Gender in Translation Essay

Abstract Metaphors argon taken to be the near fundamental form of figural spoken communication, carrying the assumption that basis liter eithery connected with unitary(a) end can be transferred to a nonher object. A generator/speaker uses parable to a greater end than a lot than non with the uses of introducing a rude(a) object/concept, collide withering a more precise essence, or scarce non incontrovertibleing a more poetic effect to his text edition/speech. The main cerebrate of this contemplate is show fictions of dissimulation in the Shahnameh of Ferdowsi.The study set tabu to date how this particular figure of speech is rendered by reviewing dickens position interpretings of the work. The framework of the study was Newmarks (1988a) cardinal suggested procedures for translating fictions. In addition to ascertain which of these procedures dupe been utilise in the devil descriptions, the study to a fault aimed at discovering whether any ne w procedures might seduce been utilize. The study in like manner attempt to find out whether any exclusive patterns were find in sever ally translators rendering of the discussed items.The study concluded that out of the seven procedures proposed by Newmark for translating fictions, Warner & Warner applied five procedures and Davis applied all seven of the procedures in the transformation of throw parables of tinge. No new procedure was observed in their translations. The translators choices of procedures for translating these specific items showed that Warner & Warner had a tendency towards the first procedure which resulted in a literal translation of the particular fable, whereas Davis had a tendency towards the early(a) half-dozenprocedures which all led to explicitation, simplification and the production of a lector-oriented text.Key hurt the Shahnameh, figurative language, metaphor, token metaphor of colourise, translation procedure 1. Introduction interpret ation, as Catford (1965) defines it, is an act of transference, in which a text from the theme language is replaced by its equivalent in the marker language (p. 20). Newmarks (1988b, p. 5) more in advance(p) recitation of the term is a good deal, though not by any bureau al ways, rendering the meaning of a text into an new(prenominal) language in the way that the author intended the text. Even the mere thought of inferring from these ii definitions that the task of a translator and the whole translation process is a simple 1 seems a naivete on the part of the inexperienced. whatsoever given source text intended for translation, regardless of its text- sign, is required to afford a close reading in order to chthonicstand what it is about, and thusly an depth psychology from the point of view of the translator. The analysis stage consists of determining the intention of the text which, according to Newmark (1988a), represents the SL sources attitude to the subject yiel d and too the style in which it is written.Being attentive to the selected lexicon, the syntax, figures of speech, neologisms, punctuations, names, and slightly more is a vital role the translator plays in the process of translation. In the case of poetry, apart from all the above features in that respect is a unneeded of sound effects such as rhyme, meter, assonance, alliteration, stress, onomatopoeia. The or so common finale among translators is, and always should be, to create the self homogeneous(prenominal) effect on the target reader as the authoritative writer had intended for his readers.In Nidas aver words, the relationship between receptor and message should be substantially the corresponding as that which existed between the original receptors and the message (Nida, 1964a, p. 159). Understanding and analyzing figurative language in a text, as menti peerlessd above, is one of the difficult processes in translation. matchless of these figures of speech is meta phor which is considered by linguists as the nearly basic where one object is utilize to describe another object and both objects argon essentially disparate entities, notwithstanding common in one or more attri unlesses.In the side by side(p) section, the theoretical preliminaries of the study give be presented, which includes an overview of metaphor, concerning its definition, sorts, identification, and alike translation procedures introduced by Newmark (1988a) on the translation of metaphors in world(a). The attend metaphor of color in particular willing overly be discussed along with several exemplifications. in that respectafter, a selection of the cool selective information will be presented, analyzed and discussed. The last section will include the final result of the study. 2. Theoretical Preliminaries 2. 1.Definition of Metaphor Metaphor, as verbalise in the Merriam Webster online dictionary, is etymologically from Greek, from metapherein, meaning to transfer and from meta- + pherein, meaning to bear. It is defined by the akin source as a figure of speech, in which a word or phrase literally denoting one flesh of object or inclination is used in place of another to suggest a colour or analogy between them. One of Shakespe atomic number 18s most illustrious and oft-quoted lines, All the institutions a stage, is an ideal of a metaphor, where he indicates that the world and stage atomic number 18 analogous.According to Richards (1936), a metaphor consists of cardinal parts, tenor and fomite, also introduced as object and externalize by Newmark (1988a), respectively. The tenor is the term to which attri moreoveres are ascribed and the vehicle is the term from which attributes are borrowed. The properties of the vehicle which apply to the tenor in a given metaphor are namedgrounds of a metaphor, also cognise as the esthesis of a metaphor. Therefore, in the example given above, world is the tenor or object, and stage is the veh icle or construe.The ground of this metaphor is more apparent when the next two lines are added All the worlds a stage And all the men and women are merely players, They have their leads and their entrances This metaphor is extended by adding another pair of tenor and vehicle, i. e. men and women is the moment tenor and players is the befriend vehicle. Therefore, as the actors on stage have an entrance and also an exit, the inhabitants of the world do as surface, their entrance to this world being birth and their exit being death.2. 2. Classifications of Metaphors Metaphors have been categorized in contrasting ways by different linguists. dour (1962a, p. 25) asserts that the plainly entrenched classification is grounded in the trite opposition between curtly and live metaphors. He adds that this is no more helpful than, say, treating a corpse as a modified case of a person A so- called dead metaphor is not a metaphor at all, but merely an expression that no longer has a pregnant figurativeal use.However, he does present a classification for metaphors, but not before declaring that if the actuality of a metaphor is important abounding to be marked, one might consider surrogate the dead and alive contrast by a set of better discriminations hence, the interest classification (ibid, p. 25) 1. extinct metaphors expressions whose etymologies, genuine or fancied, suggest a metaphor beyond resuscitation (a muscle as a little mouse, musculus) 2. torpid metaphors those expressions where the original, now usually unnoticed, metaphor can be usefully restored (obligation as involving some kind of bondage)3.active metaphors those expressions, that are, and are perceived to be, actively metaphoric He continues further to discriminate between two events of active metaphor an emphatic metaphor whose producer will allow no interlingual rendition upon or substitute for the words used, and a resonant metaphor, which supports a high degree of implicative elabo ration (ibid, p. 26). On this account, he calls a metaphor of marked emphasis and reverberance a strong metaphor, and in contrast, a metaphor of relatively low emphasis or resonance a weak metaphor.Lakoff (1977) made a revolutionary contribution to the study of metaphors when he suggested a new theory of metaphor which basically stated that metaphors are fundamentally abstract, not linguistic, in nature (Lakoff, in Ortony, 1993, p. 244), which resulted in the advent of the conceptual or cognitive theory of metaphor. In his proffer of the theory, he does not provide us with any specific classification for metaphors, but rather, he only refers to them in his writings as he explains and elaborates on the theory. He states that conceptual metaphors map one conceptual estate onto another (ibid, p.229).On the other hand, the novel metaphors of a language are, eject for design metaphors, extensions of this large conventional system (ibid, p. 240). Therefore, it can be implied that he believes most metaphors to be conceptual metaphors and some others to be novel metaphors under which image metaphors are subcategorized. However, more than twenty years after Blacks declaration of his standpoint on the categorization of metaphors, Newmark (1988b) was still a faithful believer in the dead/live metaphor classification, as he distinguishes six cases of metaphors, beginning with dead metaphors1.dead metaphor this type of metaphor frequently relates to universal terms of space and time, the main part of the body, general ecological features and the main human activities (ibid, p. 106). Dead metaphors have lost their figurative value through overuse and their images are hardly evident. Some examples of a dead metaphor include at the bottom of the hill, give of the mountains, and crown of glory. 2. cliche metaphor this type of metaphor is known to have outlived its usefulness, and is used as a substitute for clear thought, often emotively, but without corresponding to th e facts of the matter (ibid, p.107).Some examples include a gems feel in the crown, to make ones mark, and backwater. 3. timeworn or standard metaphor this type of metaphor is defined by Newmark (1988b, p. 108) as an established metaphor, which in an informal context is an efficient and cryptic method of covering a physical and/or mental posture both referentially and pragmatically. He also states that stock metaphors, in contrast to dead metaphors, are not deadened by overuse (ibid). Examples of this type also mentioned by Newmark are to oil the wheels, hes in a giving humour, and hes on the eve of acquiring married.4. adapted metaphor this type of metaphor is actually a stock metaphor that has been adapted into a new context by its speaker or writer, for example, the stock metaphor carrying coals to Newcastle can be dour into an adapted metaphor by saying almost carrying coals to Newcastle. 5. recent metaphor this type of metaphor is produced through coining and is spread i n the SL rapidly. Examples of this kind are spastic, meaning stupid, and skint, meaning without money.6.original metaphor this type of metaphor is created or quoted by the SL writer, and in the broadest horse sense, contains the core of an important writers message, his personality, his comment on life (ibid, p. 112). 2. 3. Identifying Metaphors The recognition of a metaphor in a certain text or speech whitethorn be rather easy for native speakers, but when it comes to a non-native, the gainsay begins. The supposition that an expression is a metaphor when it yields a false or absurd meaning when interpreted literally is not reliable because not all metaphors have false literal interpretations ( musical mode, 1991, p.14).This unreliability is proven by Way when she exemplifies through the sideline lyrics of a song A rock n roll feels no pain, and an island never cries. This statement is a metaphor, but it is also literally true rocks do not feel pain, and islands are not the kin d of things that can cry (ibid). But how do we reveal it as a metaphor, even when the literal meaning seems true? Way (1991, p. 14) explains Perhaps because, charm not actually false, talking about rocks feeling pain and islands blatant is certainly a peculiar combination maybe we can identify metaphors by their odd juxtaposition of ideas. A more classical way of identifying metaphors, which again is not reliable, is the form x is a y. Although many metaphors do take this form, many more do not. As Way exemplifies through Shakespeares Let slip the dogs of war, she states that although this is clearly a metaphor, but it does not fit the form of x is a y, for we are not comparing dogs to war, but rather to armies, something which is never explicitly mentioned in the phrase (ibid, p. 15). She goes on to explain that even the syntactic building of a metaphor can not be proof of its essence, as it has no consistent syntactic form.She provides an example by Saskice, where it is shown how one metaphor can be rephrased as a statement, a question or an exclamation (ibid) The moonlight sleeps sweetly upon the bevel. Does the moonlight sleep sweetly upon the bank? How sweet the moonlight sleeps upon the bank She also mentions that a metaphors focus can be of any part of speech. In the succeeding(a) examples by Saskice provided by Way (1991, p. 15), it is stated that the focus is first a verb, therefore a noun, and finally a participle The smoke danced from the chimney.The trees arched in the dance of the seasons. Dancing waters surrounded the canoe. According to all the above, there is no reliable method for identifying a metaphor. The more we extend to to analyze a metaphor, the more we understand that its creation and comprehension are challenging tasks, specifically for the non-native speaker. 2. 4. Translating Metaphors Newmark (1988b) proposes the following seven strategies for translating metaphors the examples included for each outline are provided by T ajalli (2005, p. 107) 1. Reproducing the homogeneous image in the TL.Play with souls feelings 2. Replacing the image in the SL with a standard TL image which does not clash with the TL culture I got it off my chest 3. Translation of metaphor by simile, retaining the image The coast was only a long green line 4. Translation of metaphor (or simile) by simile plus sense, or occasionally metaphor plus sense He is an owl 5. Conversion of metaphor to sense To keep the supergrass boiling 6. Deletion.If the metaphor is redundant or serves no practical purpose, there is a case for its deletion, together with its sense component 7. Translation of metaphor by the akin metaphor combined with sense. The addition of a smoothen or an explanation by the translator is to ensure that the metaphor will be understood The tongue is fire . 2. 5. run across Metaphors of Color As mentioned earlier, image metaphor is a subcategory of Lakoffs novel metaphor. He distinguishes between conceptual metaphor and image metaphor due to their straightforward mapping processes.The conceptual metaphor maps one conceptual domain onto another, often with many concepts in the source domain mapped onto many corresponding concepts in the target domain, whereas the image metaphor maps only one image onto one other image thus, Lakoff (1977) calls them one-shot metaphors. The following poem, interpreted by Louis Watchman (as cited in Ortony, 1993, p. 231), contains several image mappings My cavalry with a hoof like a striped agate, with his fetlock like a fine eagle trim my horse whose legs are like quick lightning whose body is an eagle-plumed arrowmy horse whose tail is like a trailing obtuse cloud. He continues by explaining that Metaphoric image mappings work in the same way as all other metaphoric mappings by mapping the grammatical construction of one domain onto the structure of another. But here, the domains are conventional mental images (ibid , p. 229). Therefore, image metaphors map one attribute of the source domain onto the target domain. Image mapping may involve physical part-whole relationships, as in the following example extracted from The Descriptions of King Lent, translated by J.M. Cohen (ibid, p. 230)His toes were like the observeboard of a spinet. Lakoff explains that The words do not tell us that an individual toe corresponds to an individual key on the keyboard. The words are prompts for us to perform a conceptual mapping between conventional mental images (ibid). Image mapping may also involve a dynamic image, as in the following lines by Shakespeare (as cited in Hawkes, 1972, p. 46), where the movement of the curtains is mapped onto the movement of the eyeThe fringed curtains of thine eye advance,And say what thou sees yond. Other attributes, such as modify, may also be mapped, which are the main focus of the present study. The following lines by Shakespeare (ibid, p. 47) map the whiteness of the lily and also ivory onto the girl Full mildly now she takes him by the hand, A lily prisond in a gaol of snow, Or ivory in an alabaster band So white a friend engirts so white a foe. There are many examples of image metaphors of color in the Shahnameh, where the attribute of color has been mapped onto the target domain.The following translation of a bridge in the Shahnameh, produced by Warner & Warner, contains four image metaphors (of which two are similes), but only in two of them is the attribute of color intended to be mapped the whiteness of camphor is mapped onto the lawsuits hair, and the redness of a rose onto his cheeks His stature cypress-like, his face a sun, His hair like camphor and his rose-red cheeks (Warner and Warner, 1925, vol. 1, p. 191) withal in the following example from the Shahnameh, Davis has compared blood to the redness of wine in this metaphor, even including the sense.But here, the metaphor has been applied simply as a device for making the text more poet ic, as Way (1991, p. 33) discussed about the substitution theory of metaphor. He saw Sohrab in the midst of the Persian ranks, the ground beneath his feet overflowing with wine-red blood. (Davis, p. 205) 2. 6. Formal and self-propelling Equivalence Nida (1964) divides par in two different types in his article entitled Principles of Correspondence, i. e. formal and dynamic equivalence. He depicts formal equivalence as a focus on the message, in both its formal aspects and its content.Thus, in a translation from poetry to poetry, fate to sentence, and concept to concept (Nida, in Venuti 2000, p. 129), the concern is formal equivalence. In this type of equivalence, the message produced in the TT should match the different elements of the ST as intimately as practicable. Nida further explains that a gloss translationtypifies formal equivalence. In this type of translation, he states, the translator attempts to reproduce as literally and meaningfully as possible the form and conten t of the original (ibid). In order to be comprehensible, such a translation would require numerous footnotes (ibid).This structural equivalence seems to be rather identical to Larsonsmodified literal translation, where the translation is basically literal, but with modifications to the order and grammar of the ST, so as to produce accep table sentence structure in the receptor language (Larson, 1984, p. 16). To a great extent, it also resembles Newmarks semantic translation, which he states, attempts to render, as closely as the semantic and syntactic structures of the second language allow, the exact contextual meaning of the original (Newmark, 1988a, p.39).Dynamic equivalence, on the other hand, maintains that the relationship between receptor and message should be substantially the same as that which existed between the original receptors and the message (Nida, in Venuti 2000, p. 129). In a translation of dynamic equivalence, the target readership is not inevitably required to u nderstand the SL culture in order to understand the message. close importantly, this type of equivalence aims at complete naturalness of expression (ibid) , and is also based on the principle of equivalent effect, which maintains that the translator should produce the same effect on his own readers as the SL author produced on the original readers. Similar to Nidas dynamic equivalence is the traditional idiomatic translationdiscussed in Larson (1984). The translators goal should be to reproduce in the receptor language a text which communicates the same message as the SL, but using the natural grammatical and lexical choices of the receptor language (ibid, p.17). Also rather similar to this type of equivalence is Newmarks communicative translation, which he claims, attempts to produce on its readers an effect as close as possible to that obtained on the readers of the original (Newmark, 1988a, p. 39). According to the above-mentioned, after comparing Warner & Warners (1925) and Davi s (2007) side of meat translations of the Shahnameh with the original, it was concluded that the first translation is a semantic translation, while the second one is a communicative translation.Warner & Warner have translated poetry into poetry and also strived at preserving the archaic tone of the original. Furthermore, they have indicated in their Introduction to the translation that many explanatory notes have been added hence leading to a semantic translation. Davis, on the other hand, has converted poetry into prose, with occasional lines of verse in some episodes. He also explains in his Introduction to the translation that he has intended this translation for the general reader and not for scholars thus his version is a communicative translation. 3.Empirical Data 3. 1. Data Collection and abridgment cardinal examples of image metaphors of color identified in theShahnameh were dictated in two English translations, i. e. Warner & Warner (1925) and Davis (2007). It is worth noting that over forty-five metaphorical expressions of color were identified in the entire Shahnameh, but as Davis translation is not a complete translation, rather an abridge version, only thirty-three were applicable to this study. The first step in this procedure was to identify all terms/objects in theShahnameh that presented color imagery.This information was found in a hear provided by Rastegar Fasaei (1990). Seventy-nine items were listed, but only thirty-three were applicable in this study, because the list was obviously not intended for metaphors of color, but rather a list indicatingterms that denote a color. Many of these terms were basic color terms, e. g. , which could not produce any potential metaphorical expression implying a color. They were mostly used in adjectival phrases describing a particular object or event.Therefore, all color terms were ruled out, as well as other terms which indicated some kind of brightness or shiny effect, e. g. the expression , in which the metaphor implies that the sword is precise shiny. Unfortunately, approximately eighteen of the items in this list were of this kind, representing brightness of an object, colors of the air, and colors of the earth, of which the latter two seemed ambiguous and impracticable for this study. As mentioned earlier, the translation by Davis is not a complete translation of the wholeShahnameh, as many episodes have been omitted.Therefore, several of the items in the list have occurred only in the sections not translated by Davis hence, deleting them from the list was inevitable. Many of the terms in the list, unfortunately again, were observed only in the form of similes, and not metaphors therefore, they could not be applied either. After settling on these thirty-three items, they were sought in aShahnameh software, in order to locate the dyads which contained these terms. The next step was to review each duet to see which one had an image metaphor of color created with that specific term.For some terms, the relative frequency of occurrence was very high, e. g. approximately 400 couplets, which caused some difficulties in terms of being highly time-consuming. A minimum of one couplet carrying an image metaphor of color was chosen for each of the thirty-three instances via the Shahnamehsoftware. These examples were then initially located in the translation by Davis, as his is an abridged translation. Regarding this, he states in the Introduction to his book Given the poems immense length, some passages have inevitably been omitted, and others are presented in heavyset form (Davis, 2007, xxxiv).After determining which of the examples were included in Davis translation, one couplet was eventually chosen for each instance, and then the corresponding expression was located in Warner & Warners translation. So far, there were thirty-three Persian examples of image metaphors of color, along with their corresponding expressions in the two English translations . These were the steps taken in the data collection stage. The next step was to analyze the collected data, which included determining the translation procedures involved in each of the two translations.The framework applied was Newmarks (1988b) seven procedures introduced for translating metaphors. The goal here was not just determining which translator applied which procedure(s) and the frequency of each procedure, but also finding out whether any new procedures were applied other than Newmarks. The study also aimed atdiscovering any possible translation patterns exclusive to each translator. The following three examples were selected as representatives of the collected data in this study. (?. ?)The dark was like jet dipped in pitch, there lent No planet luster to the firmament (Warner & Warner, vol. 3, p. 287) A iniquity as swart as coal bedaubed with pitch, A night of ebony, a night on which Mars, Mercury, and Saturn would not rise. (Davis, p. 306) In this S T context, the poet has depicted the scene as though the night has actually covered its face with pitch. Both translators have reproduced the same image in their TTs, thus likening the night to a black stone ( ) that has washed its exterior with pitch. (?. ) Raised such a disperseBut swift as dust they sped Till days cheeks turned to lapis-lazuli. (Warner & Warner, vol. 7, p. 67) They rode quickly until the day turned purple with dusk. (Davis, p. 642) The definition provided for is a dark blue stone its translation by Emami is lapis-lazuli, azure. Britannicas online dictionary definition forlapis-lazuli is a semiprecious stone valued for its secret blue color. Therefore, the first translator has again reproduced the same image through the same metaphor. The second translator, however, has converted the metaphor to its sense, i. e. the color it represents. ? ? (?. ) This he said, And heaved a sigh. The colour of his cheek Turned from pomegranate-bl oom to fenugreek (Warner & Warner, vol. 6, p. 25) Having said this he heaved a sigh from the depths of his being, and the rosy pomegranate petal turned as pale as fenugreek. (Davis, p. 455) The mental image of this ST metaphor is mapped onto the kings face, describing the change of color in his complexion. The first translator has interestingly enough converted the metaphor to its sense, which seems rather a rare procedure for a semantic translation.The second translator, however, has reproduced the same image in TT2. 3. 2. Discussion Thirty-three cases of image metaphors of color were identified in theShahnameh and then located in two English translations, i. e. Warner & Warner (1925) and Davis (2007). Afterwards, the procedures applied by each translator in rendering these thirty-three items were identified. The framework chosen was that of Newmarks (1988a). The analysis of the data showed that Warner and Warner applied five of Newmarks suggested procedures in translating the spec ified image metaphors of color. They also presented two cases of wrong translation.In the following table, the procedures applied by Warner & Warner in translating the thirty-three image metaphors of color identified in this study and their frequency of occurrence, along with the corresponding percentages are shown. Table 4. 1. frequency and percentage of procedures applied by Warner & Warner Procedure Frequency Percentage Reproducing the same image in the TL 23 69. 69 Replacing the image in the SL with a standard TL image 3 9. 09 Translation of metaphor by simile, retaining the image 1 3. 03 Translation of metaphor by simile plus sense 0 0.Conversion of metaphor to sense 3 9. 09 Deletion 0 0 Translation of metaphor by the same metaphor plus sense 1 3. 03 Wrong translation 2 6. 06 intact 33 100 As evident in this table, Warner & Warner have neither translated any metaphors by simile plus sense, nor deleted any metaphor. The most frequently applied procedure in their translations wa s the reproduction of the same image in the TL. The translation of the Shahnameh produced by Warner & Warner is a semantic translation, which clearly proves the savvy as to why their most frequently applied procedure is the one mentioned above.A semantic translation attempts to recreate the precise flavor and tone of the original the words are sacred, not because they are more important than the content, but because form and content are one (Newmark, 1988a, p. 47). The analysis of the data also shows that Davis has applied all seven procedures introduced by Newmark in translating these items. There was no evidence of any wrong translation. The following table presents the frequency of each procedure which was applied and also their percentages. Table 4. 2. Frequency and percentage of procedures applied by Davis Procedure Frequency Percentage.Reproducing the same image in the TL 12 36. 36 Replacing the image in the SL with a standard TL image 3 9. 09 Translation of metaphor by simil e, retaining the image 3 9. 09 Translation of metaphor by simile plus sense 2 6. 06 Conversion of metaphor to sense 6 18. 18 Deletion 2 6. 06 Translation of metaphor by the same metaphor plus sense 5 15. 15 marrow 33 100 As indicated in the table, the most frequently used procedure by Davis is also the reproduction of the same image in the TL. He has opted for deletion of the image metaphor of color in two cases.In one of the two cases, his deletion seems to serve the purpose of a more easy-going, reader-friendly text (where the metaphoric elements seem complex or far-fetched to the target audience), whereas in the other case, his deletion seems somehow arbitrary or unjustifiable. The following table compares the two translations in terms of the percentage of procedures applied. P1 through P7 are the seven translation procedures involved in this study, also indicated in the preliminary table, and WT stands for wrong translation. Table 4. 3.Percentage of the procedures applied by b oth translators P1 P2 P3 P4 P5 P6 P7 WT Total % W. & W. 69. 69 9. 09 3. 03 0 9. 09 0 3. 03 6. 06 100 Davis 36. 36 9. 09 9. 09 6. 06 18. 18 6. 06 15. 15 0 100 4. Conclusion Thirty-three cases of image metaphors of color were extracted from theShahnameh and relocate in two English translations, i. e. Warner & Warner (1925) and Davis (2007). The main objective of the study was to determine which translation procedures introduced by Newmark (1988a) for translating metaphors in general were applied by the two above mentioned translators.According to the collected and analyzed data, Warner & Warner applied five of Newmarks suggested procedures. The two procedures they did not apply at all were deletion and translation of metaphor by simile plus sense. The figures indicated that approximately 70% of the thirty-three cases had undergone Newmarks first procedure, i. e. reproducing the same image in the TL, which was also considered the most frequently used procedure by Warner & Warner. Th is is a verification that their translation is indeed a semantic translation, as the objective in this type of translation is to recreate the ST, both its form and its content.This occurs to a great extent through literal/word-for-word translation, which is rather similar to the above- mentioned procedure. Davis, on the other hand, applied all seven of Newmarks procedures in his translation of image metaphors of color. The most frequently used procedure was again, a reproduction of the same image in the TL (36%). The second aim was to determine whether any new procedures for translating image metaphors of color other than those proposed by Newmark for translating metaphors resulted from this study.