Hatim Drama Serial Download 2003
Gunn Capra
Hatim is an Indian television series that aired on Star Plus from 26 December 2003 until 12 November 2004.[1][2] It has elements of fantasy, drama, and many other genres. It was directed by Amrit Sagar and is based on a Persian story which purports to recount the adventures of Hatim al-Tai, an Arab chieftain of the Tayyi tribe of Arabia and ruler of Shammar.[3]
The translation problem tackled in this article relates to handling literary discourse, namely Shakespeare's drama. The article addresses the problem of identity to be attained in translation when rendering interpersonal relationships ofthe communicants commonly referred to as tenor of discourse. In the context of the proposed analysis tenor is viewed as what can be called a "monarchical point" (the term is borrowedfrom P.A. Florensky (Florensky, 2000)) of the space of drama translation discourse, where 'monarchical' stands for 'particularly valuable'. The analysis is based on Hamlet, Prince of Denmark and itsXIX-XXI centuries' Russian translations.
Drama translation as an aesthetic and cultural phenomenon despite its long history appears to have been given limited scholarly attention (Anderman, 2000). One of the reasons for this situation may be the very nature of drama which is meant not only for the page but first and foremost for the stage. Therefore, the concept of phenomenological identity associated with adequacy and pertaining to literary (poetic) translation and attained through the translator's intention "to conform to the effect" (Voskoboinik, 2004)2 in drama translation may be specified as involving 'acceptability' and 'performability' (Anderman, ibid.: 71). The linguistic requirements of performability to be satisfied in translation entail adjustments on different levels (the rendering of dialect, slang, terms of abuse or endearment, hypocoristics and
(phenomenological identity) established? What should this ratio be like to stage a translation, not a remake? Does performability of the translation heavily rest on the domesticating strategy? Does not a heavily domesticated and modernized text sound an ostentation anyway? Does it make it more, or less performable? Etc. As one can see, drama translation poses many questions (let alone Shakespeare who has more riddles and mysteries and play in store for us than we can imagine).
In conclusion, it is important to stress that the tenor of discourse is a "monarchical point" of the discoursal space of the drama work. Its particular value is associated with the energy it "charges" the work with. Shifts of the tenor and type of discourse in the source text are discoursal phenomena which have to be handled in translation by ensuring that characteristics of use and user and peculiarities of interaction are reflected. According to our analysis, the changing of the original tenor, the transformation of the institutional discourse into personal (or vice versa) in translation may be accompanied by the corresponding shift of the illocutionary semantics of the translated text - all manifesting the experience, the living-through in the internal time of the ego of the translator. The analysis has brought to the fore the problem of the compatibility of signs of culture - the source and target cultures belonging to different epistemes.
dd2b598166