upset the literal translation or the retention of SL
of the original text, or when the culture AEs as such to keep the cultural color and
laden items are well known by the TL flavor, but such procedures consequently
readership, otherwise, the use of literal lead to clumsy and unacceptable
translation will lead to serious problems renditions by TL audience.
and clumsy translation. In this example,
both T1&T2 committed serious
translational mistakes as they directly 5.T2&T3 were SL biased while T1&T4
convey the SL (KP) into Arabic without were TL biased according to the
any consideration to the cultural clash that procedures adopted by each group.
Sara [Link] 4820

could successfully use it for one time and

failed in the other.T4, on the other hand,
[Link] one of the subjects could succeeded to use it for one time and failed
appropriately use the global strategy of twice.
foreignization at all.
7.T1&T2 failed to use the global strategy
of domestication in all attempts, while T3

The following charts can clearly show the findings of this study:

(Pie Chart [Link] Orientation percentage of T1, T2, T3, and T4)

(Pie Chart [Link] Orientation percentage of T1, T2, T3, and T4)
 4821 Journal of Positive School Psychology

(Chart [Link] Percentage of Appropriate & Inappropriate Use of Each Translation Global
Method by T1, T2, T3, and T4)

Bibliography 6. Findlay, A. (2010). Women in

Shakespeare: A Dictionary.
1. Archer, C. M. (1986). Culture London & New York: Continuum.
Bumps and Beyond. In J. M.
Valdes, Culture Bound: Bridging 7. Halabi, A. (2016). Translation and
the Cultural Gap in Language Intertextual Space: The
Teaching (pp. 8-170). Cambridge: Translation of Religious,
Cambridge University Press. Historical and Mythical Allusions
in The Poetry of Mahmoud
2. Badawi, M. M. (2004). Arabic Darwish. Nablus: An-Najah
translation of Othello. Cairo: National University.
Supreme Council of Culture. 8. Hassan, B. (2014). Between
English and Arabic: A Practical
3. Baldick, C. (2001). The Concise Course in Translation. Cambridge:
Oxford Dictionary of Literary Cambridge Scholars Publishing.
Terms. New York: Oxford
University Press. 9. Hatim, B. & Mason, I. (1990).
Discourse and The Translator.
4. Carroll, A. M. (1997). Mythology: London & New York: Routledge.
A Teaching Unit. Maine: Walch
Publishing. 10. Hervey, S., & Higgins, I. (1992).
Thinking of Translation. London:
5. Delahunty, A., & Dignen, S. Routledge.
(2012). Oxford Dictionary of 11. Hylen, S. (2005). Allusion and
Reference and Allusion. 3rd ed. Meaning in John 6. Berlin & New
Oxford: Oxford University Press.
Sara [Link] 4822

York: Walter de Gruyter Gmbtt & 22. Niknasab, L. (2011). Translation

[Link]. and Culture: Allusions as Culture
Bumps. Skase Journal of
12. Jabra, J. I. (1986).Arabic Translation and Interpretation,
Translation of Othello. Baghdad: Vol.5, No.1, 45-54. Retrieved From
Dar Al-Ma'mun for Translation & [Link]
Publishing. /pdf_doc/[Link].
13. Jamal, G. (1983). Arabic 23. Partridge, E. (2005). The
Translation of Othello. Baghdad: Dictionary of Cliches. London &
Dar-Alnahḍa. New York: Routledge.

14. Jordan, M. (2004). Dictionary of 24. Rasheed, E. (2018). Kinds and

Gods and Goddesses. 2nd ed. New Functions of Allusion in English
York: The Facts on File, Inc. and Arabic Language. Basic
Education [Link] of
15. Kussmaul, P. (1995). Training Al- Mustansiriya, Vol 24, No 100,
The Translator. Amsterdam & PP.1-22.
Philadelphia: John Benjamins.
25. Ruokonen, M. (2010). Cultural
16. Lennon, P. (2004). Allusion in the and Textual Properties in The
Press: An Applied Linguistic Translation and Interpreting of
Study. Berlin & New York: Allusions: An Analysis of
Walter de Gruter Gmbtt & Allusion in Dorothy [Link]'
[Link]. Detective Novels Translated into
Finished in The 1940s and The
17. Leppihalme, R. (1997). Culture 1980s (Dissertation) Turku:
Bumps: An Empirical Approach University of Turku.
to The Translation of Allusion.
Clevedon: Multilingual Matters. 26. Salgādo, G. (1976). William
Shakespeare: Othello. London:
18. Manser, M., Pickering, D. (2003). Longman Group [Link].
The Facts on File Dictionary of
Classical and Biblical Allusions. 27. Shaheen, N. (1999). Biblical
New York: Facts on File, Inc. Reference in Shakespeare's Play.
Newark: University of Delaware
19. Montgomery, M., Durant, A., Press.
Fabb, N., Furniss, T., & Mills, s.
(2007). Ways of Reading: 28. Venuti, L. (1995). The
Advanced Reading Skills for Translator's Invisibility: A History
Student of English Literature .3rd of Translation. London & New
ed. New York: Routledge. York: Routledge.

20. Murphy, B., & Rankin, E. (2020). 29. Vitkus, D. (2000). Three Turks
5 Steps to a 5: AP English Plays from Early Modern
Literature. New York: McGraw- England. New York: Columbia
Hill Professional. University Press.

21. Mutran, K. (1971).Translation of 30. Webber, E., & Feinsilber, M.

Othello .5th ed. Cairo: Dar- (1999). Merriam Webster's
Almʻarif. Dictionary of Allusions.
4823 Journal of Positive School Psychology

Massachusetts: Merriam-Webster Incorporated Springfield.