lANGUAGE AND CULTURE DISTORTION IN TRANSLATED AND ADAPTED CHiLDREN’S BOOKS IN EOYPT | ||||
| مجلة بحوث کلية الآداب . جامعة المنوفية | ||||
| Article 6, Volume 7, Issue 27, December 1996, Page 4-33 PDF (1.09 MB) | ||||
| Document Type: المقالة الأصلية | ||||
| DOI: 10.21608/sjam.1996.140302 | ||||
 View on SCiNiTO | ||||
| Author | ||||
| Somaya Mazloum* | ||||
| Abstract | ||||
| hen in the last century, educationalists felt the need for providing children with stories, written particularly for the young, they had English and French books translated into Arabic. In this way, writing for children in Egypt began with translation and adaptation. We have, for example the poems of Mohammed Othman Galal and Ahmed Shawqui, adapted from the Fables of La Fontaine. Kamel El Kelanie also drew heavily upon foreign and ancient sources. He translated some of Shakespeare’s plays, Gulliver’s Travels, Robinson Crusoe, Indian stories such as The Cruel Princess and from the world myths such as King Midas. Bamberger, ill his paper, The influence of Trans/orion on the Development 0/ the National Children’s Literature, points to the importance of translation Cor the young. First of all, in children’s literature translations may be considered to be an integral part of national literature, for” the realm of children’s books knows no frontiers. Children do not care where books come from, they do not read them because they are foreign books, as adults often do, but regard them as stories of adventures,fantasies and so on, just as if the books were written in their own language (Klingberg p.19). Thus it is through translation that our children could enjoy the stories of Alice, Pinocchio, Snow-white, Little Red Riding-Hood, Peter Pan, and others. It is also through translation that Antoine Galland, in the first decades of the eighteen century, transferred to France and thence to the rest of Europe, The Thousand and One Nights, which greatly influenced Western writings, whether for children or adults. Now, after more than a century, translation still constitutes the best part of Egyptian children’s literature. But a look at our current books for the young raises a number of questions such as : What kind of books are translated and upon what criteria are they selected? Do we have any kind of evaluation of these translations? Translating books for children in Egypt is done through two channels. One is National press establishments such as Dar EI Hilal or Dar El Maarif, The two published a large number of the World’s classics among them. The Princer and The Pauper, Robin Hood, The Little Prince and many others. The other channel is private publishers such as EI Sherook and Nahdat Misr. It is either the translator or the publisher who chooses the book to be translated. But there are no specialized magazines or periodicals to review translated books or stories written for the young in general. This absence of evaluation leads to several and often serious problems | ||||
| Keywords | ||||
| CULTURE; DISTORTION; LANGUAGEs | ||||
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