Foreignisation and Domestication of Neologisms and Idioms in the Arabic Translation of Harry Potter Alshaymaa Yahya Alharbi Thes

Foreignisation and Domestication of Neologisms and Idioms in the Arabic Translation of Harry Potter

Alshaymaa Yahya Alharbi

Thesis submitted to the University of Leicester degree for the Degree Doctor of Philosophy in School of Modern Languages

March 2019 Abstract

This study investigates the translation of the children’s fantasy series Harry Potter, by the English writer J.K. Rowling, into Arabic. It focuses on three books from the series: the second, Harry Potter and the Chamber of Secrets, the fifth, Harry Potter and the Order of the Phoenix and the seventh, Harry Potter and the Deathly Hallows. The study covers the issue of cultural understanding between the Western and Arab world. The main focus is the predominance of foreignisation or domestication in the Arabic translation explored through an investigation of the translating of idioms and neologisms. The study also examines the factors that may have influenced the translator’s choices of foreignisation or domestication. The methodology used is a comparative analysis of the source and target texts to examine the translation of idioms and neologisms. To carry out the analysis, the study introduces typologies and adapted models of analysis of idioms and neologisms. In addition, a small-scale interview study was carried out with a group of Saudi children to explore their reactions to the Arabic translation of Harry Potter. Paraphrase was the main strategy used to render idioms while transliteration was the most common way of dealing with neologisms. The translators tended to combine domestication and foreignisation, but domestication tends to predominate in the translation of idioms and foreignisation tends to predominate in the translation of neologisms. Foreignisation is used to entertain in the target text while domestication results in a fluent and naturally sounding text. The discussion suggests that didacticism, entertainment, the publisher, foreign literature, reading habits, and the source text genre are factors influence the translator’s choices. Two main impacts of the translator’s choices on Arab readers have been identified: enhancement of Arab children’s knowledge of foreign culture and values, enabling them to function as global citizens.

Acknowledgements

I consider doing my PhD a considerable opportunity to make my long lasting dream come true. This acknowledgement offers a great chance to show my gratitude to those who contributed to the success of my work. I would like to thank my God for giving me the skills and strength to complete my PhD and overcome all the obstacles on the way. A deep thank you also goes to the government of the Kingdom of Saudi Arabia for offering me the opportunity to study abroad and for its full financial support. A profound and deep gratitude goes to my first supervisor Prof. Kirsten Malmkjær for her extensive support, professional guidance, positive attitude and patience which helped me to complete this thesis. Without her feedback, finishing this thesis would not have been possible. I will always remember her invaluable support during my study. My sincerest thanks also go to my second supervisor Dr. Ahmed Elimam for kindly sharing his experience with me and offering valuable advice. An important appreciation should be sent to the children who took part in my interview study, who enriched my study by offering their time, opinions and insights during the interviews.

I owe my deepest and most sincere thankfulness to the people who played a major role in the success of this thesis, which would not have been completed without the help and support of my dearest family, my parents Yahya and Hend for their faith in me and continuous encouragement. They were the sources of strength and never doubted in my abilities which helped me to overcome difficulties that I faced on my way. I also send special thanks to my husband Sameer for his full support and patience during my doctoral studies as he trusted me to pursue my dream even though our family had to be separate for some time. I am also grateful to all my beloved children Ghaith, Mohammed, Salman and Suleiman for brightening up my life. My special apology goes to my twins who had to grow up far from me which made all our family miss love and attention that we could have had being together. I would like you to know that I have done all this for all our family and I promise I will never ever leave you. My final thanks go to my wonderful sisters Arwa and Khawlah for their continuing support, my friend Hanan for her encouragement over the years, and my fellow PhD students for sharing this experience with me.

Contents

1.1 The Harry Potter Series ...... 2

1.2 Nahdet Misr Publishing House ...... 5

1.3 The Harry Potter Series as a Mixture of Fantasy and the School Genre ...... 7

1.4 Position of my Project within Descriptive Translation Studies ...... 11

1.5 Research Overview ...... 13

1.6 Outline of Chapters ...... 18

2.1 The Definition of Children’s Literature ...... 21

2.1.2.1 Didacticism ...... 29 2.1.2.2 Entertainment ...... 33 2.1.2.3 The Publishing House ...... 37 2.1.2.4 Influence of Foreign Literature ...... 39

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2.1.2.5 Reading Habits and Motivation ...... 40

2.2 The Concepts of Domestication and Foreignisation ...... 48

2.3 Summary ...... 56

3.1 Definition of Idioms ...... 57

3.2 Definition of Neologisms ...... 71

3.3 Summary ...... 77

4.1 Idiom Translation Strategies ...... 78

4.2 Neologism Translation Strategies ...... 85

4.3 Summary ...... 94

5.1 Idioms ...... 95

5.1.1.1 Combination ...... 96 5.1.1.1.1 Combination of Figurative Idioms…………… ...... 96 5.1.1.1.2 Combination of Semi-Figurative Idioms………...... 99 5.1.1.1.3 Combination of Variants of an Existing Idiom ...... 101 5.1.1.2 Deletion ...... 103 5.1.1.2.1 Deletion of Figurative Idioms………………… ...... 103 5.1.1.2.2 Deletion of Semi-Figurative Idioms……………...... 104 5.1.1.2.3 Deletion of Variants of an Existing Idiom……… ...... 106 5.1.1.3 Literal Translation ...... 107 5.1.1.3.1 Literal Translation of Figurative Idioms………...... 107 5.1.1.3.2 Literal Translation of Semi-Figurative Idioms ...... 109 5.1.1.4 Paraphrase ...... 111 5.1.1.4.1 Paraphrase of Figurative Idioms……………...... 111 5.1.1.4.2 Paraphrase of Semi-Figurative Idioms………...... 113 5.1.1.4.3 Paraphrase of Variants of an Existing Idiom …...... 116 5.1.1.5 Replacement ...... 117 5.1.1.5.1 Replacement of Figurative Idioms…………… ...... 117 5.1.1.5.2 Replacement of Semi-Figurative Idioms……...... 120

5.1.2.1 Literal Translation of Variants of an Existing Idiom ...... 122 5.1.2.2 Combination of a Variant of an Existing Idiom ...... 124

5.1.3.1 Combination of Variants of an Existing Idiom ...... 125

5.2 Neologisms ...... 128

5.2.1.1 Combination ...... 129 5.2.1.1.1 Combination of New Coinages………………...... 129 5.2.1.2 Deletion ...... 130 5.2.1.2.1 Deletion of Derived Words……………………...... 130 5.2.1.2.2 Deletion of Existing Words with New Sense……...... 131 5.2.1.2.3 Deletion of Multiple Processes………………...... 131 5.2.1.2.4 Deletion of New Coinages……………………...... 132 5.2.1.3 Descriptive Equivalence ...... 133 5.2.1.3.1 Descriptive Equivalence of Derived Words…...... 133 5.2.1.3.2 Descriptive Equivalence of Existing Words with New Sense .. 135 5.2.1.3.3 Descriptive Equivalence of Multiple Processes ...... 136 5.2.1.3.4 Descriptive Equivalence of New Coinages…...... 136 5.2.1.4 Functional Equivalence ...... 138 5.2.1.4.1 Function Equivalence of Borrowings………...... 138 5.2.1.4.2 Functional Equivalence of Derived Words…...... 139 5.2.1.4.3 Functional Equivalence of Existing Words with New Sense ... 140 5.2.1.4.4 Functional Equivalence of Multiple Processes ...... 141

5.2.1.4.5 Functional Equivalence of New Coinages…… ...... 143 5.2.1.5 Generalisation ...... 144 5.2.1.5.1 Generalisation of Multiple Processes………… ...... 144 5.2.1.5.2 Generalisation of New Coinages……………...... 145 5.2.1.6 Literal Translation ...... 147 5.2.1.6.1 Literal Translation of Existing Words with New Sense ...... 147

5.2.2.1 Transliteration ...... 148 5.2.2.1.1 Transliteration of Borrowings………………...... 148 5.2.2.1.2 Transliteration of Derived Words…………… ...... 149 5.2.2.1.3 Transliteration of Existing Words with New Sense ...... 152 5.2.2.1.4 Transliteration of Multiple Processes………… ...... 153 5.2.2.1.5 Transliteration of New Coinages……………...... 155

5.2.3.1 Combination ...... 157 5.2.3.1.1 Combination of Derived Words……………… ...... 157 5.2.3.1.2 Combination of Existing Words with New Sense ...... 158 5.2.3.1.3 Combination of Multiple Processes…………...... 159 5.2.3.1.4 Combination of New Coinages………………...... 161

5.3 Summary ...... 162

6.1 Interview Methodology ...... 163

6.1.2.1 Semi-Structured Interviews ...... 164 6.1.2.2 Data Analysis ...... 167 6.1.2.3 Ethical Considerations...... 168

6.2 Analysis of the Children’s Response to Harry Potter Series ...... 169

6.3 Summary ...... 178

7.1 The Strategies Applied by the Translators ...... 179

7.2 The Predominance of Domestication or Foreignisation ...... 188

7.3 Factors that may have Influenced Translators’ Choice between Domestication and Foreignisation ...... 192

7.4 General Discussion of the Effects of Domestication and Foreignisation in the Arab World ...... 207

7.5 Summary ...... 211

8.1 Summary of Findings ...... 212

8.2 Contributions of the Study ...... 218

8.3 Limitations of the Study ...... 220

8.4 Recommendations of the Study ...... 221

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Appendix 1:Table of idioms in Harry Potter and the Chamber of Secrets ...... 242 Appendix 2: Table of neologisms in Harry Potter and the Chamber of Secrets ...... 256 Appendix 3:Table of idioms in Harry Potter and the Order of the Phoeni ...... 263 Appendix 4: Table of neologisms in Harry Potter and the Order of the Phoenix ..... 314 Appendix 5: Table of idioms in Harry Potter and the Deathly Hallows ...... 336 Appendix 6: Table of neologisms in Harry Potter and the Deathly Hallows ...... 360 Appendix 7: Table of Idioms in three Books Translated by Different Strategies .... 374 Appendix 8: Table of Idioms in two Books Translated by Same and Different Strategies ...... 375 Appendix 9: Table of Neologisms in three Books Translated by Same and Different Strategies...... 378 Appendix 10: Table of Neologisms in two Books Translated by Same and Different Strategies ...... 379 Appendix 11: Idioms related to school ...... 383 Appendix 12: Table of Combination Strategy that has the effect of both Domestication and Foreignisation ...... 397 Appendix 13: Ethical Approval…………………………………………………… 405

Appendix 14: Information Sheet and Consent Form in English…………………...407

Appendix15: Child Participant Information Sheet ……………………………….. 410

Appendix 16: Information Sheet and Consent Form in Arabic…………………… 411

Appendix 17: Child Participant Information Sheet in Arabic…………………..….414

Appendix 18: Interview Questions in English……………………………………...415

Appendix 19: Interview Question in Arabic……………………………………..…416

Appendix 20: Thematic Coding……………………………………………..…..….417

Appendix 21: Interview Transcript in English……………………………..……… 418

Appendix 22: Interview Transcript in Arabic…………………………………….. 422

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List of Chart, Figures and Tables

Bar Chart 1.The relation between idiom translation strategies and foreignisation and domestication in the three books from the Harry Potter series...... 189 Bar Chart 2. The relation between idiom translation strategies and foreignisation and domestication in three books in the Harry Potter series...... 190

Chart 1. The framework of translation studies (Toury, 1995: 10) ...... 11

Pie Chart 1. The frequency of idiom translation strategies in the three books from the Harry Potter series...... 180 Pie Chart 2. The frequency of neologism translation strategies in the three books from the Harry Potter series ...... 184

Table 1. The names of the books in the Harry Potter series in English and Arabic and their years of publication...... 4 Table 2. The advantages and disadvantages of domestication in translation ...... 50 Table 3. The advantages and disadvantages of foreignisation in translation ...... 51 Table 4. A comparison between two types of multiword expressions: idioms and habitual collocations ...... 60 Table 5. Proposed typology of idioms drawing on Fernando’s (1996) and Moon’s (1998) typologies...... 67 Table 6. Proposed typology of neologisms based on Newmark’s (1988b), Stockwell’s (2000) and Yule’s (2010) typologies...... 75 Table 7. Summary of Baker’s and Epstein’s translation strategies for idioms ...... 81 Table 8. Summary of Baker’s and Epstein’s translation strategies for idioms and the adapted model...... 83 Table 9. Summary of Baker’s, Newmark’s and Epstein’s translation strategies for neologisms...... 89 Table 10. Summary of Baker’s, Newmark’s and Epstein’s translation strategies for neologisms and the adapted model...... 91

Table 11. Frequency of strategies used to translate each type of idiom in the three novels from the Harry Potter series ...... 96 Table 12. Frequency of strategies used to translate each type of neologism in the three novels from the Harry Potter series ...... 128

Abbreviations

The following abbreviations will be used throughout the thesis:

BCE Before Common Era

BNC British National Corpus

DTS Descriptive Translation Studies

HPCS Harry Potter and the Chamber of Secrets

HPDH Harry Potter and the Deathly Hallows

HPOP Harry Potter and the Order of the Phoenix

IBBY International Board on Books for Young People

ISO International Organisation for Standardisation

MSA Modern Standard Arabic

ST Source Text

TT Target Text

Transliteration Rules (Arabic-English)

ء ʼ ظ ẓ

آ Ā ع ʻ

ب B غ Gh

ت T ف F

ث th ق Q

ج J ك K

ح ḥ ل L

خ kh م M

د d ن N

ذ dh ه H

ر r و W

ز Z و(Ū (long

س S ي Y

ش sh ي(Ī (long

ص A َ ṣ

ض u ٌ َ ḍ

ط I َ ṭ

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Introduction

This study investigates the translation of the Harry Potter fantasy book series in the context of children’s literature in translation from English into Arabic. The book series has sold millions of copies world wide, been made into several movies and been translated into seventy three languages. The success and popularity of the series are among the factors that brought about my interest in the translation of this book.

The study of children’s literature in the Arab world is still in its developmental stages compared with studies of other genres, This thesis will endeavour to enrich this field by investigating the translation into Arabic of the fantasy genre and its reception in the Arab world, comparing Arabic children’s literature with that of English-speaking countries and investigating the response of Arab children to the translation of Harry Potter.

Issues related to culture can be considered as one of the main obstacles that translators of children’s literature are faced with (Hilu, 2018: 1). This study compares the English and Arabic texts, which will allow a discussion of how these two languages and cultures are represented by the translator and whether one culture has been prioritised. This is done by investigating the strategies used by the translators to deal with elements such as idioms and neologisms, which allows a further examination of the predominance of domestication or foreignisation.

Tension between factors that might influence the translator’s choice is a significant issue affecting the process of translation especially in translation between two languages that are part of divergent cultures such as Arabic and English. Factors related to the specific context of translation of the Harry Potter series into Arabic include the influence of foreign literature, didacticism, entertainment, the publishing house, children’s reading habits and the source text genre. These will be discussed in the broader context of cultural understanding of the source text by target text recipients.

1.1 The Harry Potter Series

The novels featuring Harry Potter, written by J.K. Rowling, constitute a contemporary fantasy series. It consists of seven books that present the life of Harry Potter (see Table 1), a young orphan wizard who fights against evil. The story mainly takes place in a wizarding world, the school environment of Hogwarts, where Harry learns about magic and makes friends and enemies with other wizard children. Harry is the hero who, with his friends, has a number of adventures, overcomes multiple difficulties and fights against the evil wizard Lord Voldemort. As the story progresses, Harry and his friends grow up, mature and face new difficulties to eventually defeat Lord Voldemort and save the wizard world. The series has attracted millions of children and young readers who grew up with Harry and used him as their role model. Child readers meet Harry when he is 11 years old in the first book in the series, which could suggest that this is the intended readership age that Rowling was writing for. However, with the maturation of Harry Potter and his friends, many bookstores started placing the later books in the series in the teenage reading sections (Lennard, 2007: 10-11). Placing a child hero at the centre of the story has also contributed to the attractiveness of the story among child readers (Black, 2003: 241).

The series has become a bestselling set of novels, with over 400 million books from the series have been sold around the world (BBC News, 2011), It has become an international bestseller that has also turned into the so-called Harry Potter phenomenon (BBC, 2008), prompting the release of related products such as e-books, DVDs, games and thedevelopment of TV programmes (Thompson, 2008). The popularity of Harry Potter in many countries has resulted in the series being translated into seventy three languages (Time, 2013). The books have received a number of international awards, and the writer’s narrative and style has attracted a broad readership (Garner, 2006: 368). Even though each book about Harry Potter is a multilevel novel that comprises elements of a school story, an adventure story, a thriller, a mystery and a romance, the predominant genre of the novel is fantasy (Fry, 2005: 1) (see section 1.3).

The phenomenal success of Harry Potter is the result of its special features that distinguish the story from other fantasy stories. High-fantasy texts are renowned not only for what the story is about, but more importantly how the writer tells the story (Hunt,

2004: 438). As Guin (1982: 84) argues, ‘style is, of course, the book… If you remove the style, all you have left is a synopsis of the plot’. Guin also highlights this point in fantasy, in which it is the style that allows the creation of a new world (ibid.). This is especially true of Rowling, who creates a totally new world of magic through her writing style that includes both narrative and descriptive elements. This has made Harry Potter an outstanding series.

Regarding the translation of Harry Potter into Arabic, Table 1 below presents the English titles of each novel in the Harry Potter series together with their dates of publication, the titles of the translations, years of publication and the translators in the Arab world. All the Arabic versions were published by Nahdet Misr Publishing Group, based in Cairo, Egypt (see section 1.2). The translation of the books was undertaken under licence from J.K. Rowling through the Christopher Little Agency. The covers of the books in Arabic follow the American design by Scholastic Press. These are the only official translations of Harry Potter that are published, used and sold in all countries in the Arab world. The Arabic translation of all the novels that make up the Harry Potter series are produced in Modern Standard Arabic as is normally the case for books published in the Arab world.

Name of book in Publication Name of book in Year of Translators English date Arabic and its publication back-translation into English Harry Potter and 30 June Harry Potter and 2003 Raja the Philosopher’s 1997 the Philosopher’s Abdullah Stone Stone هاري بوتر وحجر الفيلسوف Harry Potter and 2 July 1998 Harry Potter and 2004 Raja the Chamber of the Chamber of Abdullah Secrets Secrets هاري بوتر وحجرة األسرار Harry Potter and 8 July 1999 Harry Potter and 2003 Ahmad the Prisoner of the Prisoner of Hasan Azkaban Azkaban Muhammad هاري بوتر وسجين أزكابان Harry Potter and 8 July 2000 Harry Potter and 2004 Ahmad the Goblet of Fire the Goblet of Fire Hasan Muhammad هاري بوتر وكأس النار

Harry Potter and 21 July Harry Potter and 2007 Unknown the Order of the 2003 the Order of the translators, Phoenix Phoenix Translation and هاري بوتر وجماعة publication العنقاء department in Nahdet Misr Harry Potter and 16 July Harry Potter and 2006 Dr. the Half-Blood 2005 the Half-Blood Abdulwahab Prince Prince Allub هاري بوتر واألمير الهجين Harry Potter and 21 July Harry Potter and 2007 Sahar Jabr the Deathly 2007 the Deathly Hallows Mahmud هاري بوتر ومقدسات Hallows الموت

Table 1. The names of the books in the Harry Potter series in English and Arabic and their years of publication.

Translations of the books in the Harry Potter series have been made by various translators. I tried to find information about the translators and their approaches to the translation of these novels, but, despite my attempts to contact them, I was not able to reach any translator. I was only able to find one, existing interview with Sahar Jabr Mahmud, who reviewed the translation of the first and translated the seventh novel in the series. In her interview with an Egyptian newspaper Misr Albalad (2015: 1), Sahar provides a general overview of her work and qualifications as a translator and her involvement in the translation of the Harry Potter series. Sahar’s career as a translator started with a translation of a story for children for her friend, which was then published by Nahdet Misr Group. Since then, her involvement in translation projects within the company has developed and she became the translator of the seventh book in the Harry Potter series. She has translated more than twenty books in her career (Almolltaqa, 2009). I also made every effort to contact the publishing house through email, phone calls and through my friends in Egypt, to encourage the company to participate in my research. However, I received no response, and had to rely on the company’s website to obtain details of the company’s vision, marketing strategies and ideology of language.

1.2 Nahdet Misr Publishing House

The Nahdet Misr Group is a well-known and prominent publishing house in the Arab world. It was founded in 1938 with the objective of spreading knowledge to Arab readers, and it provides a variety of educational and culture-related products and services such as writing, translation, distribution and training. Its was awarded International Organisation for Standardisation (ISO) certificates for excellence in quality, being environmentally friendly and providing outstanding health and safety at work (Nahdet Misr official website, 2018).

The company describes its mission as dissemination of knowledge to Arab readers which involves ‘distinguished cultural, scientific, educational and entertaining content’ (Nahdet Misr official website, 2018: 1). As for the cultural aspect, one of the main services the company offers is translation, and its main vision in this area is to promote cultural interaction between Arab countries and the rest of the world. At the same time, the cross- cultural communication that is highlighted by the company also involves translating from Arabic into other languages to spread knowledge found in Arabic books. The company’s main aim is to bridge the gap between cultures and to develop Arabic culture, with the main motto of the company being ‘culture for all’ (Nahdet Misr official website, 2018: 1).

Another objective that the publishing house emphasises is education. This is evident in its longstanding collaboration with well-known and renowned authors in order to create and develop Arab readers’ creativity and intellectual potential (Nahdet Misr official website, 2018). A good illustration is the company’s distribution of books and cooperation with Cambridge University Press, including the staging of open-day events where working with teachers, developing pedagogy, empowering students and building skills for life are discussed in the context of books that the company publishes (ibid.).

Children’s literature plays an important part in this discussion, and young learners’ evolving needs are one of the company’s foci. This is evident in its specific focus on a child readership in projects such as the translation of the Harry Potter series and Disney periodical publications (Al-Daragi, 2016: 6). However, the company strives not only for education but also to ‘offer valuable Arabic children’s literature that instils long-missed

5 values and principles in the Arab societies’ (Nahdet Misr official website, 2018: 1). This can be seen in the range of books for children that the company publishes, which promote universal values presented by famous Arab writers for children such as Aisha Rafei, Affaf Tobala, Yacoub El Sharouny, Fatma El Maadoul, Abeer Anwar, Adly Rizkallah and Lily Mohsen (ibid.). For instance, books written by Aisha Rafei are well-known in the Arab world for ‘instilling morals and positive manners in children through interesting stories and activities’ (ibid: 1). As for translated works for child readers, the publishing house offers publications that are world famous but also bring some educational value to readers. For example, the National Geographic series is seen as ‘children’s first pick for science, exploration and adventure’ (ibid: 1). The choice of books and texts to publish and translate reflects Nahdet Misr’s general aim for children’s literature, which is to include books that are educational and entertaining at the same time. Regarding entertainment, the company takes pride in ‘encouraging children to read by offering appealing content at affordable prices’ (ibid: 1). This can take the form of innovative products that use technology, but is also evident in the choice of iconic children’s writers in the Arab world (ibid.). The choice of books for children ensures that young readers are presented with exciting, adventurous and valuable stories that make excellent reading as well as being of educational value This is visible in the books written by famous Arabic writers for children and translations of foreign books and periodicals such as well-known Disney series and the fantasy, horror, fiction novels, for instance, Goosebumps (ibid.).

Technology has become one of the main marketing tools for Nahdet Misr Publishing House as the company uses a range of products and devices that appeal to younger generations. For example, the use of Virtual Reality and animated movies for children, which present adventure series, documentary movies, games and educational videos which are also available on mobiles and smart TVs (Nahdet Misr official website, 2018). At the same time, one of the main objectives of the company is providing solutions to curriculum development by offering e-learning and training (Nahdet Misr official website, 2018). In addition, because parents are the main receivers of Nahdet Misr’s marketing strategies, the company tends to emphasise values that are important for the majority of parents in the Arab world when choosing a book for their children. Publications for children are often described as ‘educational’, ‘exciting’ and ‘facilitating the development of a child’s creativity and intellectual abilities’ (ibid: 1).

The company publishes books in Modern Standard Arabic (MSA), which is ‘the official Arabic language taught and understood all over the Arabic world’ (Shaalan, Abo Baker and Ziedan, 2007: 1). MSA is conventionally used in books, newspapers, formal speeches and movie subtitles (Ibrahim, Abdou and Gheith, 2015: 27). The company publishes in MSA for readers all around the Arab world (Nahdet Misr official website, 2018). This means that the publisher can reach a wider range of readers and make the books they publish more popular and accessible. At the same time, the choice to publish all its books in MSA is related to increasing sales and the popularity of its books (ibid.), especially since MSA is given preference in written rather than spoken work. This is true for schools in the Kingdom of Saudi Arabia, where MSA is the main language used to educate children (Al-Jarf, 2007: 3). It is clear that this publishing house was chosen to translate the Harry Potter series into Arabic because its main objective is to provide high-quality products and to open societies in the Arab world to new knowledge and cultures. The publisher's ideology to open the Arab world to new cultures is an important factor that will be discussed in relation to foreignisation and domestication in the translation of Harry Potter.

1.3 The Harry Potter Series as a Mixture of Fantasy and the School Genre

Despite the dominant genre of the Harry Potter series being fantasy, it can also be interestingly considered as a combination of fantasy and the school story genre. The action takes place in Hogwarts School, but it is a school for training wizards, and aspects of the fantasy genre are prominent in the novels. According to Hume (1984: 21), fantasy is ‘any departure from consensus reality’. This departure from reality can be seen in the settings and characters, which may have unusual, often supernatural, characteristics. The settings of fantasy may bend the rules of reality and nature. For instance, in the Harry Potter series the settings are both the real world and the magical world of Hogwarts School, where time and space travel are possible. The characters of fantasy often possess supernatural powers and may include mythical creatures. To create and describe fantastic settings and characters, writers often use imagined words and names, which are neologisms from a linguistic point of view. It is interesting to investigate how translators

7 deal with these new words, which are central in presenting the fantastic world in the Harry Potter series.

Harry Potter has some features of fantasy, one of which is that the writer creates a magical world that is parallel to the real world. As in other cases of fantasy books for children, it is characterised by being reached through portals and is normally based on the real world (Gamble and Yates, 2008: 122). J. K. Rowling uses neologisms as one of the primary means of building the fictional world in which most common objects and places in the real world have corresponding magical equivalents. To express the unusual and magical properties of these new elements of the magical world, the author uses newly created words. For example, the name of the newspaper, Daily Prophet, mirrors the name of popular British newspapers such as Daily Mail or Daily Telegraph. By using elements of the real world, Rowing makes the invented and magical elements familiar to child readers. As Holl-Jensen and Tolbert (2016: 168) point out, the author is able to ‘convey new messages through familiar forms’. This also allows the author to make it easy to imagine the magical world and make it believable and coherent, which are some of the features of fantasy genre (Manlove, 1975: 180). Another function of neologisms in building the magical world of Harry Potter is that they are used for naming the invented elements that do not have equivalents in the real world, such as wizards and spells. In this case, although there are no equivalents in the real world, the writer uses neologisms that are often derived from Latin such as proper names and spell names. Despite a child reader not knowing these new magical elements and characters, the intended readers who are from English speaking countries may find most of these new words familiar in form and meaning because they resemble English words. For example, the spell Confundo can be associated with the English word ‘confuse’.

Another feature of Harry Potter as a literary text is the author’s style (idiolect). Rowling uses a combination of both formal and informal registers depending on the situation in the novel. However, she often opts for a casual and informal style of writing achieved through the use of colloquialisms and a more natural speech, particularly in dialogues (Alderete-Diez, 2009: 11). The author uses a number of colloquialisms and idioms to narrate the story, in dialogues as well as part of describing characters. For instance, as

8 part of characterisation, Ron Weasley is presented as using informal expressions in his speech, for instance, colloquial idioms and slang expressions such as ‘don’t be thick!’ or ‘bloody hell’. Thus, the style of the narrative and the characters in the book often reflect the language that the intended child readers use, which is informal spoken language. This is the author’s own style of characterization which may allow the readers to immerse themselves in the story and and identify with the main characters easily.

In the Harry Potter novels, a continuous, long-term relationship is established between the reader and the fantastic world, characters and plot, and, as Maund (2012: 150) points out, one technique of maintaining this relationship is the continuity of characters. The way different translators render magical elements in a series may influence the continuity of the relationship that the readers have with the magical characters and the story. Thus, the issue of continuity in translating neologisms referring to the magical world is an important point to investigate by comparing how these new words have been dealt with across the series, which I do insofar as I examine three books which fall in various positions in the series, namely the second, fifth and seventh book.

One of the characteristics of the fantasy genre in English children’s literature is the need for the reader to be presented with a ‘believable fantastic world’ (Manlove, 2003: 194). In the Harry Potter series, this is achieved by mixing the real and fantastic worlds by including characters that are like humans but also magical creatures like elves and dragons. To present the magical world, a writer often refers to ancient myths, folklore and fairy tales (Jackson, 1981: 4). For example, Rowling draws on Nordic and Greek myths when creating names of magical objects, spells and creatures, and these may be challenging for Arab translators because of significant differences in language and culture that relate to different conceptual resources and myths. One of the characteristics of this genre is that it is abundant in neologisms, which are used to express the imaginative mood of the story (Sedia, 2005: 1). Therefore, the issue of how accessible the source text concepts and their reference to Nordic and Greek myths are to the target text readers is one of the foci in my examination of the translations of the Harry Potter novels.

The origins of the school genre lie in the late eighteenth century, when short moral stories like The Governess (1794) and Tom Brown’s Schooldays (1857) presented the life of children in a boarding school. One of the main characteristics of this genre is clearly the focus on a school, normally a single-sex boarding school. Initially, these stories were written with the pedagogical aim of teaching children ‘good manners, self-discipline, responsibility and a respect for authority’ (Ray, 2004: 470). Other features may include: arrival of a new student (usually a protagonist), strange properties of the school, establishing friendships but also foes, and following school rituals and codes. Some of these characteristics are clearly present in the Harry Potter series. We follow Harry Potter’s arrival at the school and we see him making friends and foes as well as having to obey the rules of Hogwarts such as wearing a school uniform. In addition, the idea of teaching children virtues is evident in the Harry Potter series. As Ray (2004: 477) points out, Harry is ‘like almost all school-story heroes and heroines, keen, upright, truthful and brave’. Another characteristic of the school genre is that it presents a ‘microcosm of the larger world’ (Ray, 2004: 348). Children reading school stories are presented with both sides of school life: on the one hand is the part that concerns learning about responsibilities, rules and regulations, and on the other hand the enjoyable part, establishing relationships with peers and adults and the excitement of experiencing something new (ibid.).

The school genre has an established history in the Western world. It started in the mid- nineteenth century with the publication of The Crofton Boys (1841) by Thwaite, which was the first ‘story of school life’ (Ray, 2004: 348). Subsequently, a number of other writers have created texts that belong to this genre. While the school genre is widely known in English children’s literature and reflects features of British education and culture, it is not common in the Arab world. It is not present in the official Al-Hajji’s (1999) bibliographic guide to children’s literature in the Arab world, where genres such as biographies (especially the Prophet’s biography), fiction, plays, poetry and rediscoveries are the main genres (Mdallel, 2003: 300). Since the genre as such is therefore foreign, the choice between an overall foreignising and an overall domesticating approach, and between foreignising and domesticating individual text items, may strike the translator particularly forcefully, especially in terms of deciding how and to what

10 extent they should introduce features of the school genre to the readers and which parts should be omitted.

1.4 Position of my Project within Descriptive Translation Studies

The current study falls within Descriptive Translation Studies (DTS), thus named by Holmes (1988: 181. Holmes’ map of the discipline is presented by Toury (1995: 10) as follows:

Chart 1. The framework of translation studies (Toury, 1995: 10)

The initial division of translation studies made by Holmes includes pure and applied areas. Applied theories deal with aspects such as translator training (teaching methods, techniques of testing and curriculum design), translation aids (dictionaries, grammars and technology) and translation criticism (evaluations and reviews of published translations). By contrast, pure translation studies are further divided into the theoretical and descriptive branches, which reflect the aims of the pure areas of the field, in particular, to describe the phenomena of translation (descriptive) and to establish general principles to explain such phenomena (theoretical). DTS examines ‘empirical phenomena’ and is divided into product-oriented, function-oriented and process-oriented DTS (Holmes, 1988: 184–190).

 Product-oriented DTS is concerned with existing translations. These are described or analysed, either as one particular source and target text pair or through a comparison of multiple target texts in one or many target languages with one source text.

 Function-oriented DTS focuses on the investigation of the target text functions in the target text culture and society. The analysis takes into consideration the context for the text. Aspects that are usually examined are the time, the place and the influence of the translation on the target text sociocultural situation.

 Process-oriented DTS deals with the processes that take place in the translator’s mind while translating a text. It adopts a cognitive perspective and may include recordings of the translator’s thoughts during the translation process, eye tracking and other externalised evidence of mental activity.

Descriptive and theoretical translation studies are interrelated because theoretical areas of translation studies rely on the findings from descriptive research, which are explained through theorising and modelling. Since, as Holmes points out, a general translation theory would be impossibly complex (1988: 73), scholars have tended to produce partial theories, restricted to one or more media, areas, ranks, text type, time or problem (Munday, 2008: 11):

 Medium-restricted theories are concerned with the issues of human or machine translation, the way translators work with the machines and whether human translation is consecutive or simultaneous.

 Area-restricted theories are limited to particular languages or cultures. There can be a strong relation of these theories to studies in contrastive linguistics and stylistics.

 Rank-restricted theories focus on translation at specific levels of language, which are usually word or sentence levels.

 Text-type restricted theories deal with different kinds of discourse and genres such as literary, business and technical translation.

 Time-restricted theories are restricted to translation within particular time frames and periods, and include the history of translation.

 Problem-restricted theories relate to certain issues such as equivalence or general translation difficulties.

Holmes’ and Toury’s work serves as a framework for the current study. This thesis falls within product-oriented DTS since it deals with a comparison of source texts and target texts. In addition, it looks at the effects of the translation approach used in the Arabic translation of the source text on the sociocultural context in the Arab world, which is related to function-oriented DTS.

1.5 Research Overview

This section provides an overview of the research objectives and research questions of the current thesis. It also presents the data selection, research methods and the model of analysis.

Research Objectives

This thesis aims to contribute to the field of translation studies by examining aspects of the Harry Potter series that have not been analysed previously. It focuses on the predominance of foreignisation or domestication in the Arabic translation of Harry Potter which is explored through an investigation of strategies the translators have used when dealing with neologisms and idioms in the three books I have focused on. Moreover, since domestication has been identified as a common approach in the translation of children’s literature (Oittinen, 2000: 75), this study investigates whether this is also the case for the novels that form my corpus. I investigate the predominant approach through examining

13 idioms and neologisms and the response of Arab children to the translations made of these textual features. Idioms and neologisms present translators with relatively clear choices between retaining something foreign on the one hand or making the foreign familiar on the other, and are therefore useful indicators of the overall effect, in terms of domestication and foreignisation, of the translation strategies that the translators have employed. The children’s reactions are indicators of these potential effects. The study also investigates factors that may have influenced the translator’s choices.

Research Questions

In order to achieve my research objectives, I seek to answer the following research questions:

1. What strategies have the translators used for dealing with idioms and neologisms in the translation into Arabic of the three novels from the Harry Potter series that I focus on?

2. How are the approaches of foreignisation and domestication used in the translation of the three novels from the Harry Potter series that I focus on and what conclusions can be reached about their predominance?

3. What are the factors that may influence the translator’s choices and possible effects of these choices on Arab child readers?

Data Selection

This section outlines the main reasons for choosing the three books from the Harry Potter series that I analyse, and for my focus on idioms and neologisms. The main reason for selecting the Harry Potter series is that it contains an abundance of neologisms and idioms. Idioms and neologisms in these particular books had not been analysed in any other Arabic study at the time of writing. In addition, the second novel in the series, Harry Potter and the Chamber of Secrets, translated by Raja Abdullah (2003), was chosen as it

14 has not been studied before and also because it comes at the beginning of the Harry Potter saga and provides an introduction to all the components of the story and its magical world, characters, places and themes, most of which relate to the main translation problems discussed in this study. Words like ‘muggles’ and ‘dementors’ were created by the author, and are present throughout all the novels, with the second novel being particularly abundant in them. The fifth novel, Harry Potter and the Order of the Phoenix, translated by the team of translators (there is no mention of any specific names or the number of translators) at Nahdet Misr Publisher under the supervision of Dalia Mohammed (2007), was chosen to enrich the discussion by establishing whether there is any difference between a translation made by a single translator and one made by a group of translators. Additionally, according to Martínez Carbajal (2014:21), the fifth book contains a large number of neologisms compared to the rest of the series which will therefore provide more data to analyse. The seventh novel, Harry Potter and the Deathly Hallows, translated by Sahar Jabr (2008), was selected for the purpose of exploring whether the translators follow a similar approach in terms of applying foreignisation and domestication. Additionally, in a study conducted by Saputro (2012:1) it was found that the seventh book contains a large number of idioms, 418 in total, which makes it an ideal selection for analysis. The choice of the second, fifth and seventh book in the series was made purposefully to investigate and compare how foreignisation and domestication were used at different points of the series, namely, at the begning (second book), in the middle (fifth book) and at the end (seventh book) of the Harry Potter saga. For instance, this could allow a discussion on the consistency of presenting characters in the three books. However, the choice of only three books for my analysis might have an effect on the overall findings and conclusions, which are limited to the books that constitute the corpus of analysis and might not be applicable to other books in the series.

My interest in translation of idioms and neologisms in children’s literature arose from the fact that they are entertaining for children but difficult to translate (Epstein 2012: 33). Moreover, neologisms are essential elements of the magical effects of the original, so they need to be addressed in the translation. They play an important role in building the magical world of the story in terms of naming and characterising places, characters and objects and are a key feature specific to the fantasy genre. As Jentsch (2002: 285) highlights, the difficulty for the translator is ‘when to translate and when to keep the original words, and how to handle the problem of translating puns and word play since

15 instances of these are almost impossible to translate directly’. Indeed, neologisms have a humorous function in the text, which is often created through wordplay and the reference to ideas and meaning familiar to the intended readers, such as myths and folklore. All these features of neologisms, as Epstein (2012: 102) argues, can be challenging for children to recognise and comprehend, which implies that extra care is needed with their translation for a young audience especially in terms of understanding the function of neologisms and ‘creating similar words with similar connotations in the target language’ (ibid: 36). In addition, neologisms are foreign elements to the target text readers, which means that the concepts of foreignisation and domestication are interesting points of analysis regarding how accessible functions, meaning, connotations and humoristic effects are to the target text readers and what effect this has on the target text as a literary text.

I also became interested in idioms because of their entertaining function in children’s texts. Epstein (2012: 101) perceptively notes that ‘if idioms are used in a creative way, they can also be humorous or otherwise entertaining’. Another reason is that they are complex linguistic features that are challenging for the target text children as ‘many of the cultural nuances will be unfamiliar to readers in translation’ (Goldstein, 2005: 1). For instance, Baker (1992: 71–75) highlights the complexity of idioms that have two meanings (literal and figurative) as well as their culture-specific use. In addition, due to the fact that idioms are culture- and language-dependent, they are challenging to translators (ibid: 123) and, thus, are interesting points to investigate. The challenge that stems from culture and language dependence is that very often there tends to be cultural and lexical gap between the source and target text, so finding an equivalent expression or one that would present the meaning and cultural reference to the target text readers poses a challenge to the translators (Saputro, 2012: 24). Idioms are also used by writers for children as part of the informal style of writing, which is often found in narration, dialogues and as part of describing and characterising protagonists in a story (Alderete- Diez, 2009: 11). This can be done with the aim of representing the language that children and teenagers use (Zitawi, 2003: 243) which can help child readers to identify with the characters in the story. In this way, idioms can be considered a stylistic feature of a text, which may be difficult to reproduce in the target text or might not fit in with the style of writing in the target language. The concepts of domestication and foreignisation can enrich the discussion of idioms because of their culture dependence and the effect that

16 foreignisation or domestication of idioms might have on the target text readers, the characterisation of protagonists and the style of the target text as a fantasy book.

Research Methods

I based my methodology on comparative and descriptive models of analysis as this facilitates exploration of problematic areas of translation such as idioms and neologisms (Williams and Chesterman, 2014: 6). A comparative analysis enables a detailed comparison and analysis of micro-units such as words and phrases (Van Leuven-Zwart, 1989: 155) which in my case will be neologisms and idioms. The analysis of micro-units is done to identify ‘relationships between coupled pairs of ST and TT segments’ (Munday, 2008: 112). A descriptive model allows in-depth analysis of macro-structural features such as characters, plot, events and broader, macro-level changes in semantics and stylistics (ibid.). This indicates that there is a close relationship between micro- changes and macro level effects. The comparative and descriptive analysis will be useful in examining micro-level changes in Harry Potter translations such as idioms and neologisms in relation to macro-level effects such as foreignisation and domestication.

The data collection involved several steps. I reviewed the scholarly literature on idioms and neologisms before identifying the idioms and neologisms in my chosen source texts. Then, I categorised them, which involved expanding the existing typologies. The next step was examining the existing models of analysis regarding idiom and neologism translation strategies. Finally, I examined the target texts to establish what had happened to the idioms and neologisms in the source texts. On the basis of the analyses, I discussed the translation of idioms and neologisms and the relation between the translation of these two aspects and foreignisation and domestication and of the factors that might influence the translator’s choice of these approaches. In addition, I conducted an interview study with 15 Saudi children to investigate the response of these readers to the idiom and neologism translation strategies (see Chapter 6). This was compared to the findings of my analyses (see Chapter 7).

Model of Analysis

Since this study focuses on idioms and neologisms, I examined models of translation of each phenomenon. Baker’s (1992) model provide a comprehensive outline of several broad strategies used by professional translators, as well as strategies specific to the translation of idioms. Similarly, Epstein (2012) looks at the translation of idioms in the context of children’s literature and outlines the translation strategies used to deal with them. On the basis of initial analysis, I combined Baker’s and Epstein’s models to create a model of analysis of idioms that was able to account for all of my data. Regarding typology, I based it on typologies of idioms developed by Fernando (1996) and Moon (1998), and enriched it with an additional idiom type, the ‘variant of an existing idiom’, which I identified in my data.

For a model of analysis of neologisms, I explored the work of Baker, Newmark and Epstein. Baker (1992) looks at general strategies used by professional translators, while Newmark (1988b) presents an extensive discussion of neologism translation strategies, and offers a detailed categorisation of them. More specifically, Epstein (2012) focuses on strategies of neologism translation in children’s literature. The three models complement each other, and after the initial analysis I combined them to establish an adapted model for use in my analysis. As for the typology of neologisms, I combined the typologies presented by Newmark (1988b), Stockwell (2000) and Yule (2010) which enabled me to account for all of my data.

1.6 Outline of Chapters

The current chapter is the introduction to my thesis. It provides background information about the Harry Potter series, its translation into Arabic, the publisher, the fantasy genre, and the position of my study within translation study. Next, it presents the research overview that includes my research objectives, research questions, data selection, research methods, and model of analysis. It concludes with the current outline of the chapters in the thesis.

Chapter 2 is divided into two sections, one on children’s literature and one on foreignisation and domestication. Each section includes definitions of key terms and a literature review.

Chapter 3 focuses on idioms and neologisms and is divided into two sections. Section one provides an overview of existing views of idioms and section two looks at neologisms, with each section examining their definition, typology and issues related to their translation.

Chapter 4 presents the model of analysis of idioms and neologisms. It starts with an overview of existing models, before presenting an adapted model for the analysis of idioms and neologisms that suits the purpose of this study.

Chapter 5 focuses on the treatment of idioms and neologisms in the three novels chosen as data for this study. It is divided into two sections; one focuses on idioms and the second on neologisms. The chapter presents the findings concerning the translation strategies used for each type of idiom and neologism, with illustrative examples and the effects that the strategies used have on the target text and the readers.

Chapter 6 provides an overview of the interview methodology including the data collection method, data analysis and ethical considerations. It also presents the findings of the interview with Saudi children focusing on their response to the translated Harry Potter series. This enriches the findngs from the comparative analysis and is used in the discussion.

Chapter 7 discusses of the strategies used by the translators and the predominance of domestication or foreignisation, the factors that might influence the translator’s choices and the possible effects that the translator’s choices may have on Arab readers.

Chapter 8 is the conclusion. It revisits the research questions, the means employed to answer them, an evaluation of the current work, including its limitations, contributions, and recommendations for future research.

Literature Review on Children’s Literature

Chapter 1 highlighted that the focus of this study is a comparative analysis of the Arabic translations of three novels from the Harry Potter series, so it is important to shed light on what is meant by children’s literature in general and more specifically in the Arab world. It is necessary to discuss the translation of children’s literature and factors that might influence the translator’s choices. In addition, as this study looks at cultural understanding between English speaking countries and Arabic countries, it is important to investigate the notions of foreignisation and domestication and the relation between these terms and the translation of children’s literature. This second chapter has two sections. The first discusses children’s literature in general and in the Arab world specifically. The second section focuses on the concepts of foreignisation and domestication in translation in general and in the translation of children’s literature specifically.

2.1 The Definition of Children’s Literature

Defining children’s literature is a challenging task (Hunt, 2001: 2). According to Townsend (1971: 9), Oittinen (1993: 11) and Knowles and Malmkjær (1996: 2) children’s literature can be defined as any narrative written and published for children. However, others including McDowell (1973: 51) and Hunt (1991: 64) argue that it is a distinctive genre with specific characteristics. Hunt (1991: 64) maintains that it is possible to recognise whether a book was produced for children through a close reading during which an impression of its aims and suitability for children can be formed. For example, a book can be aimed at developing the child reader, or it might cater to a more adult audience. While Hunt does not identify any specific criteria characteristic of the adult versus chuldren’s literature, McDowell (1973: 51) defines children’s literature as follows:

Children’s books are generally shorter; they tend to favour an active rather than a passive treatment, with dialogue and incident rather than description and introspection; child protagonists are the rule; conventions are much used; the story develops within a clear-cut moral schematism which much adult fiction ignores; children’s books tend to be optimistic rather than

depressive; language is child-oriented; plots are of a distinctive order, probability is often disregarded; and one could go on endlessly talking of magic, and fantasy, and simplicity, and adventure.

This definition refers to characteristics of children’s literature on both linguistic and paralinguistic levels. Regarding form and style, McDowell (1973: 51) suggests that books for children tend to be concise and full of dialogue, while their topics tend to oscillate between positive and mysterious themes such as magic and adventure.

In addition to McDowell’s characteristics related to topics specific to child readers, Babbitt (1974: 155) states that children’s books are characterised by the presence of a spectrum of emotions, such as love, death, pride, grief, aggression and attempts at being successful. However, the most distinctive features are cheerfulness and happy endings. Regarding language and style, McDowell’s features of children’s literature are expanded by Azeriah (2000: 13), who mentions repetition, short sentences and paragraphs, limited use of metaphorical and symbolic language, and a preference for simple language and illustrations. Similarly, Golden (1990: 13) compares children’s and adult literature and enumerates features that children’s stories tend to avoid, such as stream of consciousness, symbolism, complex time shifts, topics related to passion and a wide use of figurative language Golden considers to be specific to adult literature.

This discussion shows that children’s literature cannot simply be seen as any piece of writing aimed at children. Instead, it has specific features purposefully used to cater to the taste of young readers, such as the presence of a wide range of emotions, happy endings and simple structure. For the purpose of this study, therefore, McDowell’s (1973) definition of children’s literature is chosen as it presents a number of characteristics specific to children’s books.

Children’s Literature in the Arab World

Bika’ee (2003) defined children’s literature in terms of its audience as being written in a suitable way for children in their early years of childhood and their stage of development. 22

This definition provides a general idea of writing for a specific audience and acknowledges that children have distinct needs as readers, but does not provide any indications of what ‘a suitable way’ means. Kilani (1998) argues that children’s literature is inspired by Islamic values, which it presents, thus suggesting that the focus should be placed not on any specific style of writing in linguistic terms, but rather on ideas that are suitable for a child audience. Kilani’s (1998) comments resemble a general trend in terms of the target text cultural values being a key factor in shaping the role of children’s literature in a given society. However, with regards to the Arab world, this trend extends to not only cultural but also religious values and norms that are strongly embedded in the society. The focus on cultural and religious values in children’s literature in general was reflected in the translation of children’s literature into Arabic, in which the trend of didacticism has been present since nineteenth century. The issue of didacticism in translation of children’s literature is further discussed later in this chapter and the discussion chapter. In addition, El-Kholy (2006: 77) mentions that one of the aims of translation for children should be to extend their linguistic abilities by teaching them new vocabulary in their mother tongue. This suggests that teaching encompassed not only moral values but also linguistic features, which were restricted to the Arabic language. As a result, translation of children’s literature included teaching language on top of didacticism.

A similar standpoint is taken by Khafaji (2006: 72), who highlights the importance of the content of children’s literature rather than the linguistic features in distinguishing books for children from books for adults. The content is understood as values and skills inspired by and commensurate with Arab–Muslim religious values presented to children in order to guide them. Najeeb (1979: 11) insists that not only the text but also the illustrations should reflect topics that highlight the beliefs of Arab culture and the Islamic religion. The author emphasises the cultural dimension of children’s literature and maintains that child readers should obtain knowledge about society and be able to create new impressions about foreign cultures from the books they read (ibid: 45–46). Furthermore, Najeeb (1979: 57) insists that any foreign literature that is to be presented to Arab children must be changed in style and form and that all harmful content must be modified to become appropriate for the Arab child audience. The belief in the need to change the style and content of foreign texts to suit Arab children’s cultural and religious beliefs and

23 values was reflected in the translation of foreign literature, which was saturated with didacticism and often used cultural adaptation. Ad-Deek (2001: 66) mentions that literary texts that are aimed at children should be characterised by entertaining and interesting themes to encourage children to identify with the main characters and develop their cultural identity. Ad-Deek is among the few scholars who highlight the importance of children’s books being entertaining; however, he mentions that this entertainment should not be pointless and must go hand in hand with the cultural and religious values of the Arab world.

Among scholars who address children’s literature translated into Arabic specifically, Marjiyyah (2001: 96) views it as a link between Arab and foreign cultures and argues that it makes the relationship among children stronger. He states that it is hardly ever possible to make a source text suitable for the target text readers due to cultural differences unless ‘protective measures’ are taken to ensure the translated books are appropriate to the child readers according to the target cultural standards. Similarly, Shahwan (1991: 25) highlights the negative impacts of foreign texts on the child’s perception of reality, and suggests intervention on the part of the translator to ensure that inappropriate content is removed. Compared with the general definitions mentioned above, in the Arab world, books for children are regarded both as means of instilling religious and cultural values and of entertaining Arab children. This has had an influence on the translators of foreign literature into Arabic among whom didacticism and cultural adaptation have been a common practice. Therefore, it might be expected that in the Arab world, translators are likely to domesticate texts for children in order to preserve religious and cultural values related to Islam. The points made by writers and scholars in Arab children’s literature are of relevance and interesting to examine in the current thesis in the context of translation of Harry Potter. For example, how the feature of teaching morality has been addressed by the translators.

With regards to the origins of children’s literature in the Arab world, the early beginnings of children’s literature prior to the Islamic period were in the form of oral stories, songs and folk tales (Al-Hity, 1988: 194). These stories normally dealt with topics such as bravery, relation to the place of birth and the environment, and good and bad behaviour

(ibid.). El-Kholy (2006: 74) shows that the history of Arab children’s literature began in ancient Egypt, when it was customary to tell stories for children, such as tales, myths and legends. One example is the story of the Egyptian Cinderella that was written on papyrus in the first century Before Common Era (BCE). An important turning point regarding Arabic children’s literature was in the seventh century, when Islam spread across the Arab countries and led to a significant shift from an oral to a written tradition (Ja’afar, 1979: 245). This also included a change in topics towards those focused on religion, with the majority of stories based on the Quran, for example the stories of the prophets Muhammad, Jesus and Noah (El-Kholy, 2006: 76).

In the eighth century, there was considerable interaction between Arabic and other countries that resulted in an exchange of cultures, including translation and adaptation of texts, primarily from the Persian and Indian languages. One example of this exchange was Kalilah wa Dimmah, which is a series of myths and legends with animals as the main characters, intended to teach morals and values. Although the series originated from India, the stories include strong elements of Arabic culture thanks to Ibn Al-Muquaffa, who added some sections to the original book (Sa’ad, 1986: 66). The stories influenced other writers in and outside of the Arab world, such as the Arabic writer Ibn Sahl Bin Nobakht and the French poet and fable writer La Fontaine (ibid.).

Another significant book in the history of Arab children’s literature is One Thousand and One Nights, also known as The Arabian Nights. Although the book was not initially written for children, some of the stories it contains were turned into children’s stories, such as Aladdin’s Wonderful Lamp, Ali Baba and the Forty Thieves and The Seven Voyages of Sinbad the Sailor (El-Kholy, 2006: 74). The adaptation of the original stories involved toning down or omitting ‘gruesome and adult details of the Nights’ tale, such as the rampage of the cannibals or Sindbad’s polygamy’ (Ouyang, 2004: 134), reducing romance and endorsing moral values. The stories are presented as told by the vizier’s daughter Scheherazade to her husband, king Shahryar so that he will be entertained and eager to hear the more the next night and not have Scheherazade killed as he has done to his previous wives. The book was introduced to Europe through translation by Antoine

Galland in France in the early eighteenth century. It became popular in other European countries and includes some of the best-known stories from Arabic culture.

Although there was a number of folk tales in the Arab countries, the long history of Arab literature addressed specifically to children began in the nineteenth century in Egypt (Abu-Nasr, 1996: 1; Al-Hity 1988; Dhīāb 1995). The translation of Western children’s literature into Arabic was encouraged by the existence of British and French colonies established in the Arab world (Abu-Nasr, 1996: 789). An example of this was the book English gloss: Watchful Eyes in the Examples and) ’العيون اليواقظ في األمثال والمواعظ‘ Preachments1) by Jalal (1838–1898), which was a translation and adaptation of French tales by La Fontaine. Although Jalal’s stories were predominantly moralising, he paved the way for a number of Arabic writers for children (Zalat, 1994a: 13–17). His work had a significant impact on the development of didacticism as he emphasised teaching morals in children’s literature.

In addition to didacticism, Jalal has contributed to a second emerging strand in writing for children, namely entertainment. Jalal dismissed the earlier view of storytelling as having no educational value and argued that his writing involved both education and aesthetics (Al-Hity, 1988: 196), which made him the first proponent of didacticism in children’s literature in the Arab world. He used features of spoken Arabic and Egyptian dialect to simplify the texts and express humour and irony (Dawud, 1993: 27–28). The question of how complex the language in texts for children should be has been present since Jalal, who used a range of strategies such as adaptations, deletions, additions and paraphrase to adjust the text to children’s cognitive abilities (Zalat, 1994b: 32). In this way, Jalal initiated didacticism in children’s literature by presenting morals in his work.

Another important writer in the history of children’s literature was Rifaa Al-Tahtawi (1801–1873), who was one of the pioneering publishers of books for children as well as English gloss: Egyptian Kindergarten) ’روﺿة المدارس المﺻرﯾة’of the first magazine

1 An English gloss of Arabic titles throughout the thesis is either an existing, official translation into English, which functions as a title, or my own translation in cases where there is no official translation. 26

Schools) in 1870 (Dhīāb, 1995: 21). Al-Tahtawi was strongly influenced by French educational books for children, and promoted literature as a means of instilling morality in children and contributed to children’s literature in the Arab world by translating and adapting French tales (ibid.). His influence was also instrumental in introducing the reading of literature to primary school curriculums and in translations of children’s stories from French (Zalat, 1994a: 20).

The emphasis on the didactic approach in the nineteenth century was also supported by Ahmad Shawqy (1868–1932), who wrote narrative poems for children. He was convinced that poetry is an effective conveyer of ‘wisdom and literature’ to children (Yahia, 2008: 1) and he encouraged other writers to produce poems that catered for child readers. Like other writers of that period, he was strongly influenced by French literature and culture, for instance, the works of Victor Hugo and La Fontaine. An example of a didactic and at the same time religious play is Noah’s Ark (Al-Hity, 1988: 198).

However, the Egyptian writer Kamel Kilani (1879–1959) is believed to be the best-known writer for children in the Arab world and is considered to be ‘the first writer to specialize in producing children’s literature in Arabic’ (Abu-Nasr, 1996: 189). He wrote and translated over 200 texts for children, including the first Arabic adventure stories, anecdote collections, translations of Shakespeare’s work and stories derived from Indian tales (ibid.). Most of his translation work from European languages uses strategies such as adaptation and simplification. His texts applied a slightly higher level of language in order to develop children’s linguistic skills. Kilani emphasised the educational aspect in his writing, which is in line with didactic thought being one of the main elements of Arabic children’s literature (ibid.).

The late 1960s brought about a change in Arabic children’s literature, from a focus on translation of foreign texts to writing more authentic national books with regards to the style of writing and content. As a result, conferences and discussions on creative writing for children started to take place (El-Kholy, 2006: 78) across the Arab world in countries such as Lebanon, Syria, Egypt and Iraq. This shows that children’s literature written in

Arabic that had an ethical and educational purpose was supported by educationalists and researchers. One of the outcomes of these efforts to shift the focus from translated work to authentic Arabic writing was the emergence of magazines and periodicals for children across various Arabic countries, such as Samir (1960s), Majalati (1968), Al Mezmar (1970), Sa’ad (1969) and a well-known and still published weekly periodical Majed (1979).

Following the development of children’s literature in Egypt, other Arab countries such as Lebanon, Iraq, Syria and those of North Africa started to focus on children’s literature (Mdallel, 2003: 299). As a consequence, some of these countries established research centres to teach and promote children’s literature (El-Kholy, 2006: 76). For example, in 1981 the Institute for Women’s Studies in the Arab World and the Lebanese Section of the International Board on Books for Young People (IBBY) examined Arabic books written for children and criticised poorly translated stories from Western countries that had no relation to an Arab child’s life and culture. At the same time, developments in Egypt such as the Egyptian Section of IBBY and the Suzanne Mubarak Awards encouraged writers to produce good quality books and texts for children (Abu-Nasr, 1996: 791).

However, as Dukmak (2012: 31) notes, there is still an alarmingly low number of studies of children’s literature in the Arab world. In the same vein, Al-Dandarawi (2013: 6) and Dhīāb (1995: 9) argue that, compared with other disciplines, research into children’s literature is very limited. Therefore, the current thesis aims to address this problem by adding to the existing studies and extending them through consideration of a number of factors that may influence writers and translators in this field, and these will be discussed in the next section.

Factors that Influence the Writing and Reception of Children’s

Literature in the Arab World

Children’s literature in the Arab world might be currently shaped by a number of factors that contribute to its position and development, and at the same time, might influence the translators, editors and publishers of books for children. Looking at some of the main factors will shed light on the possible reasons that may be related to the translation choices in the Arabic translation of Harry Potter.

2.1.2.1 Didacticism

The difference between Arab and Western views of what children’s literature should be like is reflected in the topics that are unlikely to be translated into Arabic but are common in the Western world. These include problem-focused stories that tackle issues concerning children and young adults such as drug addiction, bullying and violence, and juvenile pregnancy (Mdallel, 2003: 305). Some examples of stories that are unlikely ever to be translated into Arabic are Sticky Beak by Gleitzman (1993), which presents mocking of a teacher, Heather Has Two Mommies by Norman (1989), which deals with lesbianism, and Top Secret by Lindgren (1972), which focuses on secret love (ibid.).

According to Mdallel (2003: 5) ‘children’s literature in the Arab world is basically meant to teach and to guide’. One way of doing that is socialisation through modelling ways of understanding the world, as Bradford (2001: 20) shows by stating that stories for children are often abundant in topics and values that a society considers acceptable and desirable in regard to people’s lifestyle, relationships, interactions and behaviour. Morality in Harry Potter is displayed by showing the notions of good and evil in an implicit way (McKenna, 2011: 359). The readers of Harry Potter are presented with a moral universe in which good is represented in the character of white-bearded Dumbledore and contrasted by evil which lurks in the darkness of the forbidden forest (ibid: 358). This representation of the story does not include any overt and explicit moral teaching but allows the child reader to interpret events and characters as they wish. However, thanks

29 to clear duality between good and evil in the world of Harry Potter, children can easily identify themselves with the right side (c.f. Knowles & Malmkjær, 1996: 260 on Narnia).

In the Arab world, there is a correlation between the educational function of children’s literature and publishers’ choices of books for children. Being market driven, the publishing industry adapts its marketing strategies depending on customers’ and readers’ preferences (Madej, 2003: 7). Because educational books are highly valued by parents, the educational value of a book increases its selling potential and, as a consequence, publishers aim to promote and choose books that fulfil an educational function. Several authors such as Al-Manaa (2001) and Mdallel (2003) agree that children’s literature is saturated with didactics, morality and ideology. Aspects such as the representation of items specific to Islamic culture, nationalism, and political and ideological opinions strengthen this trend. For example, Mdallel (2003: 5) states that ‘children’s literature in the Arab world is basically meant to teach and to guide’, which the author supports by presenting the stories written by the Egyptian children’s writer Abdel Tawab Youssef.

In addition, Al-Manaa (2001: 202) emphasises that Arabic children’s literature is aimed at making the readers familiar with Islamic values. According to Zalat (1994a: 171), this strong focus on didacticism is a result of educators’ and writers’ wish to preserve Arab ’مراءة ساره ‘ culture and traditions related to Islamic culture. For example, the story (English gloss: Sarah’s Mirror) by Aysawiyy (2008) is about a girl who finds a mirror that gives her lessons in Islamic history (Dunges, 2011: 176). This situation is similar in other cultures, since children’s literature all over the world is affected by the educational system and by pedagogical motives, which highlights the fact that children’s literature is ‘a powerful means for educating children’ (Nikolajeva, 1996: 3). Nevertheless, in Arab society children’s stories are still mainly expected to teach moral values (Mdallel, 2003: 301), even though there are books such as The Arabian Nights and Joha’s Anecdotes which are mainly entertaining adventure stories.

Didacticism has long been present in the oral tradition of storytelling in the Arab world. Most tales originated not only as means of providing pleasure for children listening to

30 them but also as a way of meeting the needs of a given community, and most illustrate models of correct behaviour and teach some morals to the community (Mdallel, 2004: 2). Tales were used to control the tribe’s life and relationship with other communities and they also reflected common consciousness, dreams and concerns (ibid.). This has continued until the present time, where the tradition of storytelling has been exchanged for reading stories and books, with morality being preserved in the content of the stories and themes presented to readers, which is especially evident in children’s literature.

One feature of didacticism in children’s literature in the Arab world is morality. The plot, the characters and the events are aimed at shaping the child’s perceptions and beliefs about the world and their own life as well as preparing them for adult life (Mdallel, 2004: 5). Most stories for children in the Arab world follow the story frame of the Quran, which depicts the struggle between good and evil. As a consequence, teaching what is right and what is wrong through the story pattern and including a moral are two of the most common features in stories for children (ibid.). Some famous examples of stories that highlight morals include Mohammed Othman Jalel’s Watchful Eyes in the Examples and ’ المرشد األمين في تربية للبنات والبنين ‘ Preachments, written in 1894, and Rifaa Tahtaoui’s (English gloss: The Faithful Guide in Educating Girls and Boys), written in 1870. More English gloss: The) (1989) ’ الفار الذكي‘ modern Arabic titles that present morality are English gloss: The Daily) (2001) ’ﯾوميات طفل مصري ‘ Clever Mouse) by Ibrahim Fahmi and Life of an Egyptian Child) by Sherirah Khalid.

Description is another means of conveying didacticism in stories for children. It is a useful way of presenting the plot, characters and events by showing their features and behaviour and interpreting them to present moral values (Knowles & Malmkjær, 1996: 24). A good illustration is the way in which characters are clearly portrayed as heroes and villains using positive and negative terms, which may shape a child’s views and emotions associated with each character or event, and on a more complex and subconscious level it can influence the child’s views of the world through characters and their behaviour (McKenna, 2011: 359). Typical examples of presenting the fight between good and evil through heroes and villains can be found in books such as The Lord of the Rings (1954) and The Hobbit (1937) by Tolkien (Knowles & Malmkjær, 1996: 24). This can be done

31 through the use of such linguistic features as adjectives and adverbs as well as less directly through the use of idioms, which can have a descriptive function (see Chapter 3). Indeed, this is the case in the Harry Potter series, where idioms are often used to describe a situation or personality of a character and, as a consequence, influence the reader’s perception of this event or character. For example, the idiom ‘pay the price’ is used in the story to show that being rude has consequences that Harry will have to face, or the idiom ‘save one’s own neck’ is used to mock the Slytherin team, which consists of students that only care about themselves. Like in the Western countries, in the Arab world the majority of children’s literature could be described as morality tales, which ‘display a struggle between good and evil’ (Mdallel, 2004: 4). Examples of such stories include Arab Days, Moral Stories and Morality Tales (ibid.).

A common belief regarding didacticism and stories for children is that teaching is better assimilated when presented in a playful way. This stems from the recognition that children should play, discover the world and learn morality at the same time (Mdallel, 2004: 5). Therefore, authors attempt to combine features that are fun for children with elements of preaching and moralising to make a child reader interested and simultaneously learn about the moral values accepted in a society. This mirrors developments in the Western world, where didactic literature for children has changed from an authoritarian tone into a more child-oriented narrative (Cross, 2006: 55). Stories such as The Chicken Gave It to Me by Anne Fine (1992) and Utterly Me, Clarice Bean by Lauren Child (2002) are typical examples of this change from an authoritarian to a friendly tone (ibid.). In the Arab world in the 1980s, stories for children that were ‘written for entertainment and still had a clear educational tone’ became clearly visible in children’s literature in the form of retellings of folk tales and stories about animals, for English gloss: The Sparrow’s Nest) by Assileiti (Aisawi) (1983)’ عش العصفور‘ ,instance & Addhafeeri, 2017: 157).

Didacticism can be conveyed in stories for children through simplification. This feature is common in texts for children around the world, and it is especially common in the Arab world, where texts are simplified as part of the translation process through the use of deletions and shortening of the text (Al-Daragi, 2016: 304). It also involves removing

32 elements that might conflict with the morals of Arabic societies, or distract the child from the moral of the story by presenting humour or playful features, which have purely entertaining purposes (ibid.). For example, references to taboo phenomena have been removed from the translation of Harry Potter into Arabic, such as references to alcohol, e.g. ‘butterbeer’, or pork (Al-Daragi, 2016: 84).

It is relevant to point out that morality in Arabic children’s literature encompasses not only teaching moral values that Arab children should follow but also dealing with problematic issues related to unsuitable and inappropriate topics that can be considered taboo in the target text culture. As Baker (1992: 234) points out, different cultures have different norms and notions of polite behaviour and taboo. In the case of Harry Potter, there are some examples of topics and behaviour that might be considered taboo in Arab children’s literature, for instance, presenting a boy-girl relationship in romantic terms such as ‘kissing’, and items of food and drink that are forbidden in Islamic culture like alcohol and pork. Also, there are instances of behaviour that might be considered inappropriate among Arab children such as disrespect towards authority figures like teachers and parents. No instances of the inappropriate content were found in the translation of Harry Potter into Arabic, and the strategies of simplification and omission were commonly used in the case of taboo topics (Al-Daragi, 2016: 85-86). The current study will examine how morality has been translated not only by looking at how the teaching of morals is present in the translation of Harry Potter, but also how the problematic aspects mentioned above are dealt with in translation of idioms and neologisms.

2.1.2.2 Entertainment

The emergence of entertainment in children’s literature can be dated to the early eighteenth century with the development of the adventure story. Books such as The Life and Strange Adventures of Robinson Crusoe (Defoe, 1719) and Gulliver’s Travels (Swift, 1726), although originally written for adults, quickly gained popularity among children due to their ingenious heroes and adventurous plots, and they were simplified and shortened to make them accessible to child readers (Madej, 2003: 5).

At the same time, a new approach to children’s education emerged when the writer and publisher John Newbery started publishing books for children that aimed at both education and entertainment (Madej, 2003: 6). To entertain child readers, Newbery added attractive features to his books such as gilt-paper covers and engaging stories. This aims at ‘edutainment’, which is a combination of education and entertainment (ibid.) and is also present in modern Arab children’s literature, as educators focus on writing for children that combine education and entertainment, as this is an effective way to educate English gloss: Deer and) (2000) ’الغزال والصياد‘ children. Some examples of such texts are English gloss: The Bird and the) (1978)’االنسان والعصفور‘ Hunting) by Amel Farah and Human) by Ibrahim Fahmi (El-Kholy, 2007: 63).

The second important period in the development of books for entertainment was the late nineteenth century, when books for children started to be written for purely entertaining purposes. This reflected the general view at the time of children, whose need to play started to be widely recognised. Consequently, books for children were devoid of any instruction and were written purely to give pleasure (Madej, 2003: 6). A prime example of a book written with the aim of entertaining children was Alice’s Adventures in Wonderland (1865) by Carroll, which did not contain any moral teaching or educational agenda (Madej, 2003). The book is also an early instance of the fantasy genre, which since then has served mainly entertaining purposes by offering escapist stories that amuse children. More examples of this genre which entertain child as well as adult readers around the world include The Jungle Book by Kipling (1894), Peter Pan by Barrie (1904) or more recent books such as The Lord of the Rings (1954) and The Hobbit (1937) by Tolkien, and the Harry Potter series (1997) by Rowling (Madej, 2003).

In the Arab world, the presence of entertainment in stories for children is mainly evident in genres such as adventures and fairy tales, which have entertaining plots, action and magical elements, for instance, children’s versions of some stories from The Arabian Nights like Sinbad the Sailor (Mdallel, 2004: 5). Although didacticism is still visible in books for children in the Arab world, there are supporters of children having the right to read for pleasure, for instance Faiza Nawar, who criticised the Arabic translation of Where the Wild Things Are by Sendak (1963) for removing imaginative elements (Mdallel, 2004:

6). She argues that children’s literature is still greatly influenced by ‘multiple taboos and the traditional education and religious concerns’ (Nawar, 2001: 24). In agreement with Nawar, some Arabic writers and publishers such as Idris and Sidqiyy maintain that ‘entertaining children’s literature in Arabic is key to preventing youth from turning away from Arabic’ (Dunges, 2011: 176).

There are several common features of books for children that make them entertaining. One of the main features is the plot and story itself, especially in the case of adventure and fantasy genres. However, fiction can also be written to be read for pleasure, as Ghosn (2002: 172) claims: ‘fiction is written for children to read for pleasure, rather than didactic purposes’. Clearly, these two criteria are not in conflict and, regardless of genre, books written to entertain are normally full of unexpected events and extraordinary characters intended to capture child readers’ interest (Hollindale, 1997: 30). For instance, fantasy books offer an array of thrilling events and amazing creatures such as dragons or fairies, which make the story interesting and enjoyable. In the Arab world, features of the fantasy genre such as magical kingdoms, jinns, goblins, princes and kings are among the most common elements of stories for children (Al-Olaqi, 2012: 384), and have a clear entertaining purpose on top of didacticism. Books for children often involve magical :English gloss) (1999) ’ ستي والقطط: قصة الصداقة ‘ elements and characters, as in the story The Grandmother and the Cats: A Tale of Friendship) by Bahous and a number of stories adapted for children from One Thousand and One Nights like Ali Baba. However, the trend of including magical elements in stories for children has met with opposition from some scholars who believe that including such topics, which are often scary and include violence, is not recommended for Arab children as it may hinder their natural development (Al-Dandarāwī, 2013: 103).

Writers may of course also use the narrative and language to entertain child readers. Studies have shown that humorous narratives and wordplay score highly in children’s interest in a book (Shannon, 2009: 1). Humour in books for children can take various forms ranging from funny characters, dialogues, visual humour, overstatements, situational humour, and use of formal and colloquial expressions, to descriptions and manner of speech (Alderete-Diez, 2009). All these elements are present in the Harry

Potter books. For instance, in the characterisation of Fred and George Weasley who often use clichés in their speech, or in Hagrid’s behaviour and speech that uses dialect, both of which show he is a simple and uneducated creature (ibid.). There are also instances of situational humour as when one of the students uses a spell to show one of the strict Hogwarts professor’s pants. In addition, Rowling uses humour to build the magical culture by including wizard-specific humour frequently found in Ron’s dialogues and jokes, for example, when he mocks Hermione about her family’s ski holiday, which is not known to wizards (Alla, 2015: 8018). Another form of humour is found in the proper names of characters, places and objects that are often loaded with cultural and semantic meaning that create comic effect. For example, playful name of characters such as Cornelius Fudge or places such as Diagon Alley (Wyler, 2003: 9).

In addition, wordplay can be entertaining, both when it takes the form of a play on meaning (as in the case of words having the same form and different meanings, which are called homophones such as ‘bank’ in English) and when it takes the form of a play on sounds (words that sound similar or in which a small change in spelling also affects how they are pronounced) (Delabastita, 1994: 223). Some examples of play on the sounds of words in Harry Potter include ‘Diagon Alley’ (playing on the word ‘diagonally’) and ‘Knight Bus’ (play on the word ‘night’, which is pronounced in the same way as knight) (Dukmak, 2012: 105). Other forms of verbal entertainment include puns and onomatopoeia, for example, the names of giants such as ‘Grawp’, which sounds very similar to a phrasal verb ‘grow up’ (ibid: 103). These are also forms of wordplay that can be especially entertaining for children who read books aloud or with parents (Snell- Hornby 1988: 35). Wordplay is also a common feature of Arabic children’s literature. (English gloss: A'dyat) (2009) ’عدﯾات‘ Typical examples are all types of rhymes such as by Khoury that can be read by parents to and with children. A similar example are books including words that describe sounds made by animals, which is a common type of :English gloss) (2010) ’توﯾﺖ كواك مووووو‘ onomatopoeia used in books for children, like Tweet, Quack, Moo) by Al-Din. In Harry Potter, wordplay can be related to the author playing on idioms, called idiomplay by Epstein (2012: 168). For example, in Harry Potter, the author plays on the idiom ‘I will eat my hat’ in ‘I will eat my kettle’. Moreover, wordplay can be related to neologisms, new words often created by playing on existing English words and words that derive from Latin, as in Harry Potter, where the author

36 creates a new expression ‘floo powder’ playing on the spelling and correlating sound in other English words like ‘flew’ or ‘flue’ (Dukmak, 2012: 103).

A specific type of wordplay in the Arabic language was introduced in the 1940s by writers for children moving away from standard Arabic to include ‘newly created vocabulary and words borrowed from the colloquial’ (Abu-Nasr, 1996: 790). Colloquial language as a form of wordplay quickly gained popularity in Arabic children’s literature. It was mainly ,English gloss: Samir for Boys) (1922) ’ سمير للبنات ‘ and ’ سمير الوالد ‘ visible in songs like Samir for Girls) by Al-Harawi and in poetry, which paved the way for modern children’s literature in the Arab world (ibid.).

In modern children’s literature, interactivity has become an important feature. As mentioned earlier, the development of technology has led to the emergence of digital versions of books for children, and children’s interest may be enhanced if they are able to interact with the book while reading it, for example if the book makes sound effects or a computerised voice reads out the words or sentences to the child. For example, The Tale of Benjamin Bunny by Potter (1904) was published with sound effects in 1998 (Madej, 2003: 9). Another case is Just Grandma and Me, written by Mayer in 1983 and then turned into an animated version of the story in 1991. The positive effect of combining books and interactive digital versions is that children are ‘not only entertained by the texts and illustrations, but also by the physical activity of making things happen’ (Madej, 2003: 9).

2.1.2.3 The Publishing House

Publishing institutions play a crucial role in the current position of children’s literature in the Arab world. Although there are some well-known publishing houses specialising in publications and literature for children in the Arab world, such as the Arab Institute for Research and Publishing in Lebanon and Dar al-Shorouk and Nahdet Misr in Egypt (Dunges, 2011: 171), there is still a scarcity of institutions that promote children’s literature, and even those institutions that exist do not cooperation with each other. Amr

(2007) explains that the creation of children’s books can be attributed to the efforts of writers and publishers who are dependent on their own resources and abilities. However, steps have been taken to improve this situation. For instance, Mdallel (2004: 3) mentions that there have been attempts at developing children’s literature since the early twentieth century, when Kamel Kilani started translating and writing books specifically for children. Also, several small publishers have taken up children’s literature and contribute to the development of this genre, for instance, al-Salwa in Jordan; Onboz, Asala and al- Khayyat al Saghir in Lebanon; Jerboa in the Kingdom of Saudi Arabia (now based in the United Arab Emirates); and finally Kalimat in the United Arab Emirates (Dunges, 2011: 171). There is also an increasing number of book fairs that include stands devoted to children’s literature (ibid.).

Financial incentives for publishers to provide better quality translated books for children, including prizes for the best quality translation or extra funding for translation fees (Abou- Zeid, 2013: 102) have also had an influence on the translation of children’s literature in the Arab world. In addition, publishers’ influence on children’s literature is evident in the choice of titles to publish and the number of alterations made by the translators and editors, which relates to the commercial prospect of being attractive to Arab readers (ibid.). As Abou-Zeid (2013: 102) mentions, publishers might need to take several factors into account for a book to become successful in the Arab world, including the translator’s name, the reputation of the publisher, whether a book has a film adaptation and whether the publisher applies effective marketing and distribution.

With regards to the translation of books for children, morality is still one of the main criteria in the choice of books to translate and publish. Most popular genres translated into Arabic ‘belong to the genres of adventure, fairy tales, major international children’s classics, and some fables’ (Mdallel, 2003: 304). However, they are often limited to those books that are in line with the common views on what children’s literature should be like in the Arab world (Mdallel, 2003: 303). For instance, books that have a similar story frame to that of traditional storytelling in the Arab world and include a moral are more likely to be translated for children. Also, stories with topics such as kings, ghouls, witches and ungrateful friends that are known and common in Arab children’s literature have

38 higher chances of being translated (ibid.). One publishing house that takes into consideration some of the factors mentioned above is Nahdet Misr Publishing House, which has been introduced in Chapter 1, section 1.2.

2.1.2.4 Influence of Foreign Literature

There has been a significant influence of foreign literature on Arab children’s books. Since children’s literature evolved much faster in the Western world than in the Arab world, there was significant foreign impact on the early stages of Arab children’s literature. This influence is evident in a number of famous nineteenth-century Arabic writers and translators for children such as Jalal, Al-Tahtawi, Shawqy and Kilani, who were strongly influenced by British and French children’s literature (see section 2.1.1 above). In the twentieth century, this influence was noticeable in the 1960s with an influx of poor translations from foreign publishing houses (Abu-Nasr, 1996: 790). These were written in classical Arabic that was difficult for children to read and understand (ibid.). At that time, books and TV programmes translated mainly from English constituted almost 95 percent of all books and programmes for children in the Arab world (Ahmad, Annasir and Annokhatha, 1996: 218). This shows that the foreign influence was not limited to the translation of literature but also related to other forms such as TV programmes (Abuelma’a atti, 2005: 41). The majority of early TV programmes for children, imported from Western and Far Eastern companies included cartoons dubbed into Arabic (Aisawi and Addhafeeri, 2017: 163). A good illustration is the Disney comic character of Mickey Mouse, which has become one of the favourite characters for children around the world, including Arab children (Zitawi, 2008: 10). This trend is still evident in modern Arabic literature for children, in which the influence of foreign writers, artists and publishers is a common phenomenon.

In the case of Harry Potter, the first book in the series Harry Potter and the Philosopher’s Stone contributed greatly to the success of the whole series in the Western world. As Gunelius (2008: 51) points out, Rowling’s debut novel ‘brought a new attention to children’s literature. At the same time, Harry Potter was winning the hearts of adult audiences, too.’ In addition, film adaptations, video and computer games as well as digital

39 and interactive versions of well-known children’s stories encourage translators and publishers as well as the children in the Arab world to be interested in these stories (Madej, 2003: 8–9). This has prompted publishers around the world to meet the needs of new generations of readers by translating and publishing international best-selling books that have been adapted into movies. For example, Nahdet Misr publisher decided to translate and publish stories that are well-known from Disney movies as well as the Harry Potter series mostly known from the movie adaptations in the Arab world (Nahdet Misr official website, 2018). This can be considered a harmful trend among educators in the Arab world, who see foreign literature as a means of exposing Arab children to themes that are not suitable for them (Al-Manaa, 2001: 201). Arab scholars such as Yūssif (1985: 20), Al-Hīty (1988: 225), Abuelma’a atti, 2005) and Al-Faīṣal (1998: 43) believe that introducing foreign literature is a form of cultural invasion from the Western world; for example, they argue that themes presented in foreign literature such as violence, conflicting morals and racism are not acceptable in Arab literature. In addition, scholars such as Dunges (2011: 176), and Al-Asafi (2017: 1) argue that using foreign elements can also have a negative influence on the Arabic language. By contrast, the degree to which foreign literature can influence children has been questioned by Mdallel (2003: 303), who states that the influence of foreign texts has been gradually reduced over time. Also, it is worth mentiniong that despite the visible influence of foreign literature, Arabic books for children do have a history and tradition, which relate back to the early stages of their development (see section 2.1.1 above).

2.1.2.5 Reading Habits and Motivation

An important aspect to consider in the context of writing, translating and publishing books for children is their reading motivation, which is a prominent factor that can provide insight into children’s reaction to translated books in terms of comprehension and mode of reading. Reading motivation has been defined as ‘the individual’s personal goals, values, and beliefs with regard to the topics, processes, and outcomes of reading’ (Wigfield and Guthrie, 2000: 405). A motivated reader has been described as ‘an engaged reader’, that is, a reader who not only aims at understanding, but also reads because they enjoy the process of doing so and are confident about their reading skills (ibid.). Numerous factors have been found to play a role in encouraging children to read

(Wigfield and Guthrie, 2000), and a publishing house aiming at a child audience needs to consider these. Motivation can be either intrinsic or extrinsic. Intrinsic motivation for reading in the case of children has been closely linked with reading for pleasure and self- efficacy (Cox and Guthrie, 2001:116), while extrinsic motivation for reading has been associated with the influence of family and society (Clark and Hawkins, 2010: 6). It is worth exploring these two kinds of motivation in greater detail to examine how publishers can address the motivation factor in the case of child readers.

Intrinsic motivation is defined as ‘curiosity, a preference for a challenge, and involvement’ (Wigfield and Guthrie, 2000: 407). It plays an important role in the formation of children’s attitudes towards reading, so publishers need to ensure that their books trigger intrinsic motivation in their intended readers. It has been found that the stronger intrinsic motivation is, the more frequently children read (Metsala, Wigfield and Dacey, 1996: 361), and one way of encouraging intrinsic reading motivation in children is to present children with books that seem relevant to them, are challenging and offer playful, interactive experiences. A prime example is fostering involvement through content that ‘makes children lose track of the world around them and causes them to become fully immersed in the story’ (Colombo and Landoni, 2014: 1).

Extrinsic motivation involves children’s ‘desire for recognition and getting good grades’ (Wigfield and Guthrie, 2000: 407). This kind of motivation has also been related to a child’s self-efficacy, that is, their belief in how well they have done in reading a text, and positive feedback from others (Wigfield, Guthrie, Tonks and Perencevich, 2004: 301). For instance, children are more likely to engage in reading if they feel they can accomplish a reading task (Metsala et al., 1996: 360), if they achieve praise from parents and teachers and if they can show to their peers that they have accomplished a reading task. Clark and Hawkins (2010: 6) have found that parents play a significant role in encouraging children to read. For instance, seeing their parents reading at home, discussing the books read with family members or reading a book together with the child (ibid.) tends to increase reading enjoyment among children and promote an interest in reading for pleasure from the early years.

Children gain several additional benefits of reading with parents at home. For example, the communication skills of a child can be developed through reading aloud and discussing the content of a text (Yip, 2008: 3–4), and reading with parents or other members of a family can create a safe environment, which encourages a child to continue reading and see it as a pleasurable activity (Capotosto, Park, Mulimbi, Donaldson and Kingston, 2017: 7). It affords a child multiple chances to seek support and ask questions when something is not clear or too challenging, which at the same time helps them to build their confidence at reading. Another benefit is the development of the child’s independence through the improvement of reading skills and strategies; and making reading part of the daily routine creates a schedule that is mutually agreed between a parent and a child. Publishers of books for children can stress these benefits as part of their marketing strategies, and this is especially important in the context of the Kingdom of Saudi Arabia, where reading among children has tended to be done mainly for religious purposes rather than for entertainment (Darwish, 2002: 2). The development of the Arab and Saudi education system and reading practices mainly took place in religious schools and involved reading the Quran (Alfahadi, 2012: 29), and this historical background seems to have paved the way for the current reading situation among children, who do not read extensively (Arab Thought Foundation, 2012). Darwish (2002: 2) notes that reading habits including bedtime routines or reading while travelling are not encouraged and promoted and a typical Saudi family would prefer electronic forms of entertainment rather than reading. In addition, due to parents not being extensive readers themselves, children lack role models who can show by example that reading is a valuable and interesting activity (ibid.).

A common belief among parents in the Kingdom of Saudi Arabia is that the school should play the major role in the development of literacy skills in both Arabic and English, and as a consequence, parents are more likely to help their children with reading tasks that are part of their homework rather than to engage in this activity for pleasure (Alsubaie, 2014: 18).. If this situation is to be improved, books with interesting content that can engage the parents and children are very important, and a publishing house with an educational mission may therefore seek to promote books like those in the Harry Potter series because of their popularity in other parts of the world.

In the education system, the philosophy of teaching reading is that ‘spoken, read and written language must flow naturally from the child and must be used in a meaningful way’ (Al-Jarf, 2007: 14). In grade 2, for example, all texts are narrative, while in grade 6 the majority are expository and include more poems. The reading development starts from basic reading, which includes word recognition and sound production in grades 1–3 and moves on to reading comprehension and a focus on grammar and vocabulary extension in grades 4–6 (ibid: 13–14). The topics of the texts used in schools cover aspects of a typical child’s life such as the school year, meeting with friends, home and garden, and how to stay healthy. The topics also include aspects related to becoming a member of a local community and are often related to religion; for example, topics include ‘children in Islam’, ‘Muslim youth’, ‘family and respect for parents’ and ‘taking care of the environment’. The focus at school is placed on giving children homework (ibid: 16), which may mean that reading for pleasure is seen as an additional activity left to the children’s and parents’ choice rather than the school’s priority, which could result in the view among children and teachers that reading is not as important as other activities. To improve this situation publishers and writers tend to aim at promoting reading at home as a significant part of a child’s learning and development.

Translation of Children’s Literature in the Arab World in General

Studies of the translation of children’s literature in the Arab world focus on a variety of features and aspects among which the theme of the effects of foreign elements on Arab readers has been one of the most controversial and widely-discussed issues, which is why this thesis will engage in the discussion of this aspect. To start with, the dominant belief that foreign features can be harmful for an Arab child readership was challenged by Azeriah (1994) who argues for the importance of translation in enhancing children’s literature in the target culture. He claims that Arabic literary genres are unsuitable for a young audience, and that translation serves as the main means of introducing new genres such as the novel, the detective story and science fiction. He discusses the norms of translating children’s literature into Arabic on linguistic and cultural levels. From a linguistic point of view, Azeriah investigates the ‘diglossic situation’ in Arabic countries, where different dialects in different countries exist alongside Modern Standard Arabic, and the influence of this phenomenon on children’s literature. His findings suggest that

Modern Standard Arabic is preferred when translating and writing for children, which Azeriah argues is unhelpful to a child’s reading comprehension skills because they can experience difficulties with structure, lexis, idioms and metaphors that are often beyond the child’s reading abilities. In addition, he explores the preliminary norms (Toury, 1995) that govern the translation of children’s literature and which relate to the choice of work to translate and the impacts of colonialism on this choice. He criticises the use of cultural adaptation, which hinders the understanding of different cultures. Finally, he suggests a theme-based strategy for translating into Arabic, i.e. choosing work based on a subject that is not familiar to Arab children, for instance, space, environment or human rights. However, Azeriah does not present any case studies.

In agreement with Azeriah (1994), Ayoub (2010) concurs that translated literature can enhance children’s knowledge, adding to a debate on the extent to which the text should be altered, a topic central to the present study. She investigates the pedagogic aspects of translating for children. On the basis of an analysis of 196 illustrated stories, Ayoub suggests that the translator’s role goes beyond communicating the typical values and morals present in children’s literature, and that the didactic function of a text is holistic and not limited to one culture. She suggests that the translator should frame the stories as a learning experience through narrating the world in such a way as to offer the child reader specific linguistic, historical, religious and scientific knowledge without cultural limitations.

However, other scholars maintain that foreign features in translation can have a negative effect on Arab children. One of them is Mdallel (2003) who analyses the only bibliographical guide to children’s literature published in the Arab world, namely Hajji’s Bibliographical Guide to Arab Children’s Books, (three volumes, 1990, 1995 and 1999). He argues that children’s literature is a reflection of what childhood is considered to be and the roles children are assigned in society. Translation is seen as lexical but more importantly as cultural transfer, which Mdallel describes as a form of cross-cultural communication. His findings suggest that almost one fourth of all books published for children have some religious and ideological themes related to morality, which reflect the image of the child in the Arab world. As a consequence, he suggests that children’s

44 literature is still impregnated with didacticism and perceives children as a group extremely vulnerable to inappropriate themes in books. This might be why, contrary to Azeriah (1994), Mdallel approves of applying ideologically motivated changes in situations when closer translation would pose a threat to the target culture. In fact, Mdallel sees it as an inevitable strategy if the source and target text cultures vary greatly in terms of what they consider appropriate for the child reader.

In the same way, Mouzughi’s (2005) findings show that there are numerous changes to the representation of institutions which reflect the target text cultural ideology, and that the translators tend to avoid the topics of religion and race. Mouzughi (2005) adopts a discourse approach to investigating the assumption that translated literature is a ‘threat’ to Arab children because of the differences that exist between ideologies and ideas in the Arab and the Western world. She analyses fourteen fairy tales from the Well Loved Tales series and their Arabic translations published by Ladybird Books Ltd. The focus is on the representation of family, home, religion, gender, race and friendship in the translation, which she refers to as institutional content. In addition, she explores linguistic components such as discourse markers, modality, mood and speech acts in the source and target texts, which are a means of representing interaction between people. Thus, the two main elements of the analysis are institutional representation and forms of interaction presented in the translation, and she assumes that a successful translation involves achieving equivalence between the source and target texts. Additionally, she finds that the translator is an ‘active agent’ who intervenes in adapting the source text rather than being a mere reproducer. The author attributes the changes made by the translator to the conflicting values and morals between the source and target text cultures, suggesting that adaptation can be applied in the cases when foreign features are not suitable for Arab children. Mouzughi justifies the need for removing foreign features with a strong and probably inordinate reason that Arab children might become isolated from their own culture and society. The interactional forms, too, had undergone changes. For instance, modality was often omitted or changed. All these changes suggest that there was a great use of didacticism in the process of translation. The main limitation of Mouzughi’s (2005) study is that it focuses on one sub-genre of children’s literature, fairy tales, and the findings may not be generalisable to other sub-genres. In light of the previous studies, it seems that there is no consensus on whether foreign literature is more of a benefit or threat

45 to Arab children among Arabic scholars in children’s literature. This thesis aims to add to the discussion on the effects of foreign elements on Arab children by looking at how foreign elements related to culture and morality were conveyed to the target text in the case of Harry Potter and the possible effects on Arab readers.

Translation of the Harry Potter Series in the Arab World

Studies on the translation of Harry Potter into Arabic language have been mainly concerned with cultural elements and culture specific items, but they vary in terms of the angels that they take and focus in their analyses. Some scholars oppose bringing source text cultural items to target text readers. For example, Mussche and Willems (2010) argue for translation of cultural items that are relatively neutral in ethical terms. They focus on the translation of ‘culture-specific items’, mainly proper names and references to food in Harry Potter and the Philosopher’s Stone, Harry Potter and the Chamber of Secrets and Harry Potter and the Prisoner of Azkaban. They investigate the relation between the translation procedures and the formal, semantic and cultural features of the source texts and the effects of these procedures on the target text style. They found that neutrality was achieved through a combination of omission and simplification, offering the readers a sense of the source text culture, but presented in a way that did not endanger the cultural and ideological norms of the target text culture. The most common strategies used by the translators were simplification and normalisation, and representation of everyday aspects such as education, family and the use of dialect and slang (Mussche and Willems, 2010: 491). For names, transliteration was the predominant strategy. The strategy of omission predominated in the translation of culture-specific items, which suggests that the translators applied a degree of cultural filtering. However, the study covers only eighteen chapters from the three novels, and does not discuss the point that different translators translated the three books.

By contrast, the two later studies on the translation of Harry Potter agree that transferring cultural items from the source text is the acceptable and sometimes preferred choice. Dukmak (2012) investigates three novels and their published Arabic translations: Harry Potter and the Philosopher’s Stone Harry Potter and the Goblet of Fire and Harry Potter and the Half-Blood Prince. Dukmak’s study extends that by Mussche and Willems (2010)

46 by not only looking at cultural references and names, but also investigating wordplay and the translation norms of each translator. She follows the descriptive perspective of Holmes (1988) and Toury (1995), and, for culture-related items, models developed by Klingberg (1986), Aixela (1996) and Davies (2003) were utilised to create her own model of analysis. Finally, Dukmak draws on Toury’s (1995) theory of translation norms. Dukmak’s study shows that the three translators apply the translation strategies of abridgement, adequacy and acceptability differently. Her main finding is that the translation strategies used for children’s stories focus on the preservation of the names of food items and customs of the foreign text, and occasional explicitation. The limitation of her study is that she was unable to contact the translator or the publishing house to gain a deeper insight into the choices of translation strategies.

A similar issue is addressed in the most recent study of the Harry Potter series and its translation into Arabic by Al-Daragi (2016). This work examines three chapters from each novel in the Harry Potter series focusing on not only cultural elements but goes even further by looking at elements of narrative such as characters and the plot. In addition, the strategies of deletion and omission and the relationship between didacticism and entertainment in the Western world and Arab culture are discussed. The theory of norms is applied to compare these two notions. The study shows that the translations of the first four novels in the series tend to be influenced strongly by didacticism and demonstrate a lack of professionalism in the amount of deletion and simplification used, which the author attributes to the translators and editors’ skills. This resulted in the reduction to narrative features and the world building of Harry Potter. By contrast, the translations of the fifth, sixth and seventh novels apply deletion very rarely and the entertaining function has been preserved, which suggests that more professional translators rendered these novels, a suggestion supported on the basis of the experience and skills of the translators and editors of the later three books. In addition, different strategies were used to translate the same expressions, which is problematic for text cohesion. The limitations of this work are that only three chapters from each novel were analysed, and the translators and publisher could not be contacted for more information on the context of translation and reasons for certain translation choices.

The studies mentioned above overlap with my focus regarding culture-specific items, norms governing translation and the factors of didacticism and entertainment in

47 translation. However, they highlight cultural differences and their effects on Arab children, whereas my thesis examines specific elements of idioms and neologisms and the factors that might influence the translator’s choices. My study aims to extend existing work by not only depending on linguistic analysis but also referring to the general context of the translation, including information about the publishing house, and undertaking an interview with Saudi child readers. In addition, I discuss the relation between the strategies applied by the translator and the concepts of domestication and foreignisation. The next section offers a discussion of these two concepts.

2.2 The Concepts of Domestication and Foreignisation

The terms ‘domestication’ and ‘foreignisation’ were introduced by Venuti (1995: 20), on the basis of the work of Schleiermacher (1813). Venuti (1995: 20) defines domestication as ‘an ethnocentric reduction of the foreign text to [Anglo-American] target-language cultural values’, which relates to Schleiermacher’s idea of moving the author towards the reader (1813: 49). In other words, domestication makes the translator invisible to the reader to whom the text appears natural and devoid of features foreign to the target text audience. By contrast, foreignisation ‘entails choosing a foreign text and developing a translation method along lines which are excluded by dominant cultural values in the target language’ (Venuti 1997: 242). Venuti links foreignisation to Schleiermacher’s notion of moving the reader toward the author. Through foreignisation, the readership is presented with the foreign elements of the source text.

Both strategies deal not only with linguistic features, but also with cultural connotations. Venuti (1995: 18) maintains that the distinction between domestication and foreignisation goes beyond the choice of lexis and syntax to include registers, dialects, styles and discourses. Domestication can be looked at through the lens of fidelity to the target language and culture, a concept that has been present in translation theory and practice for a long time, along with striving for fluency. The main aim of domestication is to produce a linguistic effect of transparency, that is, the readers are presented with a text that is natural to read in the target language, and reinforces the domestic values of the readers (Venuti, 2010: 71).

According to Venuti (1995: 19), these two approaches can be considered types of intercultural interaction, which can influence readers’ feeling of identity and attitudes towards foreign cultures. For instance, he views domestication as ‘ethnocentric violence’ (Venuti, 1995: 61) by imposing the target readers’ cultural values on the source text and its translation and cleansing the target text of foreign values. In addition, Venuti (2008: 19) claims that domestication and foreignisation can be expressed as ‘ethical attitudes towards a foreign text and culture, ethical effects produced by the choice of a text for translation and the strategy devised to translate it’. In this sense, the two approaches can be regarded as means of cultural, social, political and ideological influence. For example, foreignisation can influence the receiving culture by shaping the readers’ opinions and viewpoints, which might be reflected in their attitude towards their own culture. In contrast, domestication being focused on the readers’ culture offers a means of spreading the dominance of a given culture, possibly leading to ideological movements grounded in nationalisms and fundamentalisms (ibid: 20). This relates to a political agenda, which might ‘serve imperialistic goals abroad and xenophobic values at home’ (Hatim, 2013: 51). An example of how foreignisation can serve political purposes is presented by Shamma (2009: 65), who analyses the nineteenth-century translations of The Arabian Nights from Arabic into English and concludes that foreignisation can be a means of reinforcing prejudice against the source text culture.

There is a great deal of controversy among scholars in the field of translation studies regarding the concepts of domestication and foreignisation and whether these should be the main approaches followed by translators. Yang (2010: 79), referring to Venuti, advocates domestication, since foreign knowledge and terms might be understood by an educated audience, but ordinary readers might prefer texts that are easier ‘to understand and accept’. Yang considers domestication to be related mainly to the linguistic aspects of a text, but points out that this aspect can influence the cultural features of a text as well. Another advocate of domestication is Munday (2008: 147) who points out that foreignised texts are often less fluent and estrange the readers. He suggest that foreignisation is often done with the main purpose of protecting the source text from the ideological dominance of the target culture. A further point in the discussion was made by Prasetyo and Nugroho (2013: 7), who listed the positive and negative aspects of domestication, as summarised in Table 2.

Advantages Disadvantages It helps the reader to comprehend the text The source text culture is not present in the easily text The target text becomes natural and The translator has already interpreted the communicative source text, so it is not necessary for the reader to do so, but they still have to interpret the translation The text can be acculturated The target text audience will gain no knowledge of the source text culture Table 2. The advantages and disadvantages of domestication in translation

However, many scholars have argued that foreignisation offers benefits for readers. As already mentioned, the main proponent of this stance is Venuti (1995: 18), who claims that, thanks to foreignisation, the target text reader has an opportunity to gain experience of different cultures, which can be enjoyable. In addition, Venuti (1995: 20) mentions that foreignisation can be successfully applied in the translation of children’s literature because children tend to be eager to learn about foreign cultures. From a linguistic point of view, foreignisation can be seen as an invaluable source of new terms and borrowings, as well as a variety of discourses, which can enrich the target text language (Venuti, 1998: 11). More importantly, Venuti views foreignisation as cultural interaction in which the translation resists the dominance of the target text culture and marks the presence of the foreign. He believes that this approach can be challenging to the receiving culture, but at the same time undermine its ethnocentricity. Foreignisation is seen as a cultural and ideological means of shaping the target text culture by presenting material that is not familiar to the target text readers either by transferring foreign elements or translating them literally (Pentilla and Muikku-Werner, 2012: 133; Yuliasri and Allen, 2014: 136).

In agreement with Venuti, Vermeer (1996) notes that applying foreignisation can help the translator to keep the translation faithful to the message of the source text writer. The focus here is on both the linguistic and cultural features of the source text, which both constitute a part of the source text writer’s message. Vermeer also highlights that foreignisation is particularly important when translating literary texts since the message in the translation of these should be as faithful to the source text as possible. He argues that the purpose of a literary translation is ‘to provide an approach for the target-culture

50 recipients to a foreign author and his work, his intentions and style’ (ibid: 37). Therefore, Vermeer views the retention of foreign features on linguistic and cultural levels as the ideal approach. Since Vermeer is one of the developers of Skopos theory, which places emphasis on the purpose of the translation in the target text society, his focus may be expected to be on the target text language and culture, and he stresses that ‘the translator should work in order to achieve the Skopos, the communicative purpose of the translation, rather than just follow the source text’ (Vermeer, cited in Pym, 2010: 44). Finally, Prasetyo and Nugroho (2013: 8) summarised the points made by other scholars by listing the positives and negatives of foreignisation, as outlined in Table 3.

Advantages Disadvantages The target text audience can be made The target text can become difficult to aware of the source text culture read fluently due to the readers encountering strange terms The target text can present the linguistic The language in the target text can lose its nuances of the source text naturalness The target text reader can learn about the The target text readers might be exposed source text culture to, and influenced by, negative aspects of the source text language or culture Table 3. The advantages and disadvantages of foreignisation in translation

The debate outlined may suggest that foreignisation and domestication stand in absolute opposition to each other. However, Tymoczko (2000: 38) shows that it is rarely possible to define a text outright as foreignised or domesticated. For instance, she claims that foreignisation can be the result of the choice of the text to translate rather than the translation discourse or translator’s choices (ibid.). She argues that Venuti uses domestication and foreignisation as a means of universal evaluation, but that he never gives any specific criteria to distinguish between these two, except for a vague statement that a translation is foreignised if it provides cultural resistance, without strictly defining what cultural resistance amounts to (ibid.). She emphasises that, while it might be possible to apply Venuti’s concepts to specific situations and examples in translation, it is not possible to characterise whole texts as being foreignised or domesticated.

Hoed (2006) considers that domestication and foreignisation can be combined in one text. Hoed (2006: 87) grounds his view in the belief that a good translation must cater to the 51 tastes and hopes of the target text readers who, in turn, would expect a natural text. Naturalness is an aspect of the language of the target text, thus suggesting the absence of foreign linguistic features that would make reading difficult. Hoed argues that, on the sentence level, the translation should be acceptable and readable, which would mean that the translator would have to adapt the discourse to the target language. However, Hoed points out that incorporating the source text culture into the target text can be considered as catering to the tastes of readers who would like to encounter new and foreign ideas in books that are translated from foreign languages (ibid.). This point seems to support the use of foreignisation as a form of spreading the culture, values and ideology of the source text and bring new knowledge to the target text readers.

Baker (2010) sees the foreignisation and domestication dichotomy as too simplistic. She argues that using either foreignisation or domestication to describe whole texts means categorising a range of possible translator’s attitudes under one approach and thus overgeneralising the strategies and approaches that might be present in one translation. She argues that foreignisation and domestication can both be present in one text (Baker, 2010: 128) and suggests that the opposition between these two approaches can be seen in the analysis of specific examples rather than in whole translations of a given text. However, Venuti (1995) himself had already pointed out that the two terms are not meant for general categorisation of whole texts, nor do they ‘eatablish a neat binary opposition’ (Venuti 2008: 19); rather, they are terms that enable researchers and scholars to learn and think about the process of translation (Munday, 2009: 148). Nevertheless, it is true that Venuti tends to use foreignisation as an indicator of a good translation, which clearly undermines the terms’ purely heuristic purposes. He argues (1995: 273) that foreignisation is ‘highly desirable in translation because it increases the fidelity of the translated text to the original’, and that ‘foreignizing translation in English can be a form of resistance against ethnocentrism and racism, cultural narcissism and imperialism, in the interests of democratic geopolitical relations’ (1995: 20).

Domestication and Foreignisation in Translation of Children’s

Literature

Regarding children’s literature, the use of domestication or foreignisation is a complex issue that has been addressed by several scholars, who discuss these two approaches from different perspectives. Proponents of domestication in children’s literature, such as Oittinen (2000) and Pirnajmuddin and Ramezani (2011), claim that domestication is an effective approach to translation of children’s literature. Oittinen (2000: 75) looks at domestication from both linguistic and cultural points of view, giving the latter more focus. She prefers the term ‘adaptation’ to Venuti’s ‘domestication’, and argues that all translations are adaptations to some extent. Especially in children’s literature, she claims that ‘all translators, if they want to be successful, need to adapt their text according to the presumptive readers’ (ibid: 78). This means that Oittinen (2000) suggests that domestication is an effective approach to translation of children’s literature, because it enhances the child’s understanding of the target text.

Pirnajmuddin and Ramezani (2011), who analyse Moradi-Kermani’s Khorme (1997) written in Persian and its English translation, present a similar viewpoint regarding the effectiveness of domestication, but focus more on the cultural aspects rather than on the child’s comprehension abilities. The analysis involves Baker’s (1992) strategies for translation of idioms, which are treated in the study as culture-bound items, and Venuti’s notions of foreignisation and domestication. They show that the majority of procedures applied in this translation can be used in both adult and children’s literature, and present a variety of domesticating strategies such as using idioms of the target language, paraphrase, literal translation, omission and a combination of these strategies. Pirnajmuddin and Ramezani’s study (2011) is of importance to the current work since it addresses one of the main issues of this study, the strategies that are used in the translation of idioms. Overall, it can be noticed that a domestication approach has frequently been applied by translators of children’s books, who consider it effective in taking into account the target text readership.

However, Coles (2011) views foreignisation as an important approach that can be a way of facilitating enjoyment of the target text for children. The author compares the story Once written by Gleitzman (2005) and its Italian translation. Coles examines the changes that the source text underwent in terms of modality and syntax, and analyses the book covers as part of the para-text. The study concludes that domestication was the main strategy followed by the translator. The analysis shows changes on the sentence level as well as to register and linguistic creativity, which are described by the author in terms of a process of normalisation. Coles states that this was done in order to make the text more suitable for children, and the topic, which is war, less horrific. However, changes to the sentence structure such as conversion of sentences from simple to complex or lack of repetitions give the impression that the text is written in a stream of consciousness style, which is more suitable for adults than children, and one of the consequences of this is that the translation has lost its creative and entertaining aspects. Thus, Coles suggests that domestication is not necessarily a prescription for a successful translation.

Other scholars, such as Wu (2010), Ambrosiani (2012) and Fathalipour and Akef (2013) have found that domestication and foreignisation can be combined in one translation when translating cultural and linguistic elements. Wu (2010) investigates the application of foreignisation and domestication in two Australian children’s books and their Chinese translations. She discusses the ways in which cultural differences were dealt with by the translator, and how the linguistic features of the original were kept, while the source text information flow was domesticated. Wu’s (2010) findings support the idea that foreignisation and domestication can complement each other in one translation if used to handle different aspects of the text, and she concludes that a hybrid translation is a good solution since it gives the translator a greater degree of flexibility.

In addition, Ambrosiani (2012) focuses on the story of Alice’s Adventures in Wonderland (1865) by Carroll and its translations into Russian, Chinese, Czech, Dutch, Finnish, French, German and Italian. The author’s intention is not to establish the predominance of domestication or foreignisation in a given text, but rather to produce an inventory of translation strategies that fall within the foreignisation–domestication continuum. The study suggests that foreignisation and domestication cannot be looked at in the simple

54 terms of a dichotomy but rather as a continuum. In addition, Ambrosiani (2012: 80) highlights that linguistic and cultural references can be explicit or implicit, making the investigation of foreignisation and domestication even more challenging.

Finally, Fathalipour and Akef (2013) undertake a book-length study of the strategies used in the Persian translations of fourteen fantasy storybooks and novels with a specific focus on culture-specific items. Their focus is on the use of domestication and foreignisation in fourteen books for children aged 0–6 years, 7–11 years and 12 years to puberty. With regard to culture-specific items, they used categories presented by Newmark (1998), Espindola and Vasconellos (2006) and Alexia (1996), which were examined in relation to Venuti’s (1995) concepts of domestication and foreignisation. The main findings indicate that both approaches were applied in the Persian translations. The most common strategies of domestication were naturalisation and cultural equivalence, whereas, for foreignisation, formal equivalence and borrowing were the most frequent strategies. In addition, in translations for the youngest children, domestication predominated, while translations for children aged seven years upward were mainly foreignised. This suggests that the translators took account of the level of background knowledge of culture-specific items among very young readers and the abilities to distinguish cultural references by older children and young adults. Interestingly, the authors emphasise that applying foreignisation in the translation of children’s literature can bring benefits to young readers. Due to the presence of both linguistic and cultural foreign aspects in the target text, children may develop new ways of thinking and comprehending and, as a result, make new discoveries (ibid: 38).

The main issues emerging from the above studies are related to the translation of culture specific items from the perspectives of child’s understanding and entertainment, which can be significant aspects for the choice between domestication and foreignisation. The current study will highlight the impact of domestication and foreignisation on intelligibility and entertainment in relation to a child reader.

Domestication and Foreignisation in Translation of the Harry

Potter Series

The application of domestication and foreignisation to translation of Harry Potter into different languages has been discussed in two studies that focus on cultural elements, one by Minier (2004) and the other by Yuliasri and Allen (2014). Minier (2004) focuses on the translation of culture-specific expressions such as people’s names, words relating to magic, and school subjects in the Hungarian translations of five novels from the Harry Potter series, drawing on the theories of Venuti (1995), Oittinen (2000) and Schleiermacher (1813). The analysis shows that the translator uses neither foreignisation nor domestication exclusively, but rather combines their use. Similarly, Yuliasri and Allen (2014) found that the translator of Harry Potter and the Sorcerer’s Stone into Indonesian tends to foreignise humorous vocatives and domesticate culture-specific items. Their model of analysis is mainly based on Molina and Albir’s (2002) division of translation techniques, combined with insights from Venuti (1995) and Davies (2003). Given that both these studies found that translators of the Harry Potter series mixed domestication and foreignisation, I wanted to investigate whether the same is true in the case of translation into Arabic. However, the current work focuses not only on culture- specific items such as idioms but looks also at genre-specific features such as the neologisms through which the world of Harry Potter is partly built. Yuliasri and Allen (2014) acknowledge that the translator’s choices may be attributed to various influences, including the publisher’s wishes, the target cultural norms and the position of children’s literature in the target literary polysystem, as highlighted by Even-Zohar (1978). Similarly, in my study, I discuss the factors that may influence the translator’s choice of foreignisation and domestication in particular.

2.3 Summary

This chapter has defined essential terms that will be used throughout the thesis and presented existing studies on the subject matter, which will be discussed in relation to the findings of this work in Chapter 7. Because this thesis focuses on the translation of idioms and neologisms, the next chapter will provide a detailed overview of these two phenomena.

Idioms and Neologisms

The previous chapter outlined the characteristics of children’s literature and the concepts of foreignisation and domestication. It also presented previous studies on translation of children’s literature that allowed me to position my work within the existing literature. This chapter is concerned with the concepts that are my main focus of analysis in this thesis, idioms and neologisms. The first section provides a working definition and a proposed typology of idioms drawing on the work of Fernando (1996), Moon (1998), and Ayto (2006) and an outline of issues pertaining to the translation of idioms. The second section presents a working definition and a proposed typology of neologisms using the work of Newmark (1998b), Stockwell (2000) and Yule (2010). In addition, it identifies the functions of neologismsin children’s literature and discusses their translation.

3.1 Definition of Idioms

Idioms can be difficult to define because they are a feature of language which often has a similar function as other figures of speech such as metaphors or similes. In order to form a clear understanding of what idioms are, it is worth studying their definition and distinguishing features from two main perspectives: sematic and syntactic.

The Semantics of Idioms

Scholars identify idioms on the basis of a variety of characteristics. For example Hockett (1958: 172) focuses on the meaning of idioms, pointing out that the meaning of an idiom is rarely predictable from its composition, but functions, as Makkai (1972: 58) points out, as one semantic unit. For example, ‘put one’s foot down’. In this, they differ from collocations, as Fernando and Flavell (1981) point out. In a collocation, such as ‘blond hair’, each word retains its meaning, whereas in an idiom like ‘put one’s foot down’ each word does not retain its meaning, but all the words together mean ‘let us go quickly’. According to Moon (1998: 3) an idiom, as well as being understood in these scholars’ terms as a unit ‘that is fixed and semantically opaque’, is also a specific means of

57 expressing ideas, which is ‘peculiar to a language’ (ibid.). Therefore, idioms can be difficult to translate. While agreeing that an idiom is, ‘an institutionalised multiword construction, the meaning of which cannot be fully deduced from the meaning of its constituent words, and which may be regarded as a self-contained lexical item’, Ayto (2006: 518) suggests that there are degrees of opacity of idioms. On one end of the spectrum are idioms in which no lexical word is understood literally; for instance, ‘cut the mustard’ has nothing to do with the action of cutting or with mustard as it means ‘to come up to the expected standard’. These idioms may include fossilised words not found in Modern English as in ‘pig in a poke’ in which ‘poke’ is an old term for a bag. On the other end of the spectrum, there are cases in which all the elements of an idiom have their literal meaning, but when combined constitute an idiom as in ‘bread and butter’ which could be understood literally as ‘bread spread with butter’ but also metaphorically as ‘a source of income’. Similarly, if a reader or listener interprets the expression ‘a pain in the neck’ literally on the basis of the meaning that each of its components has, it could be regarded as a normal expression describing physical pain. However, if they interpret the meaning of the whole expression as one, which in this case is metaphorical, they might regard it as an idiom (Seidl and Mcmordie, 1988: 229). This raises the question of how a reader or listener can decide whether the meaning of an expression should be derived literally from each word separately or whether the whole expression is used metaphorically. According to Baker (1992: 65), the less sense literal interpretation of each component has in a given context, the more likely it is to be interpreted as having holistic, usually metaphorical meaning, and thus be understood as an idiom.

Other figures of speech which have figurative meaning include metaphors, and according to Moon (1998: 22-23) metaphors include pure idioms because their meaning is understood from the whole expression rather than its single constituents. Metaphors can also have varied degrees of transparency, on the basis of which it is possible to distinguish between transparent, semi-transparent and opaque metaphors (ibid). Correspondingly, Charteris-Black (2003: 291) notices that idioms may be dead metaphors. However, Fernando (1978: 321) argues that idioms and metaphors can be distinguished on the basis of the metaphors’ disinformation potential. He points out that metaphors do not have homonymous literal counterparts while idioms do. Menacere (1992: 570), in turn, maintains that idioms carry their meaning while metaphors illustrate their meaning. For

58 example, in a metaphor the meaning is presented by using images and words having figurative sense, whereas in idioms certain patterns of words constitute the meaning. In the case of a metaphor, an image of an owl is often used to present wisdom so a sentence ‘He’s an owl’ figuratively means a wise person and uses the image of the bird. This metaphor can be presented regardless of the structure a sentence or expression has. By comparison, the pattern of words ‘bread and butter’ illustrates the meaning of ‘someone’s basic income’. If the pattern is changed into ‘butter and bread’ the expression is only understood literally and loses its figurative meaning.

In order to define idioms, it is worth examining idiomaticity in general and position idioms within the framework of other expressions that can be characterised as idiomatic, such as collocations and idiomatic expressions. Fernando (1996: 30) rightly points out that idioms and idiomaticity are similar but not identical. The similarity stems from both being characterised by habitual co-occurrence of certain words. However, idioms allow a significantly narrower variety of words to co-occur when compared to collocations or other idiomatic expressions. This is because only a limited number of components, or no components at all, can vary in an idiom while much more freedom can be noticed in variance of collocations or idiomatic expressions. For instance, the expression ‘rosy cheeks’ shows a degree of idiomaticity because these two words collocate, however, their collocational strength is low because each also collocates with a significant number of other lexical items, giving expressions like e.g. ‘plump cheeks’ or ‘rosy dawn’. Such expressions cannot be treated as idioms but rather as collocations. Similarly, a longer text part, such as ‘those smooth, plump, rosy cheeks will one day be shrunken, shrivelled, and withered’ presents idiomaticity in the selection of words and their sequence, but cannot be considered an idiom either. By contrast, an idiom demonstrates a rigid limitation in variance of its components with regards to their order and lexical form. On this basis, it can be said that a multiword expression is more likely to be an idiom the less variable and flexible its components are (ibid.). While this is true of idioms, it also holds for collocations since words are often restricted in their co-occurrence. Thus, further discussion of idioms and collocations is needed.

Fernando (1996: 36-37) highlights that idioms belong to the group of multiword expressions that can be mistaken for habitual collocations. He implies that idiomaticity is created by the words becoming resistant to different degrees of lexical substitutions, which can also be applied to collocations. Therefore, the division between pure, semi- pure, and literal idioms and collocations becomes problematic (see table 4 below). For instance, the expression ‘white lie’ can be considered a semi-pure idiom constituted by the literal meaning of the word ‘lie’ and the non-literal meaning of the word ‘white’, which when placed together create the idiom meaning a harmless lie. However, at the same time, this expression can be treated as a restricted collocation, that is, a set of words that tend to co-occur: the word ‘white’ cannot be replaced with ‘orange’ or ‘red’ as these colours do not co-occur with the word ‘lie’. This illustrates that collocations and idioms can overlap (ibid.).

Idioms Habitual collocations I. Pure idioms a. Invariant, non-literal ‘devil-may-care’, ‘backlash’, ‘chin wag’ b. Restricted variance, non-literal ‘pitter-patter/pit-a-pat’, ‘take/have forty winks’ II. Semi-literal idioms a. Invariant I. Restricted variance, semi-literal ‘drop names’, ‘catch fire’, ‘kith and kin’ ‘explode a myth/theory/nation /idea’ b. Restricted variance ‘chequered career/ history’, ‘blue film/story’ III. Literal idioms a. Invariant II. Restricted variance, literal ‘on foot’, ‘one day’, ‘in sum’, ‘in the ‘addled brains/ eggs’, ‘in-the-not meantime’ too distant past/ future’ b. Restricted variance III. Unrestricted variance, semi- ‘opt in favour of/ for’, ‘for example/ literal instance’ ‘catch a bus/ plane/ ferry’ Literal idioms IV. Restricted variance, optional elements V. Restricted variance, literal ‘abstain (from)’ , ‘(even) worse’ optional elements ‘shrug (one’s shoulders)’, ‘nod (one’s head)’ Table 4. A comparison between two types of multiword expressions: idioms and habitual collocations

Table 4 shows that idioms and collocations are similar in the area of semi-pure idioms, which have restricted variance and collocations that are semi-literal and have limited variance. Thus, expressions such as ‘explode a myth/ theory’ and ‘blue film/ story’ could be classified as both semi-pure idioms and habitual collocations. The same point can be made in terms of literal idioms that have restricted variance, and collocations that have literal meaning as in the literal idiom ‘opt in favour of/ for’ and the collocation ‘for certain/ sure’. In addition, Moon (1998: 20-21) outlines anomalous collocations as a subcategory of fixed expressions, stating that these collocations have meaning that cannot be decoded or encoded from their components. This special type of collocations can be further divided into ill-formed and cranberry collocations. Ill-formed collocations do not follow conventional grammatical rules as in ‘by and large’ and ‘of course’, while cranberry collocations have unique items not found in other collocations and cannot stand on their own, as in ‘on behalf (of )’ which requires completion by a pronoun (just as ‘cran’ does not occur without ‘berry’).

However, Fernando (1996: 36-37) maintains that there are areas where these two kinds of multiword expressions differ; for instance, idioms cover the figurative meaning of sets of words as in pure idioms while collocations mainly revolve around the literal meaning of words with a slight degree of figurativeness as seen in semi-literal collocations. In addition, collocations allow a greater degree of variance with expressions having literal meaning, while idioms show only limited variance. For example, literal idioms can have no variance, limited variance, or optional variance while literal collocations can be unrestricted in variance (see Table 4). In addition, Biber, Leech, and Conrad (2002: 988) divide idioms and collocations according to two criteria: idiomaticity and stability. These two criteria combined suggest that even though in both cases (collocations and idioms) there is a certain degree of word co-occurrence, separate elements of collocations keep their original meaning while elements of idioms acquire a new meaning as a whole.

Clearly, idioms and habitual collocations share some similarities, such as a tendency for certain words to co-occur, but the main difference relates to the meaning of an expression, the criterion adopted in this study. To identify idioms I use a monolingual English dictionary and the British National Corpus (BNC), which give information on whether an

61 expression is an idiom. I identify the strategy used to translate each idiom into Arabic (see Appendix 1, 3, and 5), and present examples in Chapter 5 to illustrate the relation between these strategies and foreignisation and domestication.

The Syntax of Idioms

The syntactic functions of idioms can be verbal, nominal, adjectival or adverbial (Ayto, 2006: 518-520). Idioms functioning as verb phrases normally consist of a verb and an object as in ‘clap eyes on’ (meaning ‘to see’) or a verb and particle such as ‘shut up’ (meaning ‘to stop talking’). Secondly, nominal idioms can be either premodified nouns, for example, ‘monkey business’ (meaning ‘dishonest activities’); postmodified nouns as in ‘manna from heaven’ (meaning ‘an unexpected source of relief’) or a conjunction of two nouns, for instance, ‘pride and joy’ (meaning ‘someone regarded with particular attention and pride’). In a similar way, adjectival idioms can be formed by premodification or postmodification of an adjective or a combination of two adjectives, for instance, ‘brand new’ meaning ‘completely new’, ‘wet behind the ears’ meaning ‘inexperienced’ and ‘hot and bothered’ meaning ‘worried’. Finally, adverbial idioms are similar to adjectival idioms regarding their composition, for instance, ‘by and large’ (meaning ‘generally speaking’). Other syntactic classes of idioms include prepositions and complete sentences.

Idioms that are nouns and verbs can undergo changes in form (Ayto, 2006: 516). For example, idioms that are verbs can have different tenses and those that are nouns can be pluralised. A detailed discussion of this point is presented by Newmeyer (1974: 327), who states that ‘there is far more regularity to the behaviour of idioms than is generally believed’ and proceeds to outline syntactic rules that idioms follow with regards to passivisation, conjunction movement, subject raising, tough movement and there insertion. He argues that most of these processes require changes in the form and structure of a sentence, and concludes that in the majority of cases idioms offer little or no variation in form. For instance, changing the active voice of the idiom ‘make a scene’ into passive ‘a scene was made’ is not possible since it results in the expression losing its idiomacity. However, he mentions exceptions to these rules, for example, the idiom ‘pull one’s leg’

62 can be transformed into the passive ‘someone’s leg was pulled’ (ibid.), which suggests that the requirement for a fixed structure that Baker (1992) insists on is too general.

Interestingly, Knowles and Moon (2006: 20) point out that some idioms allow a certain degree of variation, which can indicate that they are to be interpreted literally or which may be intended to be humorous. For instance, altering the common idiom ‘rain cats and dogs’ by changing the order of the words ‘rain dogs and cats’ would suggest that the author has done so to entertain the reader (see also Epstein 2012: 101). This has implications for the current study, which looks at the fantasy genre, in which the author may change the fixed structure of an idiom in order to express the unusual features of the story or simply for the sake of entertainment. Therefore, idioms that have been altered by the author will be included in the analysis.

However, both Fernando (1978: 329) and Moon (1998: 14) maintain that idioms cannot be generated freely, because they are largely exceptions to the rules that language systems follow (Harris, 1991, cited in Moon, 1998: 14). This can be illustrated by pure idioms with semantically opaque meanings that do not allow any change in syntactic form if they are to keep their figurative meaning. However, there are certain idioms that do allow syntactic changes to be made, which is why Fraser (1970, cited in Moon, 1998: 15) suggests that idioms can be classified according to the degree of syntactic changes they allow, but argues that an expression that admits of unrestricted syntactic change should not be considered an idiom.

In the current study, idioms will be identified on the basis of their form and structure, that is, expressions that have exactly the same form as English idioms that can be found in a dictionary will be treated as idioms. In addition, sets of words that resemble English idioms in form or structure, but vary slightly from them will also be taken into consideration because they are likely to have been transformed by the author purposefully. I adopt Ayto’s definition (2006), since it highlights the specific features of an idiom that are helpful in its identification: being an institutionalised expression, and functioning as one lexical unit whose meaning is deduced from the whole expression

63 rather than its individual components, which includes either figurative or literal meaning. However, these characteristics can be regarded as general guidelines with exceptions, so I will also seek confirmation in a dictionary of English idioms. An additional means of checking whether a given idiom exists even though it has not been found in a dictionary is using the British National Corpus (BNC), for example in the case of informal and colloquial idioms. The BNC is a collection of texts in English which covers one hundred million words from a variety of genres such as spoken language, fiction, academic language and newspapers. However, not all possible expressions of English can be found in the BNC, so this study will utilise an English-English dictionary in combination with the BNC.

Given that the idioms in the Harry Potter series are presented in the context of the magical world and have a world building and entertaining function, they can easily be confused with other figures of speech such as metaphors or personifications. Ayto’s (2006) definition can be helpful in the process of distinguishing idioms from other figures of speech. However, the current study extends Ayto’s view on which expressions can be regarded as idioms, insofar as expressions that have a slightly different form than the typical idioms, which were altered by the author probably for artistic or entertaining purposes, will also be considered idioms as they constitute a part of the fictional world of the story.

Typology of Idioms

Some scholars such as Hocket (1958) and Adelnia (2011) focus on the form of an expression when categorising idioms. Hockett (1958: 310-8) identifies six main classes of idioms: substitutes, proper names, numerals, abbreviations, phrasal compounds, figures of speech, and slang. Substitutes include personal pronouns; for instance, the pronoun ‘he’ can have different idiomatic values in different contexts. In addition, numbers and proper nouns may refer to a number of different items and people. Abbreviations contain letters that constitute a name (e.g. UNESCO stands for The United Nations Educational, Scientific and Cultural Organization), while phrasal compounds may be indicated by stress-markers as in ‘White House’ meaning ‘the United States (US)

64 president and/or his residence’. Finally, figures of speech include similes, for example, ‘as cool as a cucumber’ whereas slang is illustrated by an example such as ‘here’s your horn: blow’. This typology includes a variety of lexical items and ranges from mono- morphemic lexemes (pronouns) to longer phrases (proverbial phrases). Hockett’s classes of idioms focus on their structure, however, my study draws on the semantic perspective to idiom classification, which allows an in-depth analysis of the meaning idioms have and the relation of that to cultural understanding (ibid.).

Similarly, Adelnia (2011: 880) focuses on form together with formality and contextual use of idioms to categorise them into five groups: colloquialisms, proverbs, slang, allusions and phrasal verbs. A colloquialism is an expression used in an informal context; for example, ‘die laughing’ means to laugh very long and hard. Proverbs are considered to be idioms based on common sense and passed down from member to member within a community that speaks the same language from one generation to another (Mieder, 1993: 24). Another category of idioms is slang, which includes informal words and, as argued by Dumas and Lighter (1978: 14-15), is inappropriate in standard language use. Interestingly, such words can be placed in a formal text for humoristic effect. An example of slang are short forms such as ‘gonna’ and ‘wanna’ which mean ‘going to’ and ‘want to’. The fourth group of idioms is allusions, which refer to places, objects and people by implication, so the reader can identify the meaning by using mental connections. A good example of an allusion is the expression ‘Dotheboys Hall’ which is the name of the horrible school in Dickens’s Nicholas Nickleby (1839). If used in a conversation in which one person describes their workplace as ‘Dotheboys Hall’, he or she means a horrible place. However, if the interlocutor does not have knowledge of Dickens’s work, they might not be able to grasp the meaning of this allusion (Leppihalme, 1992: 189). Phrasal verbs consist of a verb and a preposition that together have an idiomatic meaning in addition to their literal meaning: for instance, ‘run up’ literally means an action of running upwards e.g. a hill or more figuratively an increase in value as in ‘run up a bill’.

However, other scholars base their typology on the meaning that idioms have. Fernando (1996: 35) and Moon (1998: 19-23) both categorises idioms according to the degree to which the meaning of individual words is visible in an idiomatic expression. Fernando

65 refer to his types as pure, semi-pure and literal idioms. Pure idioms are expressions whose meaning is not literal and thus cannot be inferred from the lexical units, as in the case of ‘spill the beans’, which means to reveal information. Moon (1998: 23) refers to these as opaque idioms. Semi-pure idioms (Fernando 1996: 35) or semi-transparent idioms (Moon 1998: 20) have one or more literal components, used with other non-literal words; for example, ‘foot the bill’ is a combination of a literal word ‘bill’ and a non-literal verb, ‘foot’. Together, they mean to pay the bill. Literal idioms (Fernando 1996: 35) or transparent idioms (Moon 1998: 23) are easily understood on the basis of the words they are composed of; for instance, ‘pack one’s bags’. However, this division is treated more as a scale of idiomaticity than as a clear-cut division (Fernando and Flavell, 1981: 48).

Of these typologies, Hockett’s (1958) and Adelnia's (2011) are too broad to serve the purpose of this study. Adelnia's (2011) typology includes a wide variety of language elements such as proverbs, slang and phrasal verbs. This study does not aim at such a broad spectrum of language elements and applies a more specific and restricting definition of idioms. In the same way, Hockett’s (1958) classification includes elements such as pronouns or compounds used as proper names, for instance, ‘White House’ used in the meaning of the US president. In contrast, a semantic, more restricted perspective, as presented by both Fernando (1996) and Moon (1998), will serve the purpose of this study well being based on the meaning of an idiom and the degree to which the idiom with its individual components is figurative. This is relevant to the current study in the discussion of the extent to which the original meaning of an idiom has been reflected in the target text, and thus whether it was domesticated or foreignised. The proposed typology presented in Table 5 has been developed drawing on Fernando’s (1996) and Moon’s (1998) categorisations:

Fernando’s typology Moon’s typology (1998) Proposed Typology (1996) Pure idioms Opaque idioms Figurative idioms Semi-pure idioms Semi-transparent idioms Semi-figurative idioms Literal idioms Transparent idioms ------Variants of an existing idiom

Table 5. Proposed typology of idioms drawing on Fernando’s (1996) and Moon’s (1998) typologies.

As Table 5 shows, the proposed typology makes some adjustments necessary for the purpose of the present study. Because the Harry Potter series belongs to the fantasy genre and is primarily aimed at children, it is likely that the writer uses idioms from the English language in a changed form in order to entertain as well as to build the magical world and mood of the story. Therefore, an additional type has been included in the proposed typology, namely variants of an existing idiom. I decided to focus on idioms that are figurative and semi-figurative, because they tend to be culture specific (Epstein, 2004: 109), and therefore the strategies used to deal with them are good indicators of foreignisation and domestication. In support of that view is Emmanuel (2017:18) who notices that figurative idioms are the most challenging type because they ‘are important carriers of culture in the communities’ and the meaning they carry is mostly connotative. As a consequence, figurative idioms have been identified as problematic not only in adult literature but also in children’s literature, which strongly suggests that they can be challenging in translation (ibid.). However, I decided to exclude literal idioms from my study because, as Fernando (1996: 3) points out, this type of idiom can normally be understood from the literal meaning of the individual words that constitute the idiom and therefore, literal idioms are easier to translate. Therefore, the typology that I will use in my study includes the following idiom types:

 Figurative idioms: This type of idioms encompasses expressions that have figurative meaning that cannot be decoded from their individual components. It draws on Fernando’s pure and Moon’s opaque idiom types. In the case of Moon’s typology (1998), one of the basic requirements when analysing opaque idioms is relying on their etymology, while the current study will focus on idioms’ metaphorical meaning and images that are presented to the readers rather than on how these idioms were created, although in instances where it is relevant, etymology will be mentioned.

 Semi-figurative idioms: Semi-figurative idioms are expressions that consist of at least one word used in its literal meaning combined with another word or

other words that have figurative meaning (Fernando, 1996; Moon, 1998). As a result, readers are likely to decipher at least the part of the idiom’s meaning that relates to its literal component. In this case, however, the degree to which the readers understand part of the idiom may depend on the function of the literal component in the idiom; thus, it might be that the degree of figurativeness an idiom has differs in each case.

 Variants of an existing idiom: This type includes expressions whose form resembles an existing English idiom, but has been altered by the writer. However, the meaning of the altered expression matches the meaning of the original idiom on the basis of which the variant has been created. The changes in form may include changed word order or changing at least one component of an expression with a different word which results in altering the metaphorical image. However, grammatical changes such as different tenses or passivisation will not be considered as variants since some idioms undergo these changes in English naturally.

Idioms in Texts for Children

It is important to mention the functions of idioms in texts and in particular, in children’s literature, since this may affect the translator’s choice and thus impact the strategies applied. According to Epstein (2012: 101-102), idioms are used for two main reasons. As idioms are usually understood by the intended audience in the source text context, they can help describe a scene, a character or a situation. For example, in Harry Potter idioms are often used as a way of characterisation the protagonists such as Ron and Fred Weasley who use informal clichés in their speech. On the other hand, idioms can introduce humour. They can enrich the text with new energy or, by contrast, make the text boring. If the writer uses idioms creatively, for example, by changing their form or playing with their two meanings, it can result in effectively playing with the language. Harry Potter includes some cases of a creative use of idioms by combining their form with magical elements, for example, ‘hold your Hippogriff’ is a play on ‘hold your horses’. However, if clichéd expressions are applied too frequently, they impoverish the style. Importantly, idioms can

68 have a manipulative function when they are used deliberately by the author to distort or blur the information provided for the readers.

With regard to children’s literature, scholars such as Foster (2006) and Gibbs (1994) discuss idioms in relation to a child’s ability to understand and recognise them. Whilst this may be true for children younger than ten, whose cognitive development is at its earliest stages, older children are able to identify literary devices such as idioms, metaphors and irony (Foster, 2006: 1). However, it is argued that younger children can enjoy idioms as well, if the idioms are relatively easy to analyse: that is, the figurative meaning can be worked out from the literal meaning of individual components (Gibbs, 1994: 289). This position can be supported by the fact that children’s writers do not omit idioms in their writing, but choose them carefully. In fact, they might use idioms as a strategy for presenting difficult issues or taboos which might be upsetting to children. Although idioms are problematic in translating, they are important in the works of writers for children since they have the important role of conveying the messages clearly. In addition, including idioms can have a pedagogical purpose, in that they can be a concise way of expressing ideas and teaching morals, at the same time as being entertaining. In Harry Potter, there are cases of idioms that present morality, for instance, being loyal to one’s friends and family is presented in the use of idiom ‘follow one’s footsteps’. Moreover, idioms are a part of natural, everyday language and thus omitting them from conversations could make them sound unnatural and even difficult to understand (Epstein, 2012: 104-105).

Challenges in the Translation of Idioms

According to Carter (1998: 34), the vocabulary of a given language can be divided into core and non-core. Core vocabulary can be understood and interpreted similarly in different contexts and cultures while non-core words are restricted to uses within one culture. Idioms mainly fall within the second category, that is, they are limited to one culture. For example, the core word ‘hand’ refers to a physical part of human body and that is how it can be interpreted regardless of context, while the idiom ‘give a hand’ may be limited to the use familiar within British culture (ibid.). Because the same phenomenon

69 can be expressed in one culture differently than in another, the issue of non-equivalence quickly comes to mind when translating from one language to another. For example, the French expression ‘Bon appetit’ is a typically French way of starting a meal with wishing other people ‘good appetite’ which is not normally used in English although it could be replaced with other less formal expression like ‘dig in’. Therefore, this idiom has no exact equivalent in English but can be replaced by something similar (Bassnett, 1980: 32).

Another difficulty that a translator may encounter when dealing with idioms is to recognise the appropriate context for using a fixed expression. There are expressions that use similar words to express the same idea, but are used in different situations in the source and target languages. A good illustration of this is the English ‘to sing a different tune’ and the Chinese ‘chang-dui-tai-xi’ (to sing different tunes) which are used to show two opposing views. However, the Chinese idiom has political connotations and its usage is restricted to this context alone. Furthermore, Baker (1992: 75) and Adelnia’s (2011: 880) both point out that idioms are used in different contexts in the source and target texts and Baker mentions this as a possible problem that translators may encounter. For example, the English language allows the use of idiomatic expressions in newspaper articles, whilst Chinese and Arabic strictly limit the use of idioms in written texts (Baker, 1992: 75). In addition, Fernando and Flavell (1981: 85) emphasise that translators have to be careful with such nuances of language in different contexts of use.

As noted by Baker (1992: 72), idioms have two meanings: literal and figurative. This means that translators must recognise which meaning is used in the source text and then translate accordingly. However, there are situations when both meanings are used as a form of wordplay or to create a humoristic or artistic effect. The English idiom ‘to poke one’s nose into something’ that was used in The British Translators’ Guild Intermediate Examinations for all languages (Baker, 1992: 74) illustrates a combination of literal and idiomatic meanings in the following sentence ‘He had sufficient influence to be able to poke his nose into the private affairs of others where less aristocratic noses might have been speedily bloodied’ (ibid.). This play on idioms could be successfully reproduced in languages such as German and French which have a similar expression using a word ‘nose’ to describe the action of interfering in other people’s affairs. However, expressing

70 such an effect through a close translation into another language is often difficult or impossible. In addition, the figurative meaning of idioms can affect the translator’s and the reader’s understanding of the meaning. While there is a common conception that unless an idiom is known to the readers or they check it in a dictionary they will not be able to grasp its meaning, this is not necessarily true for all situations. As Ortony, Schallert, Reynolds and Antos (1978:7) mention, the figurative meaning of an idiom can often be understood from the context it is presented in, and it is only when the idiom is separated from the context that it might cause difficulties in comprehension.

As discussed above, idioms can be problematic in translation because they are strongly embedded in the culture where the language is spoken. As culture-specific items, idioms can be clear indicators of the overall effect of foreignisation and domestication, which will be discussed in Chapter 7.

3.2 Definition of Neologisms

The term ‘neologism’ stems from the Greek words ‘neos’, meaning ‘new’ and ‘logos’ meaning ‘word’. Early attempts to define neologisms focused on the psychological dimension of neologisms as ‘a psychopathic formation of words’ (Rey, 1975: 64) which was considered a result of mental disorder. However, linguists have defined neologisms in terms of their linguistic properties. Newmark (1988b: 140) describes neologisms as ‘newly coined lexical units or existing lexical units that acquire a new sense’, and, Lehrer (2003: 371) defines neologisms as ‘newly-coined words or new senses of an existing word that are constantly being introduced into a language’. This definition encompasses two ways in which words are created, namely, being produced from other morphemes and having a known form but a new sense.However, Stockwell (2000) restricts the term, neologism to words whose form is new, whereas he refers to existing words that acquire a new sense as neosemes. According to, Fischer (1998: 8), neologisms began as nonce- formations (words created by a speaker of a given language) and which are still considered new by the users of a language. Similarly, Bauer (1983: 42), who outlines the three-stage process that a new word normally undergoes, uses the concept of nonce- formation for the first stage, which is creating a new word. This newly formed word can

71 be accepted or rejected by the users of a given language. If a word becomes accepted, it is institutionalised, that is, becomes recognised by the users of a language and at this point becomes a neologism, which is subsequently lexicalised by being included in an official dictionary. Bauer stresses that neologisms are only created when there is a necessity to name a new item, action or quality (ibid: 86). For instance, new technological developments require new terminology.

The issue of recognising newness is the main concern when defining neologisms since it has been argued that what makes a word new depends on the subjective view of linguists, the people who use a given language, and even space and time constraints (Rey, 1975: 75). Therefore, there have been attempts to use dictionaries as an indicator of whether a word is a neologism or not; that is, if the word does not appear in a dictionary, it can be considered a neologism (Cabre, 1999: 205). However, one of the shortcomings of this lexicographic approach is that words may not appear in dictionaries for various reasons, such as being too specialised, obsolete or taboo. Furthermore, the diachronic definition describes neologisms as ‘any word that has appeared recently in language’ (Cabre, 1999: 205). Here, the question arises of how to measure the relative newness of a word. One method used by linguists is noting when a word was first used. Therefore, it has been proposed that neologisms should be identified by looking at various sets of criteria combined together; as mentioned by Cabre (1999: 205), a ‘hybrid’ approach seems to be the answer to defining neologisms.

An interesting point related to neologisms is their relationship with multilingualism. Meylaerts (2006: 5) argues that languages cannot be viewed as heterolingual that is, being limited to one nation or culture but rather they undergo a process of becoming multilingual that is, combining and including features of other languages and cultures. For instance, the English language has been riddled with Latinate and Norse terms for centuries. Therefore, neologisms in the Harry Potter series that are created by using words from other languages, especially from Latin, could be considered features of other languages that are part of the English language. J K. Rowling uses italics to present some of the neologisms in the Harry Potter series, which suggests that they belong to a separate language from English, possibly a new, invented language of magic.

As mentioned earlier, it is difficult to provide a definition of neologisms. For the purpose of this study, the definition provided by Newmark (1988b) has been adopted together with the lexical approach criterion, that is, checking the words that seem to be new online and in an etymology dictionary. As Newmark’s definition includes not only new words (that are not found in a dictionary) but also the existing words with new meaning, this will be followed in the current study. In addition, neologisms in the Harry Potter series can be considered from two perspectives, as words derived from Latin and as words belonging to magical language. Because neologisms in the Harry Potter series are created for the purpose of describing the magical world of the story, it is highly unlikely that they will ever become widely used in the English language and institutionalised. For this reason, new words created by the author will be treated as and called neologisms within the world of Harry Potter. Also, since Newmark’s definition implies that neologisms are something new in a language, translations of them can be discussed in terms of the approach that the translators follow when rendering them, that is, the choice between foreignisation and domestication, which this study will investigate.

Typology of Neologisms

According to Newmark (1988b: 140), there are two broad categories of neologisms: existing words with new senses, and completely new words that are created in a language. When it comes to the first category of old words with new meanings, Newmark classifies them into words and collocations: that is, single words that gain a new meaning, or a collocation that has a new sense. He also points out that old words or collocations with new meanings might be misleading to the translator who has to analyse the neologism carefully in order to identify which meaning is used in a given situation.

The second main category of completely new words can be divided into various kinds of neologisms as follows (Newmark, 1988b: 140-149):

New Coinages: words that are created from existing morphemes or phonemes that together constitute a new word and have a new meaning, for example, brand names such as ‘bistro’ or ‘Bacardi’.

Derived words: words that stem from ancient Greek or Latin, with suffixes such as –ismo, -ismus, -tique, and which are naturalised in a language, for instance, ‘monetique’.

However, Newmark (1988b: 149) mentions more types of neologisms, which are pseudo neologisms, acronyms, transferred, phrasal words, eponyms, abbreviations, collocations and internationalisms, but I am not outlining them in detail in my thesis as they have not been found in my initial analysis, so they are not relevant to the current work.

Although there are several typologies of neologisms, I will present the one that is relevant to my study by being related to science fiction and fantasy, which has been presented by Stockwell (2000: 115). His typology is based on the neologism formation process and is specific to science fiction and fantasy literature, and as Harry Potter is an example of the latter genre, it is relevant to the neologism that can be found in the books. Interestingly, Stockwell (ibid.) emphasises that new words also include existing words with a shift in meaning, which he calls neosemes, for instance, ‘a flying saucer’ and ‘a black hole’. He lists six basic neologism formation processes, however, I will only present the ones that are relevant to my study in detail:

Creation: completely new words are created; normally used with proper names e.g. the name of the race ‘Eloi’.

Borrowing: new words are borrowed from other languages, and they either retain their original sense e.g. ‘et cetera’ or are anglicised e.g. ‘curry’. In science fiction and fantasy genres, new words can be borrowed from terrestrial or imagined alien languages.

Stockwell (2000) outlines four further types of neologisms which are derivation, compounding, shortening and inflectional extensions, but these have not been found in my initial analysis and thus, will not be outlined here in detail as they are not relevant to my study.

Yule (2010: 53-60) adds one further procedure, which might be relevant to the current study, which he refers to as a:

Multiple process: combining one or two of the processes together, for example, the word ‘deli’ was initially borrowed from German ‘Delicatessen’ and then clipped.

Although Yule (2010: 53-60) presents other types such as backformation, coinage and borrowing, all these types were already covered by Newmark and Stcokwell, so they will not be presented in detail.

In Table 6, I compare the typologies of Newmark, Stockwell and Yule, who present categories that are relevant to the current study. Newmark’s is a very detailed typology and therefore likely to be able to cover the terms found in my analysis. Stockwell’s typology is specific to neologisms in the fantasy genre, but my initial analysis found types that he does not present, thus, his typology will be extended with the types from my corpus. Yule’s is related to the process of neologism formation.

Newmark’s Stockwell’s (2000) Yule’s (2010) The proposed (1988b) neologisms typology neologisms typology neologisms typology typology Existing word Neoseme ------Existing word with a new sense -- with a new sense New coinages Creation Coinage New coinages Derived words ------Derived words --- Abbreviations Shortening Backformation ------Collocations Compounding ------Eponyms Derivation ------Phrasal words Inflectional Extension ------Transferred Borrowing Borrowing Borrowings Acronyms Shortening ------Pseudo ------neologisms ------Multiple process Multiple process - Table 6. Proposed typology of neologisms based on Newmark’s (1988b), Stockwell’s (2000) and Yule’s (2010) typologies.

As Table 6 shows, three types of neologisms are mentioned by all three scholars. I include two of these in my proposed typology: new coinages and borrowings according to the 75 initial analysis which showed that there are no abbreviations in my corpus. I also borrow two additional types from Newmark’s typology, namely derived words and existing words with a new sense (Stockwell's neoseme), and one extra type of neologisms from Yule, namely multiple process. Newmark’s (1988b) and Stockwell’s (2000) categorisation enriched with some types from Yule’s (2010) categorisation is applied in the analysis of neologisms in the Harry Potter series as the first step, in order to determine the strategies utilised by the Arabic translators.

Neologisms in Texts for Children

The function of neologisms in texts for children has been discussed by Epstein (2012: 33- 36), who highlights the relevance of correct identification of the intended function of neologisms used by the source text writer, in order to translate the new words in a manner suited to the target text readers. One of the main functions that Epstein (2012: 33) identifies is the pedagogical use of new words to teach the readers about a language or expand their vocabulary. Another function of neologisms that is often present in children’s literature is entertainment which is achieved through word play on meaning, form and pronunciation (see Chapter 2, section 2.1.2.2). These words can be used to describe a character or some features of characters, objects or places, which are humorous or unusual, and thus require a new, unusual word. Neologisms tend to have a humoristic function in texts for children as they are often based on wordplay and reference to ideas and themes that are familiar to the reader in a playful way (Epstein, 2012: 36). By applying neologisms, the author indicates the extraordinariness of the people or objects being described and relies on the child’s imagination to do so (ibid.). This function of neologisms is especially evident in the fantasy genre, which uses them as a way of expressing the extraordinariness of imagined situations. In many fantasy books, neologisms serve the purpose of world-building by giving names to characters, objects, places and events that are often magical but resemble the real world to some extent. For instance, the newspaper Daily Prophet in Harry Potter resembles the real newspapers such as Daily Mail and Daily Telegraph. This world-building function of neologisms makes them features specific to fantasy genre (Manlove, 1975: 180) and makes them key features of text when translating into a different language. Also, neologisms can be used to refer to difficult or taboo topics that might be upsetting to young readers. However, if 76 presented in a different way and by using new words, topics such as death or cursing can be distanced from the young readers. For instance, using a silly word instead of a curse might have the power of protecting children from violence and danger (ibid.).

The discussion above shows that neologisms can have various functions in texts for children, and translators need to take into consideration that they can be challenging when translating them into a different language (Epstein, 2012: 36). Also, as neologisms are novel elements in the text, they can be linked to Venuti’s theory of foreignisation and domestication (1995: 20). At the same time, the frequent use of neologisms to reflect the fantasy genre may be a consideration when talking about factors that may influence the translator’s choices.

3.3 Summary

This chapter has defined and categorised essential concepts that will be used throughout the thesis, including idioms and neologisms, which will be analysed and discussed in the upcoming chapters. Because this thesis focuses on the translation strategies used to render idioms and neologisms, the next chapter will provide a detailed overview of possible strategies and a model of analysis.

Model of Analysis

The previous chapter presented an outline of what is understood by idioms and neologisms in the present work, and of the types that this study examines. The purpose of this chapter is to provide the main model of analysis utilised in the current study. I examine existing discussions of strategies for translating idioms (Baker, 1992; Epstein, 2012) and neologisms (Newmark, 1988b; Epstein, 2012) and present a model that is suitable for my own investigation.

4.1 Idiom Translation Strategies

This section looks at the translation strategies presented by Baker (1992) and Epstein (2012) which will be used in the creation of a model suitable for my research. Baker (1992: 68) presents a set of professional translation strategies, some of which are specific to idiom translation. I decided to present in detail only the strategies that are relevant to my study, so other strategies such as compensation, borrowing, using a neutral word and illustration are not presented here. The strategies relevant to my study are presented below, beginning with those that are specific to idioms:

 Selecting an idiom of similar meaning and form: For example, in the translation of the book A Hero from Zero (cited in Baker, 1992: 76), the expression ‘The rain fell on the just and on the unjust’ was translated into French as ‘La pluie tombait aussi bien sur les justes que sur les injustes’, which can be back translated as ‘the rain was falling on the just as well as on the unjust’ (Baker, 1992: 68).

 Selecting an idiom of similar meaning but dissimilar form: For instance, the expression from the book Masters of Universe (cited in Baker 1992: 68) ‘Feel the force of my fist’ was translated into German as ‘Dir werde ich einheizen’ which means ‘I will make things hot for you’ (Baker, 1992: 78-79).

 Omission of a play on an idiom: translating only the literal meaning of the source text idiom that enables the readers to comprehend the message, but leaves them

without the stylistic effect of the idiomatic expression that might have another meaning.

 Omission of the whole idiom: the whole idiom can be omitted from the target text in situations where there is no close match of the idiom in the target language so that the paraphrase strategy would be unsuccessful, or for stylistic reasons.

 Paraphrase: using different wording in the target text in order to express the same meaning as the source text idiom. This is usually done in cases where finding a similar idiom in the target text is either not possible or not appropriate in a given context. For instance, in Harry Potter, the idiom ‘put one’s foot down’ is paraphrased by providing the idiom's meaning of ‘let us go quickly’.

 Translation by a more general word: In cases when an equivalent word or expression cannot be found in the target text, the translator can use a subordinate word. For instance, the English verb ‘to orbit’ can be rendered by a general Spanish verb ‘giraba’ meaning ‘to revolve’.

To these strategies, Epstein (2012: 108) adds three strategies especially suitable for the translation of idioms in children’s literature. Although the scholar mentions other strategies such as compensation, deletion and retention, these are either already covered by Baker or not relevant to my study.

 Explanation: adding extra information in or outside of the main text which can offer the meaning of an idiom and, in some cases, retain the artistic dimension of the source text. For instance, a Swedish translation of Alice’s Adventures in Wonderland includes explanations of idioms such as ‘crazy as a hat-maker’ in the footnotes.

 Literal translation: translating the source text expression word for word when the idiom does not exist in the target language. This brings a set of expressions to the target text, together with new ideas or ways of thinking. For example, in Harry

Potter and the Chamber of Secrets (Rowling, 1998: 41) the expression, ‘under .’which means ‘under Ron’s nose ’ أسفل أنف رون ‘ Ron’s nose’, was translated as

 Replacement: applying an idiom in the target language that may or may not have the same form and meaning as the source language idiom. For example, in Alice’s Adventures in Wonderland the expression ‘I’ve often seen a cat without a grin’ was translated into Swedish as ‘Jag har ofta sett en katt utan skratt’, which back translates as ‘I have often seen a cat without a laugh’. Here, the word ‘grin’ has been replaced by ‘laugh’ in Swedish, ‘skratt’, which also rhymes with the word ‘katt’; thus, there is an added effect of rhyme.

Discussion of Baker’s and Epstein’s Models of Idiom Analysis

Baker’s and Epstein’s models of analysis share numerous features, but also differ significantly, as Table 7 shows.

Definition of translation Baker’s (1992) Epstein’s (2012) idiom strategy professional translators’ translation strategies in and idiom translation children’s literature strategies Inserting additional ------Explanation information in or outside of the main text to explain the idiom’s meaning Omitting an idiom in one Compensation Compensation part of the target text and adding idiomaticity or compensating for it in a different way or part of the target text. Leaving out an idiom in the Omission of the whole Deletion target text idiom Using a literal translation of Omission of a play on Literal translation the source text idiom and idiom losing its figurative meaning Rewording the source text Paraphrase ------idiom to make the meaning clear

Using an idiom from the An idiom of similar Replacement target text language with a meaning and form similar meaning and similar lexical units to the source text language Utilising a target text idiom An idiom of similar Replacement that has a similar meaning to meaning but dissimilar the source text idiom, but is form of different form Keeping the source text Borrowing Retention form of an idiom in the target text Using a more general target Translation by a general ------text word word Using a more neutral target Translation by a neutral ------text word word Using an illustration to Translation by illustration ------provide the meaning of the source text word

Table 7. Summary of Baker’s and Epstein’s translation strategies for idioms

Table 7 shows that Baker’s and Epstein’s strategies for the translation of idioms are comparable in many respects since they both take into account strategies such as replacement, omission, borrowing and literal translation despite some nuances in their definitions. There are, however, some differences in the typology of other strategies provided: firstly, the strategy of paraphrase which is highlighted and outlined in great depth in Baker’s analysis is absent in Epstein’s, while the strategy of explanation that introduces the idea of adding extra information to the text is highlighted by Epstein but absent in Baker. Interestingly, these two strategies can be considered very similar since they share the characteristic of providing the meaning of the idiom in question. However, explanation usually adds more information to the text than does paraphrase, which is why these two strategies will be treated separately. Secondly, Baker presents three further strategies of idiom translation, namely using a general word, a more neutral word or an illustration. These are not mentioned in Epstein’s model, but seem relevant to the current study. Furthermore, Baker provides a more detailed model of strategies than does Epstein, insofar as she distinguishes two kinds of idiom replacement (similar form and meaning, and similar meaning but different form) and omission (of a whole idiom, and a play on

81 idiom), whereas Epstein offers a more general categorisation of strategies. In addition, and of particular relevance for the study at hand, Epstein’s strategies are designed specifically to deal with idioms in children’s literature, whereas Baker’s strategies are idiom specific but can be applied to any kind of text. Therefore, Epstein’s strategies are very likely to be of use in the current study of the Harry Potter series of novels catering for a young readership.

The Adapted Model of Analysis of Idioms

Definition of Baker professional Epstein (2012) idiom Adapted translation strategy translators’ and translation strategies model (1992) idiom in children’s translation literature strategies Inserting additional ------Explanation Addition information inside the text or outside the main text e.g. in footnotes to explain the idiom’s meaning

Using two or more ------Combination strategies together to translate an idiom Leaving out an idiom Omission of the Deletion Deletion in the target text whole idiom Using a literal Omission of a play Literal translation Literal translation of the on idiom translation source text idiom and losing its figurative meaning Rewording the source Paraphrase ------Paraphrase text idiom to make the meaning clear Using an idiom from An idiom of similar Replacement Replacement the target text meaning and form language with a similar meaning and similar lexical units to the source text language Utilising a target text An idiom of similar Replacement idiom that has a meaning but similar meaning to the dissimilar form source text language,

but a different form than the source text Table 8. Summary of Baker’s and Epstein’s translation strategies for idioms and the adapted model.

The models presented by Baker and Epstein complement each other and have been included in the adapted model for idioms translation presented in Table 8. A detailed discussion of the adapted model and each strategy will be provided below. On the basis of an initial analysis of my data, I excluded the strategies of borrowing, compensation, using a general or neutral word and illustration because these strategies are not used by the translators of the books that I am examining. My model includes the six strategies outlined below as they were used by the translators as the initial analysis showed.

 Addition: This strategy has been adopted from Epstein’s (2012) model. It adds extra meaning to the target text in order to provide a clearer idea of the source text idiom. Epstein (2012: 108) distinguishes between additions in or outside of the text, for example, footnotes, endnotes, introduction or translator’s notes. In the adapted model, ‘addition’ refers to additional information both within and outside the main text. This strategy has been added because the initial analysis showed that the translators of Harry Potter into Arabic at times added new information.

 Combination: Using a combination of two or more strategies to deal with one case of idiom translation. The initial analysis showed that the translators sometimes used a combination of strategies.

 Deletion: The situation when the translator leaves out the whole idiom is described in the adapted model as the strategy of deletion following Epstein’s term. It does not include cases when one word or a part of an idiom is omitted. Baker (1992: 84-85) divides this strategy into two categories: omission of a whole idiom and omission of a play on an idiom. In the adapted model, only the case when an idiom is deleted from a sentence is considered deletion. The initial analysis showed that there were instances of idioms being deleted as part of a general strategy of shortening the text by deleting whole paragraphs. In order to differentiate between deletion (that is specific to instances of idioms only) and

shortening the text in general, the instances of idioms removed with whole paragraphs are not included in the analysis. This is because in the case of deletion of a whole paragraph, it is not possible to indicate whether deleting an idiom was purposeful or simply the result of the deletion of the paragraph in which it occurred.

 Literal Translation: Epstein’s strategy of literal translation will be used in the adapted model. It involves translation word for word as defined by Epstein. However, in the adapted model it also includes Baker’s omission of a play on an idiom since this category clearly indicates that only the literal meaning of the idiom is conveyed. Epstein (2012: 110) mentions that in some cases literal translation is similar to borrowing since it brings new expressions to the target text language in exactly the same form as they were in the source text. While this is true in some situations, for example, in translation between languages that are relatively similar and use similar letters, in translation from English into Arabic this might not be possible. It is true that the translator can provide the literal meaning of the words in Arabic, but the expression will still undergo changes regarding letters, which are in the Arabic alphabet, or even word order, which then changes the form of the expression. In addition, literal translation could be successful when used with idioms that show a degree of transparency, thus, could be applied with semi-figurative idioms.

 Paraphrase: Following Baker (1992), the strategy of paraphrase is included in the adapted model. This is considered to be the case when the translator provides the meaning of the idiom using an expression that has a similar meaning in the target language. It is usually done when the source text idiom can only be understood by the target text audience if its meaning is presented by following the target text cultural and linguistic rules. Thus, the meaning is put first at the expense of the artistic features, which is usually done due to lack of a corresponding target text idiom (Baker, 1992: 82). In the adapted model, this strategy relates to cases when only the meaning of the idiom is provided without any additional information.

 Replacement: The name of this strategy was borrowed from Epstein and refers to a general strategy of exchanging a source text idiom with a target text idiom, which is what is understood by this strategy in the adapted model. In contrast, Baker (1992: 76-78) distinguishes between two kinds of target text idioms, namely, similar form and different meaning and different form but similar meaning. The adapted model refers to Epstein’s general category without differentiating between the kinds of idioms in the target text on the assumption that an Arabic idiom with a similar form to an English idiom can hardly ever be found. Also, replacement will be applied to other expressions in Arabic that show a degree of idiomaticity such as metaphorical expressions or commonly known and used colloquial expressions that have a fixed structure and metaphorical image.

Because the main aim of this thesis is to discuss the predominance of domestication or foreignisation, it is necessary to relate individual strategies to these two major approaches, which has been initially done on the basis of each strategy’s definition. The majority of strategies, addition, deletion, paraphrase and replacement seem to be related more to domestication, while only one strategy, literal translation, tends to be more foreignising. The strategy of combination can have features of both domestication and foreignisation depending on the strategies combined together. This will be highlighted in my analyses and discussed in Chapter 7, which deals with the results of the analyses.

4.2 Neologism Translation Strategies

This part of the study will examine strategies that can be applied in the translation of neologisms by looking at the models presented by Newmark (1988b), Epstein (2012) and Baker (1992). This will allow the creation of an adapted model suitable for the current study. Newmark (1988b: 81) presents an extensive discussion of strategies that can be applied to the translation of neologisms and they are outlined below. However, Newmark also mentions two other strategies, which are recognised translation and target text derived word, but these were not found in my initial analysis, thus, are not covered here:

 Descriptive equivalence: an explanation of the source text words by other words in the target language that ‘teaches’ the reader the meaning of the source text word 85

and explains a neologism rather than providing words which have a similar function in the target text. For instance, ‘machete’ is described as a ‘Latin American broad, heavy instrument’ (Newmark, 1988b: 83).

 Functional equivalence: applying words that have similar uses in different cultures and languages, which implies using words that have the same cultural function in the target text as they do in the original neologism in the source text. For example, the word ‘Sejm’ is rendered as a ‘Polish parliament’ (Newmark, 1988b: 83).

 Literal translation: using words from the source text that might fill a gap in the lexicon of a similar culture. For instance, the expression ‘Body-Bind’ was which back translates ’ المقيدة للجسم ‘ introduced into Arabic by a literal translation as ‘Body-Bind’ in the translation of the fifth book in the Harry Potter series into Arabic.

 Naturalisation: an alteration of transference that changes the neologism’s pronunciation and morphological structure so that it follows the rules of the target language. For example, an English word, ‘humour’, is changed to ‘humeur’ in French (Newmark, 1988b: 82).

 Transference: the conversion of alphabet from one language into another (transliteration) so that the converted word becomes a ‘loan word’ in the target language. A good illustration of this is the case of languages such as Arabic as in in the Arabic translation of the fifth Harry ’دﯾفيندو ‘ Diffindo’ transliterated into‘ Potter novel. This is pronounced ‘Diffindo’ as written in the Arabic alphabet.

 Translation procedure combinations: applying and combining two or more procedures to deal with one problem. For instance, strategies such as transference and functional equivalence are often used together to provide a comprehensive translation.

To these, Epstein’s (2012: 39) adds strategies that take into consideration factors that are important when dealing with the translation of neologisms, such as the processes of word formation, the sound system, and the composition and meaning of the neologism in the source text. She proposes five strategies out of which three have been found in the initial analysis namely adaptation, deletion and explanation and are outlined below while the remaining two replacement and retention are not relevant to my study so they are not covered here:

 Adaptation: retaining the source text neologism with a degree of alternation of spelling and phonology to suit the target text language. For example, in book 2 of the Snicket series (Snicket, 1999b), the neologism ‘meeka’, which was used to express goodbye, was translated into Swedish by transforming the sound into ‘mika’.

 Deletion: omitting a neologism. This is done either due to the lack of a better solution, or as part of a general strategy of abridgement or adaptation. For instance, ‘Oh save our solos! Deliver us from weasels!’ which is a play on ‘Oh save our souls! Deliver us from evils!’ Loosely based on the international distress call and the Lord’s Prayer respectively, in The Big Friendly Giant (Dahl, 1982: 82) was translated into Swedish as ‘Du som haver jatter kar! Radda mig som ar!’ which omits the funny neologisms such as solos and weasels. It can be back translated as ‘You who hold the giants dear! Save me who is!’

 Explanation: adding new information to provide the meaning of the neologism which can be inserted either in the text, or in paratext such as in a preface, footnotes or endnotes. For instance, the word ‘outgrabe’, used by Humpty Dumpty, in the story of Alice’s Adventures in Wonderland as an action of bellowing, whistling and sneezing at the same time, was rendered by the Swedish word ‘fnysning’, which relates to the Swedish word ‘nysning’ meaning a sneeze and the initial letter f coming from ‘fisa’ meaning to fart, explaining that the action of ‘fnysning’ combines two separate actions.

In addition, Baker’s (1992) strategies that are used by professional translators could be applied by the translators so they are relevant to my study. Most of them have already 87 been covered by Newmark or Epstein, for instance, using a cultural substitution, omission and using a loan word so they are not presented here again. I only outline the strategy that Baker (1992) adds to Newmark and Epstein which is generalisation:

Discussion of Baker’s, Newmark’s and Epstein’s Models of

Neologism Analysis

For a convenient comparison and summary, Baker’s, Newmark’s and Epstein’s strategies are outlined in Table 9.

Definition of translation Baker’s Newmark’s Epstein’s strategy (1992) (1988b) (2012) professional neologism neologism translators’ translation translation strategies strategies strategies in children’s literature Explaining the neologism ------Explanation inside or outside of the main -- text by the use of extra information Combining two, three or four ------Translation ------procedures to deal with one procedure problem combinations Omitting a neologism, which Translation ------Deletion can be a part of abridgement or by omission - adaptation Explaining the neologism in Translation Descriptive ------similar words, which gives by paraphrase equivalence - information to the reader about using a the meaning of the source text related word word. Applying words from the Translation Functional ------target text that might have the by a cultural equivalence same function as the source substitution text.

Using a more general target Translation ------text word by a general - word Using the literal meaning of ------Literal translation ------words from the source text in the target language

Keeping the source text Translation Transference Retention neologism in the target text by a loan word Adapting the source text Translation Naturalisation Adaptation neologism’s pronunciation and by a loan morphological structure to the word rules of the target language Using a more neutral target text Translation ------word by a neutral - word Explaining the neologism in Translation ------unrelated words which provide by paraphrase - the readers with the meaning of using the source text word unrelated words Applying a generally accepted ------Recognised ------translation translation Applying a neologism from the ------Target Language Replacement target language or producing a derived word new derived word Using an illustration to provide Translation ------the meaning of the source text by illustration - word Table 9. Summary of Baker’s, Newmark’s and Epstein’s translation strategies for neologisms.

Newmark’s model is a detailed overview, outlining a multiplicity of strategies for dealing with neologisms. Interestingly, Newmark mentions two more strategies, composites and internationalism, but gives no detailed description. It might be that Newmark considers these strategies to be less relevant than the others, or not commonly used by translators, and they have not been included in my study. On the other hand, Epstein focuses on fewer strategies and adds the notion of deletion to Newmark’s list. Given that Epstein’s work focuses exclusively on the translation of neologisms in children’s literature, strategies suggested by this author are included in the adapted model. Baker’s strategies include some that are not mentioned by either Newmark or Epstein, such as using a general word, a neutral word or an illustration. However, Baker’s model is a general outline of strategies used by professional translators, and can therefore be applied to a variety of contexts,

89 including children’s and adult literature, and a range of linguistic features including neologisms.

As discussed above, the abundance of translation strategies gives translators a variety of choices when it comes to dealing with neologisms. They range from acknowledging the source text author’s creativity by transference and literal translation, to giving the translator the power of choosing from existing neologisms in the target language, or even creating their own neologisms. Baker (1992) presents strategies used by professional translators, and may therefore be useful in the analysis of the strategies used in the case of the Harry Potter series. Newmark’s model comprises a number of strategies that may also be relevant to the translation of children’s literature, and Epstein’s topic related model may be significant to the creation of an adapted model. Since each scholar presents a different perspective on strategies, an adapted model has been developed for the purposes of this study.

The Adapted Model of Analysis of Neologisms

Definition of Baker Newmark Epstein (2012) Adapted translation (1992) (1988b) neologism Model strategy professional neologism translation translators’ translation strategies in strategies strategies children’s literature Explaining the ------Explanation Addition neologism inside or outside the main text by adding extra information Combining ------Translation ------Combination two, three or procedure four procedures combinations to deal with one problem Omitting a Translation ------Deletion Deletion neologism, by omission which can be a part of abridgement or adaptation

Explaining the Translation Descriptive ------Descriptive neologism in by equivalence equivalence other words, paraphrase which gives information to the reader about the meaning of the source text word. Applying Translation Functional ------Functional words from the by a cultural equivalence equivalence target text that substitution might have the same function as the source text. Using a more Translation ------Generalisation general word by a general from the target word text language Using literal ------Literal ------Literal meaning of translation translation words from the source text in the target language Keeping the Translation Transference Retention Transliteration source text by a loan neologism in word the target text Adapting the Translation Naturalisation Adaptation source text by a loan neologism’s word pronunciation and morphological structure to the rules of the target language Table 10. Summary of Baker’s, Newmark’s and Epstein’s translation strategies for neologisms and the adapted model.

The adapted model of neologism translation strategies was developed on the basis of the initial analysis which indicated the most frequent translation strategies present in the translation of the Harry Potter series. Their names were mainly borrowed from Newmark and adapted to the context of translation of Harry Potter into Arabic. However, the

91 strategies mentioned by Baker, Newmark and Epstein that were not identified in the initial analysis were excluded from the adapted model as not relevant to my study. I included the following strategies in the adapted model:

 Addition: This strategy is adapted from Epstein’s explanation but focuses on adding more information in the target text to clarify and explain the meaning of the source text neologism. This can be done either inside or outside the main text, so it may include features such as footnotes.

 Combination: Borrowed from Newmark, this strategy is understood as using two or more translation strategies to deal with one case of neologism. These may include any combination of strategies mentioned in the adapted model.

 Deletion: Following the initial analysis, the term deletion is applied in the adapted model to denote the strategy of omitting a neologism from the translation. It is borrowed from Epstein’s categorisation. It refers to omission of a whole neologism rather than a part of it since most of the neologisms are one word expressions and it is assumed that parts of one word will not be omitted. Cases when a neologism was removed as a part of a general strategy of shortening the text will be excluded from this definition because it is not possible to identify whether deleting a neologism was accidental or purposeful.

 Descriptive equivalence: Explaining the source text neologism by providing a description of it inside the main text. This strategy is borrowed from Newmark’s (1988b) classification and will be used in the current study in the same way. Thus, in cases when the translator provides the meaning of the neologism by describing it, descriptive equivalence will be the strategy referred to in the current study. In addition, it is assumed that descriptive equivalents are longer phrases that explain the source text word.

 Functional equivalence: The strategy of functional equivalence was taken from Newmark’s categorisation. In the adapted model it refers to a procedure which involves using target text expressions that have a similar function in the target language as the original neologism in the source text language (Newmark, 1988b: 83). In this study, it will refer to a target text word which has a similar function in the target text as the source text word in the source text. It is important to highlight that functional equivalence is mainly considered in cases of spell names as this is when the translators applied this strategy frequently according to the initial analysis. It is highly likely that the function of a source text neologism will be represented in other words in the Arab version due to differences in cultural representations of ideas. This information is used as a basis for the analysis of the strategy and deciding if it is domestication or foreignisation.

 Generalisation: This strategy has been adopted from Baker’s (1992) typology of strategies used by professional translators. It applies to cases when the source text neologism is translated by a more general term. It can be argued that by using a general word the original neologism is deleted from the target text, but I confine deletion to cases when the original neologism is removed from the text together with its meaning. When the meaning of the original neologism is brought into the target text through a general word I consider this as generalisation.

 Literal translation: The strategy of literal translation has been borrowed from Newmark’s classification. In the adapted model it is considered to be a procedure which involves rendering the literal meaning of the source text neologism in the target text language. It can be used to fill a gap in the target text vocabulary. It is assumed that because neologisms are new words in the source and target languages, there might be no existing equivalent expression in the target language for a given neologism. Thus, the cases when the translator uses the same word- formation mechanisms as the source text author to re-create the neologism in the target language and fill the lexical gap is considered literal translation. Also, the form of the neologism follows the target language grammatical norms, so only the literal meaning is maintained.

 Transliteration: The strategy of transliteration is regarded as a case when the source text neologism is moved to the target text language in a similar form. In the case of English and Arabic, there is a need for a conversion of the alphabet letters, thus, the neologism is in the same form as the source text neologisms but written in Arabic letters. The term ‘transliteration’ will be applied in the adapted model and was borrowed from Newmark. It also includes Epstein’s retention, because even though the alphabet letters are changed, the target text neologism is still kept close to the original; for example, it might have a similar or the same sound as the source text neologism. An important point to notice here is that certain letters in English can have two sounds. For example, the letter c can be /s/ as in cinema / sın m / or /k/ as in cat /kæt/. Therefore, following general transcription rules (Aziz, 1983: 74) for the letters c, k and q that are pronounced will be used with the exception of the letter c, which ’ ك ‘ as /k/ the Arabic letter ./when pronounced as /s ’س‘ can also be transliterated using the Arabic letter .will be used ,’ج‘ ,Finally, for the English letter g the nearest Arabic equivalent

As the main objectives of the current study is to determine the predominance of domestication or foreignisation, an initial relation between the above translation strategies and these two approaches was made on the basis of each strategy’s definition. Following each strategy’s definition, it seems that transliteration and literal translation tend towards foreignisation whereas functional and descriptive equivalence, addition, generalisation and deletion tend towards domestication. The combination of strategies can have features of both approaches. These initial correlations will be investigated in the analysis to identify the relation between the strategies and foreignisation and domestication.

4.3 Summary

This chapter has outlined the model of analysis of idioms and neologisms which will be used in the comparative analysis in the chapter to follow. The translation strategies used to translate the various types of idioms and neologisms will be identified in order to determine which of the two main approaches, foreignisation and domestication, is predominant, and what factors may have influenced the translator’s choice of one of these two approaches.

Analysis of the Three Novels from the Harry Potter Series

In the previous chapter, I presented the model of analysis that will be used as a basis for the analysis of idiom and neologism translation strategies in the present chapter. The main aim of the current chapter is to present a detailed analysis of idiom and neologism translation in the three novels from the Harry Potter series, illustrated by judiciously chosen examples. Each source text example is followed by its Arabic translation, which is then back translated into English. The commentary explains how idioms and neologisms were rendered in the target text and what effects they had as a literary text on the target text readers. The chapter is divided into two parts. In the first, idioms from all three books are presented with the frequency of strategies applied to each type of idiom. The examples of idiom translation strategies are presented according to the extent to which they relate to domestication or foreignisation or show elements of both. To establish whether an expression can be considered an idiom, a check was carried out to determine if it occurs in monolingual English dictionaries and in the British National Corpus (2017). The meaning of the source text idiom is provided by online English dictionaries (The Free Dictionary, 2017; Oxford English Dictionary, 2010). The second part focuses on neologisms, which are presented in the same way as idioms, that is, the frequencies for all three books, the translation strategies used for each type of neologism and examples are provided. The examples of neologism translation strategies are presented in sections that show the relation of the strategy to domestication, foreignisation or both. In this case, the meaning of the source text neologism has been checked in an etymological dictionary (Online Etymology Dictionary, 2016). In addition, a website devoted to the Harry Potter series, which describes the functions of neologisms, has informed the analysis (HP Lexicon, 2017).

5.1 Idioms

The analysis shows that paraphrase was the most common strategy applied in idiom translation, although other strategies were also used. These are presented, together with their frequency for each type of idiom, in Table 11:

Combination Deletion Literal Paraphrase Replacement (total 40) (total Translation (total 227) (total 15) 19) (total 31) Figurative 24 13 17 152 9 Idioms (total 215) Semi- 6 5 9 61 6 Figurative Idioms (total 87) Variants of an 10 1 5 14 Existing Idiom (total 30)

Table 11. Frequency of strategies used to translate each type of idiom in the three novels from the Harry Potter series

Idiom Translation Strategies Related to Domestication

Paraphrase, deletion, literal translation, replacement and use of a combination of strategies are related predominantly to domestication. The aim of this section is to show how domestication is achieved through the use of these strategies and what effect they have on the target text.

5.1.1.1 Combination

5.1.1.1.1 Combination of Figurative Idioms

The strategy of combination was used in 24 cases of figurative idioms. Some of the examples were idioms describing a situation. For example, when one of the Professors at Harry’s school notices that Harry and his friends did not use the usual train to come to school but used a car, he ironically says:

ST: the train isn’t good enough for the famous Harry Potter and his faithful sidekick Weasley. Wanted to arrive with a bang, did we, boys? (HPCS: 82)

HPCS) القطار ال ﯾالئم هاري بوتر الشهير وﺻدﯾقه الحميم. ﯾرﯾد أن ﯾصل بضجة تعلن عنه، اليس كذلك؟ :TT TT: 73)

Back translation: The train doesn’t suit the famous Harry Potter. And his best friend. He wants to arrive with a bang that announces his arrival, doesn’t he?

The source text idiom ‘with a bang’ means ‘beginning something with a considerable impact’. Two strategies have been used to translate the source text expression, literal translation and addition. By literal translation, the target text provides the exact meaning of the original idiom, and by addition, it explains the purpose of the expression further. As a result of this combination of strategies, the sound of a bang connotes announcing something important and exciting when explained in this context. By combining literal translation and adding extra information, the intelligibility of the target text is improved as the situation is described in more detail. If these idioms had been only translated literally, the meaning might not have been understood. However, this choice of strategies effects the reader’s understanding by clarifying the metaphorical meaning of the source text idiom and its image. Another result of using addition is that the conciseness of the source text is lost. The source text is a brief comment from Harry’s professor who wants to be ironic and point out that Harry thinks he is better than others and does not want to use conventional train. The question the professor asks is not in its full form as the auxiliary ‘did’ is omitted and the sentence uses a tag question, which is often used in English when the speaker does not intend to really ask about something but rather make a comment. Adding extra information affect the style of the short and ironic comment from the source text, which in the target text sounds more informative than ironic.

A similar case occurs when Ron reads a letter from Percy who is trying to explain to him that he is not sure whether Ron would choose the same career as him:

ST: I must admit that I have always been afraid that you would take what we might call the ‘Fred and George’ route, rather than following in my footsteps. (HPOP: 275)

على االعتراف بأنني كنﺖ أخاف اتباعك طرﯾق فرﯾد و جورج الضال، بدال من إتباع هدﯾى والسير على خطاي :TT (HPOP TT: 264)

Back translation: I must confess that I was afraid you would follow Fred and George’s stray path instead of following my guidance and walking in my footsteps.

The idiom ‘following in someone’s footsteps’ means to ‘do the same as someone else, normally in one’s family’, for instance, to choose the same career path. The target text uses a similar expression and image but adds a more familiar idea of following somebody’s guidance. In this case, the image of walking in someone’s footsteps is clear from the context, and the additional explanation of following somebody’s guidance is offered, as it is known to readers in the Arab world. Thus, a combination of paraphrase and addition provides the target text readers with a similar image and meaning that the source text readers would receive. The expression is an example of how morality is presented throughout the text highlighting the importance of loyalty and family guidance. This choice of strategies has resulted in the target text being comprehensive through clarifying the meaning by paraphrasing the original expression and adding an explanation. This combination of strategies resulted in domesticating the source text idiom. Without additional explanation of ‘guidance’, the source text idiom would not be fully accessible to the target text readers. However, by adding the explanation the target text sentence becomes longer and might sound unnatural as it looks like Percy is trying to explain the meaning of what he is trying to say rather than just telling Ron how he feels, especially that he does not explain what ‘Fred and George path’ means.

The strategy of combination is used with idioms related to entertainment. For instance, when Voldemort talks to Harry before their final duel. Trying to undermine Harry’s confidence, he says that despite having Dumbledore’s support, Harry will not be able to beat him:

ST: The boy who has survived by accident, and because Dumbledore was pulling the strings. (HPDH: 603) (HPDH TT: 583) الصبي الذي نجا بالمصادفة أو الن دمبلدور كان ﯾحركه بالخيوط كالدمى :TT Back translation: The boy who survived by accident or because Dumbledore was moving him by strings like puppets.

The source text idiom means ‘to control the actions of a person, a group of people or an organisation secretly’. The writer uses this idiom to describe secret actions that

Dumbledore has used to support Harry and control what happened so far. The original idiom uses the image of the movements of a marionette, a small doll moved by strings attached to its body. In a similar way, Dumbledore used other people like marionettes, controlling their actions without their knowledge. The Arabic translation presents this same image to the target text readers by stating that Dumbledore was using Harry like a puppet with strings. The combination of paraphrase and addition has resulted in a slightly changed meaning for the target text readers as in the source text, the idiom suggested that Dumbledore controlled the situation not one individual person, while in the target text the use of word ‘him’ suggested that Dumbledore controlled Harry. Since the translated book is mainly meant to be read by Arab children, the image of a puppet moved by strings is an interesting and familiar metaphor that could have an entertaining effect on the readers, and also pass on the idea of controlling other people, since this kind of play with puppets is known to Arab children. However, using an image of Harry as a puppet in the target text has emphasised the condescending view that Voldemort has about Harry being easily manipulated and controlled by others.

5.1.1.1.2 Combination of Semi-Figurative Idioms

There are 6 cases of combination used with semi-figurative idioms. These are mainly idioms describing people and events in the story. For example, one of Harry’s friends describes his parents, in particular, how his father’s habits annoy his mother:

ST: If he raided our house he’d have to put himself straight under arrest. It drives Mum mad. (HPCS: 32)

(HPCS TT: 29) وهذا مخالف للقانون. وامي تخشى أن ﯾقبض عليه. لقد كاد أن ﯾصيبها الجنون :TT

Back translation: That is illegal. And my mother is afraid that he would be arrested. She almost became mad.

In this case, an informal English idiom ‘to drive someone mad’ has been explained to the target text readers. In the source text, it is used to describe the mother becoming angry, using the metaphorical image of ‘driving mad’. In the target text, the main meaning is

99 paraphrased, and the word ‘drive’ has been paraphrased by the word ‘become’. At the same time, the word ‘mad’ was translated literally. As a consequence of this combination, the target text expression offers a clear meaning in the target text language. This improves the understanding of the target text, but changes the character’s speech from informal to more neutral.

There were also instances in which events in the story were slightly altered as a result of a combination of strategies. An illustration of this is when Hagrid describes his visit to the giants’ camp and how he and his companions had to escape that place:

ST: We had ter2 leg it an’ we knew there was no way we was going ter be able ter march inter the camp again. (HPOP: 398)

(HPOP TT: 383) كان علينا مهادنتهم، وعرفنا أننا لن نقدر على دخول مخيمهم مرة أخرى :TT

Back translation: We had to have a truce with them, and we knew we wouldn’t be able to enter their camp again.

The source text uses an idiom ‘to leg it’ which is a slang expression meaning ‘to go somewhere on foot, often very quickly’. In this context, it describes the action of Hagrid and his friends running out of the camp and escaping from the giants. The target text omits the idea of the characters running out of the camp and deletes the slang expression. Instead, it mentions that the characters made peace with the giants but were not able to enter the giants’ tent again. The above semi-figurative idiom was treated with a combination of strategies of deletion and addition. As a result, the characterisation of Hagrid, who uses broken English and slang expressions in the source text, has changed in the target text where he uses the same language as other characters. Thus, the use of deletion and addition made the character sound more fluent in the target text than in the

2 The source text author sometimes uses unusual spelling to present a dialect of English that some characters in the story speak, as seen in some examples in this chapter. This feature has been reproduced in the target text in some examples but has not been reflected in the back translation. This is because the current analysis deals with the translation of idioms and neologisms rather than dialects so this feature is not relevant to my analyses. 100 source text, which also affected the way this character is presented as his characteristic of being uneducated and using broken English is lost in translation.

5.1.1.1.3 Combination of Variants of an Existing Idiom

There were 10 examples of combination used with a variant of an existing idiom, of which 5 were domesticated. These were mainly cases when the play on the original idiom was not presented in the target text, but the general meaning of the situation or expression was brought to target text readers. For instance, when Ron wants to hit Malfoy, but Harry wants to stop him:

ST: Harry shot him a warning look and said, D’you know if the person who opened the Chamber last time was caught? (HPCS: 237)

وأمسك هاري بيد رون ليمنعه من ﺿرب مالفوى. وسأل ببساطة، لكن هل تعرف ماذا حدث لذلك الذي فتح :TT (HPCS TT: 203) الحجرة؟

Back translation: And Harry held Ron’s hand to stop him from beating Malfoy and asked simply, but do you know what happened to the person who opened the room?

The source text idiom resembles the English idiom ‘a dirty look’, which means ‘to have an angry face or a frown, to express a dissatisfaction with what has happened’. In this context, this idiom has been modified by exchanging the word ‘dirty’ with ‘warning’, and the expression shows Harry’s dissatisfaction with the idea of Ron beating Malfoy. The target text does not mention the source text idiom, instead it describes the scene as involving Harry holding Ron’s hand to prevent him from beating Malfoy. It removes the idea of signalling with Harry’s look and uses the image of physical action. In this case, the source text idea was removed from the target text and a new idea was added to present the same action of stopping Ron. This change in Harry’s reaction could have an impact on the creation of his character in the target text as firm strong and being able to react when he sees that someone can be hurt. This has also resulted in increasing the tenseness of the situation in this particular case as in the source text the interaction between Ron and Malfoy is limited to sight while in the target text the negative emotions that Ron has

101 are presented in the action of trying to hit Malfoy and Harry being a strong character that can stop the fight even if he could get hurt.

A different case occurs when a taboo expression is used in the original text. When Aberforth is annoyed by the fact that other wizards admire his brother Dumbledore unquestioningly, he illustrates this by the expression:

ST: Thought the sun shone out of my brother’s every orifice, he did, well, so did plenty of people. (HPDH: 458) HPDH) وأﺿاف: أنه ﯾظن ان الشمس تشرق من فم اخي. حسنا، ليس وحده، الكثير من الناس ظنوا ذلك :TT TT:446) Back translation: And he added: That he thinks the sun shines from my brother’s mouth. Well, it’s not only him, lots of people thought that.

The source text expression is related to a vulgar and very informal English idiom ‘think the sun shines out of somebody’s backside’, which is used to describe a situation when a person loves and admires someone so much that they do not notice they have any bad qualities. In the source text, the author altered this idiom and used a more general description of ‘every orifice’. In the target text, this expression was rendered by omitting the idea of every orifice and exchanging it with the image of somebody’s mouth. By doing so, the translator removed any association with a part of the body that is considered taboo in the Arab world so children should not be exposed to it, and presented it by adding the idea of a mouth. This shows that the translator used domestication when deleting an idiom or parts of an idiom that could have a negative impact on children such as taboo words. This has changed the style of the target text, which is neutral, and reduces the negative feeling that Aberforth has for his brother. As a result, there is a change in the character by presenting him as less negative.

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5.1.1.2 Deletion

5.1.1.2.1 Deletion of Figurative Idioms

One way of domesticating idioms is through deletion of the foreign elements, which are either whole source text idioms or some elements of them. This strategy was most commonly used with figurative idioms, which account for 13 cases. Deletion occurs with English idioms that are used to describe the characters, the plot and events, which are important elements of building the world of Harry Potter. An instance of this occurs in the following example when Harry’s uncle gets angry at Harry for interrupting his conversation:

ST: What the devil are you doing? Said Uncle Vernon through gritted teeth, his face horribly close to Harry’s. You have just ruined the punchline of my Japanese-golfer joke (HPCS: p.18)

(HPCS TT:17) قال من بين أسنانه: ماذا تفعل؟ لقد قاطعﺖ حدﯾثنا :TT Back translation: He said between his teeth: what are you doing? You have interrupted our speech.

The source text idiom is an emphatic expression, ‘what the devil’. In the target text, the mention of the devil has been removed which has resulted in the translation losing the emphatic mood of the original. This in turn, produces a neutral expression in the target text that presents the relationship between Harry and his uncle as more of on neutral terms whereas the use of ‘what the devil’ in the source text indicates a more condescending attitude of Harry’s uncle towards his nephew. This case shows how deletion of one word simplifies the depiction of characters (in this case Harry’s uncle and his attitude towards him) and relationships in the novel. It also reduces the negative representation of the authority figure of Uncle Vernon who uses neutral language in the target text. Interestingly, the same example occurs in Book 5 where it is dealt by literal translation (see Appendix 3). This has affected the consistency of building this character throughout the translation.

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Another case of deleting an idiom that is used to describe characters is when Hagrid makes a comment about Malfoy’s family:

ST: You should’ve ignored him, Arthur, said Hagrid, almost lifting Mr Weasley off his feet as he straightened his robes. Rotten to the core, the whole family, everyone knows that. No Malfoy’s worth listenin ter. (HPCS: 66)

قال هاجرﯾد وهو ﯾرفع وﯾزلى من األرض: كان من الواجب أن تتجاهله ال أحد ﯾستمع إلى كالم مالفوى. إنه ال :TT (HPCS TT: 62) .ﯾستحق ذلك Back translation: Hagrid said as he raised Weasley from the ground: you should have ignored him. No one listens to Malfoy, He doesn’t deserve it.

The source text uses an idiom ‘rotten to the core’, which means ‘totally bad, evil or corrupt’. It is used to present Malfoy’s whole family in the story as evil by Hagrid, who makes this negative comment to another character. The original idiom was deleted from the target text, and so was the whole negative representation of Malfoy’s family. At the same time, the characterisation of Hagrid is reduced as his words are more toned and neutral. This has a general effect of toning down the language and avoiding presenting adults and families in a negative way. This also suggests that making such negative comments about others by children might not be expected of the target text readers, so this behaviour was removed from the target text. At the same time this has an effect on the character of Hagrid who in the source text has a negative attitude towards Malfoy’s family while in the target text this feeling is removed.

5.1.1.2.2 Deletion of Semi-Figurative Idioms

There were 5 examples of deleting semi-figurative idioms. These were normally cases when idioms were used to describe events and characters, for example when Harry and Ron are trying to save Ginny from the Chamber of Secrets. When Harry offers to find some help and put himself in danger, there is a short moment of consternation that is expressed in the following words:

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ST: Wait with Lockhart. I’ll go on. If I’m not back in an hour. There was a very pregnant pause. (HPCS: 321)

(HPCS TT: 263) وابق أنﺖ مع لوكهارت، وإذا لم أعد خالل ساعة :TT

Back translation: You stay with Lockhart, and if I’m not back in an hour

The source text idiom ‘pregnant pause’ is used to express the suspense and seriousness of the situation in which Harry and Ron find themselves. Its meaning in English is ‘a pause in which everyone is waiting or listening for something, or a moment of silence which is full of meaning’. This expression is deleted from the target text, which only presents the conversation between the two characters and breaks off in the middle. Although not stated explicitly, the target text shows that the characters are in a serious, life threatening situation from the context and the plot so far. This example suggests that deletion was used in cases when idioms describe a situation that is self-evident from the events themselves. Removing the information about the pause, the target text reduces its descriptiveness, which is based on action and dialogues. This also has an effect on reducing the tenseness of the situation as the source text idiom emphasises the gravity of this situation as silence means serious situation while the target text does not render this emphasis and the target text readers are presented with less emotive and dramatic situation.

A descriptive idiom is also used to present characters as when the source text writer describes Mrs Figg’s talkativeness:

ST: On the evening of the second of August, gabbled Mrs Figg at once, as though she had learned what she was saying by heart, when I heard a disturbance down the alleyway between Mangnolia Crescent and Wisteria Walk. (HPOP: 132)

مساء الثاني من أغسطس، عندما سمعﺖ جلبة قادمة من الزقاق الواقع بين ماجنوليا كرﯾسنﺖ، ووسترﯾا ووك :TT (HPOP TT: 128)

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Back translation: On the evening of the second of August, when she heard the loud noise coming from the alleyway which is located between Mangnolia Crescent and Wisteria Walk.

The source text uses the idiom ‘to learn by heart’ which means ‘to learn something so well that it can be written or recited without thinking’. This idiom suggests that a person has made a great effort to learn something. The target text omits the description of Mrs Figg’s chattiness focusing instead on the action of something making a noise. As a consequence, the target text shifts the focus from descriptive details to actions and events, which could affect the presentation of the character’s features. In this case, there is a change in the character of Mrs Figg who has a chatty personality in the source text as this feature has been removed from the target text; which consequently misrepresents the character in the target text.

5.1.1.2.3 Deletion of Variants of an Existing Idiom

Only 1 instance of deletion has been found with a variant of an existing idiom which describes the character’s emotions. It occurs when Harry is about to have a duel with Snape and tries to find a moment before it starts:

ST: Harry did not have time to gather himself together and attempt to clear his mind before Snape cried. (HPOP: 547)

(HPOP TT: 522) لم ﯾجد هاري الوقﺖ الكافي لمحاولة تفرﯾغ ذهنه قبل أن ﯾصيح سناب :TT Back translation: Harry did not have enough time to try to empty his mind before Snape cried.

The source text uses a variant of an existing phrasal verb ‘pull oneself together’, but instead of the verb ‘pull’ there is the word ‘gather’. The idiom means to become calm and normal after being angry or upset, which is what Harry is trying to do before the fight. This idea was deleted in the target text, although the idea that follows it about clearing his mind was retained. Despite removing the idiom that describes Harry’s emotions, the target text manages to depict his worrying thoughts, relying on the idea of clearing his mind. As there are no phrasal verbs in Arabic, reproducing the meaning of this particular phrasal verb would require additional explanation or a longer description. Instead, the 106 context and the expression that describes clearing his mind allow the readers to get the idea of Harry’s thoughts. However, the target text reduces the expressiveness of this situation as, in the source text, not only were Harry’s thoughts presented but also his self- control. While in the target text the focus is on thought only, which affects how the character’s confident personality is presented in the target text.

5.1.1.3 Literal Translation

5.1.1.3.1 Literal Translation of Figurative Idioms

Literal translation is used in 17 cases of figurative idioms, which are every day, colloquial expressions used mainly in spoken English. One case occurs when Harry asks Dobby why he wanted Harry to be hurt:

ST: Oh, is that all? Said Harry angrily. I don’t suppose you’re going to tell me why you wanted me sent home in pieces? (HPCS: 187) (HPCS TT: 167) قال هاري غاﺿبا: ولماذا ترﯾد أن تعيدني إلى المنزل أشالء؟:TT Back translation: Harry said angrily: why do you want to return me home in pieces?

This example illustrates how literal translation was applied to offer the exact, literal meaning of each word to the Arab audience. In this case, the original idiom means ‘to be broken’, and in this context suggests that Harry could be hurt. The target text presents the same meaning, which suggests that the context facilitates the understanding of this expression in Arabic. This has resulted in the target text closely rendering the source text, but the target text expression uses formal language while the source text uses an informal idiom. Consequently, the effect of this is a change in formality and it affects the characterisation of Harry. In the source text, Harry is characterised as a protagonist that uses informal expressions used by youngsters while in the target text his speech reflects a speech of a mature person, and as a consequence, makes him a less believable character of a young boy in the target text.

A different case occurs when the idiom is used to describe the action of one of the characters as when Malfoy shows some newspaper cuttings to Ron:

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ST: Malfoy came back a minute later, holding what looked like a newspaper cutting. He thrust it under Ron’s nose. (HPCS: 234)

(HPCS TT: 201) غاب مالفوى دقيقة، ثم عاد ومعه ﺻفحة من جرﯾدة. ودسها أسفل أنف رون :TT

Back translation: Malfoy disappeared for a minute, and came back with a page from a newspaper. And hid it under Ron’s nose.

The source text idiom ‘under someone’s nose’ has two meanings. One relates to the physical description of where an object is. In this case, under one’s nose refers to the position ‘in front of someone’. The second meaning refers to the metaphorical idea of ‘an event happening in somebody’s presence’ normally implying that the person was not aware of what was happening. In the instance above, the first meaning describing the physical location of an object has been used, that is, placing newspaper cuttings just in front of Ron. The target text offers the literal meaning of the original and is followed by a sentence explaining that Malfoy threw a newspaper in Ron’s direction for him to read. The effect of using the literal translation of the source text idiom is that it renders the source text expression closely to the target text readers.

A further example occurs after Harry has finished his conversation with his uncle and aunt during which he spoke back to them:

ST: He would have to face his aunt and uncle later and pay the price for his rudeness, but he did not care very much just at the moment. (HPOP: 6)

HPOP) عليه أن ﯾواجه خالته وزوجهما فيما بعد وﯾدفع ثمن وقاحته، لكنه لم ﯾكترث كثيرا بهذا في تلك اللحظة :TT TT: 8) Back translation: He has to face his aunt and uncle later and pay the price of his rudeness, but he didn’t care very much about it at that moment.

The idiom in the source text has a figurative meaning, which is related to the image of paying for goods or services. In this case, the expression itself could either have a literal or figurative meaning, depending on the context. In this situation, it is clear that Harry

108 knows he will have to face the consequences of his rude behaviour, which suggests that the idiom has been used in its figurative sense. The image of ‘paying the price’ has also been used in the target text to express the idea of suffering from the consequences of one’s actions. However, this is not an idiom in Arabic and the target text relies on the context of the situation to present its figurative meaning. In this example, the source and target text readers share the idea of ‘paying’ to express the idea of facing the consequences of one’s behaviour. This is an instance of how morality is presented to the target text readers by explaining that one’s behaviour has consequences. The use of the expression to ‘pay the price’ has resulted in the target text teaching morality through an interesting and natural sounding expression in the target language. However, using this expression has affected the style of the target text, which as a result has elevated the register of text to formal.

5.1.1.3.2 Literal Translation of Semi-Figurative Idioms

I identified 9 cases of literal translation used with semi-figurative idioms. Some cases were identified with idioms describing situations in the story. For example, when Hagrid talks to Harry about having similar experiences in life of being orphans and being treated as outsiders:

ST: Then Hagrid said abruptly, in the same boat, yeh an me, aren’ we, Arry? (HPOP: 520)

(HPOP TT: 497) ثم قال هاجرﯾد فجأة: في )نفذ( القارب أنا وانﺖ ﯾا هاري. )أليز( كذلك؟ :TT Back translation: Then Hagrid said suddenly: in the same boat me and you Harry aren’t we?

Hagrid uses a semi-figurative idiom ‘in the same boat’ to express the idea of being in the same situation or having the same problem. It uses the image of being in a boat together with others, which could metaphorically relate to the idea of life as a boat voyage, in which people in one boat have shared the same journey and faced the same obstacles. The use of this idiom highlights the importance of building a relationship with people who are in a similar situation, which is an example of morality. In this case, the target text provides the same expression in Arabic although it is not an idiom in Arabic. The literal part of

109 this idiom, ‘the same’, and the context help Arab readers to access the figurative meaning of this idiom. However, the metaphorical image of life being a voyage that the source text presents is not offered by the target text expression which can be understood literally and limited to the idea of being in the same situation. This could result in the target text presenting morality through a well-known Arabic expression, but having a slightly different image.

On a similar occasion, Voldemort and his supporters have a meeting during which he admits it is his fault that Harry Potter is still alive. He states that because of his carelessness all plans that had been made before have failed:

ST: I have been careless, and so have been thwarted by luck and chance, those wreckers of all but the best laid plans. (HPDH: 5) (HPDH TT: 7)لقد كنﺖ مهمال واعترﺿني الحظ والمصادفات اللذان ﯾدمران أفضل الخطط الموﺿوعة :TT Back translation: I neglected, then luck and coincidences stopped me that destroy the best laid plans.

The source text idiom ‘best laid plans’ is used when something ends poorly or differently despite preparations for success. In fact, it is a shorter version of the proverb ‘the best- laid plans of mice and men go oft awry’ which is an Anglicized version of a line from a Scots poem To a Mouse written by Burns (1785), which contains the lines, ‘The best-laid schemes o’ mice an’ men Gang aft agley’. The shorter version has been used as an idiom. The target text offers a literal translation of the original plans, which are well prepared. However, this expression in Arabic does not provide the full meaning of the original idiom since it omits the idea of being unsuccessful despite planning. On the other hand, this meaning is evident when reading in the context of the story, because even though Voldemort’s plans are well prepared, he is still not able to beat Harry Potter, which implies that his plans are unsuccessful. The use of literal translation has resulted in a partial presentation of the source text meaning and the context and knowledge of the story so far can facilitate understanding of this expression in this particular context. However, the reference to the Scottish poem that the source text readers might recognise would not be accessed by the target text readers. This domestication has partly affected understanding of the whole situation by the target text readers.

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A different example of literal translation relates to describing personality, when Hermione and her friends talk about Uncle Bilius:

ST: But before he went loopy he was the life and soul of the party, said Fred (HPDH: 113) (HPDH TT: 112) قال فرﯾد: ولكن قبل أن ﯾفقد عقله،كان حياة وروح الحفالت:TT Back translation: Fred said: but before he lost his mind, he had been the life and soul of the parties

The source text idiom describes a person who enjoys social occasions and makes them more enjoyable to other people, which is how Fred describes Uncle Bilius. The target text provides the literal meaning of the original. This suggests that English and Arab readers share a similar metaphorical image of a lively person at parties and associate it with the idea of ‘the soul’. The target text uses a metaphorical image that is known to Arab readers. This example illustrates that despite the fact that in general English and Arabic ideas are expressed using different images and associations, there is some overlap between them, as in this case. The effect of using this metaphorical expression could be that the target text becomes more interesting to the reader with the use of imagery and figurative language as other idioms have been previously translated using a neutral tone, which often resulted in the target text being less entertaining for the readers, as in the examples above.

5.1.1.4 Paraphrase

5.1.1.4.1 Paraphrase of Figurative Idioms

The most common translation strategy used when dealing with idioms was paraphrase, which was used in the translation of 152 figurative idioms. The idioms treated with paraphrase have mainly a descriptive function providing a more detailed account of the characters, places, and events. Regarding the actions and events in the plot, one example occurs when Ron asks his friend to start driving fast:

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ST: As soon as Harry was in the car and had slammed the door shut, Ron yelled, Put your foot down. (HPCS: 29) (HPCS TT: 26) وبمجرد أن جلس في السيارة، ﺻاح رون: هيا بنا بسرعة :TT Back translation: As soon as he sat in the car, Ron shouted: let’s go quickly.

This case demonstrates how an informal and colloquial English idiom, which is used in the above example to describe the action of increasing the speed of a car, was paraphrased into the Arabic sentence having a similar meaning. The idiom in the source text shows Ron’s emotions and constitutes a part of the event – increasing the speed and then the boys driving away quickly. In the target text, the use of paraphrase generates the general meaning without mentioning the increasing the speed, but through the adverb ‘quickly’ it is clear that the characters are in a hurry. The translator used a neutral tone in the paraphrase which resulted in a loss of emotional expression in the target text.

A different example is used when describing characters in the story which is visible in the following case. Harry’s friends are talking about how Dumbledore’s reputation is being undermined by other wizards and what the newspapers are writing about it:

ST: They reported that he’d been voted out the Chairmanship of the International Confederation of Wizards because he’s getting old and losing his grip. (HPOP: 87)

قالوا أنه قد عزل من منصبه كرئيس لالتحاد الكونفدرالي الدولي للسحرة، بسبب سنة الكبير وفقدانه القدرة على :TT (HPOP TT: 85) التحكم في تصرفاته Back translation: They said he has resigned from his position as the president of the United International Confederate of Wizards, because of his old age, and the loss of the ability to control his actions.

The source text idiom ‘to lose one’s grip’ is used to describe Dumbledore’s inability to maintain control of his actions. This informal idiom, which can also have the form ‘to lose it’, is used in situations describing somebody not being able to control a situation or their own behaviour. It has a slightly negative connotation with a person who is emotionally unstable or in some cases mad and uses the metaphorical image of losing a

112 grip which means one cannot hold on to something any more. Interestingly, in this context, it is also possible for the idiom to relate to his inability to control the place because of not being able to control his own actions which are why he was voted out. In the target text, the idiom was paraphrased by simply describing its meaning, that is, Dumbledore’s inability to control his actions. The effect of using paraphrase is that the negative connotation present in the source text has been removed and exchanged with a neutral description of the situation. The description of this situation changes as in the source text Dumbledore is made to leave his position while in the target text he decides to resign by himself due to his age.

Another example which demonstrates paraphrase occurs when the author describes Harry’s feelings after the death of one of his friends, Fred. Harry seems to blame himself for Fred’s death and feels deep sadness, which is described by the author as:

ST: He wished he could rip out his heart, his innards, everything that was screaming inside him. (HPDH: 540) (HPDH TT: 532) كم ﯾتمنى لو أنه ﯾستطيع اقتالع قلبه وكل شيء ﯾصرخ بداخله :TT Back translation: How much he wished that he could take out his heart, and everything was screaming inside him.

The source text idiom is a phrasal verb in English, which means to tear something out of someone or something. It has been translated by ‘take out’, which is less dramatic. The word ‘rip’ describes a more energetic and rough action, whereas the Arabic translation describes the same action in a more subtle manner, by simply stating the fact that someone wants to take their heart out of their chest. This has resulted in a toned down description that reduces the dramatic and tragic emotions that Harry is experiencing, and as a result, it affects the characterisation of Harry Potter.

5.1.1.4.2 Paraphrase of Semi-Figurative Idioms

There are 61 cases of paraphrase used with semi-figurative idioms. Some cases occur when describing situations, as when Mr Weasley is trying to explain to his son that people who are not wizards would not believe in magic in any circumstances. To illustrate that he says:

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ST: Bless them, they’ll go to any lengths to ignore magic, even if it’s staring them in the face. (HPCS: 40) (HPCS TT: 36) العامة ال ﯾصدقون أبدا ما نفعله حتى لو رأوه بأعينهم :TT Back translation: The public never believe whatever we do even if they had seen it with their own eyes.

The source text idiom refers to something being obvious and clearly visible, and is used to show how much non-wizards are reluctant to accept the existence of magic. It uses the image of staring into one’s face to highlight the resistance of people towards magic even though they can see it. The target text keeps the meaning and function of the original idiom, but uses the expression ‘to see with one’s own eyes’. This expression is known in the Arabic language and thus, has clarified the meaning for the readers. The image present in the source text is lost in the target text due to paraphrasing the source text idiom and offering only the meaning. As a result, the target text uses a less emphatic expression than the original idiom.

Some other cases of idioms presented feelings. For example, when Mrs Weasley is cooking for her children. Her anger at her sons is conveyed in the source text through a description of her thoughts, through expressions like ‘don’t know what you were thinking of’, ‘never would have believed it’ and through behaviour, which includes:

ST: Throwing dirty looks at her sons as she threw sausages into the frying pan. Every now and then she muttered things like don’t know what you were thinking of and never would have believed it. (HPCS: 35)

وتلقى على أوالدها نظرات غاﺿبة. وبين وقﺖ وأخر ترميهم باللوم والتأنيب مثل: لسﺖ أدرى كيف تفكرون؟ :TT (HPCS TT: 31) او ال أﺻدق ما حدث أبدا

Back translation: She gave her children angry looks. And from time to time threw blame and reprimand to them like: I don’t know how you think? Or I don’t believe what happened at all.

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The original idiom ‘dirty looks’ is used to describe Mrs Weasley’s anger at her children. To do so, the writer describes her words, actions and facial expression – for which Rowling uses the idiom ‘dirty looks’ which means ‘to have an angry face or a frown, to express dissatisfaction with what has happened’. In the target text, the word ‘dirty’ is replaced by the word ‘angry’, which offers the exact description of the character’s feelings. In addition, the passage mentions her behaviour and what she said to her children, which results in a coherent and accurate description of Mrs Weasley’s feelings. As a consequence, the meaning in the target text has become clear and fully presents the character’s emotions.

There are also idioms describing the mood of the characters. One is used when Voldemort is looking at the dead body of one of his supporters and does not seem to pay attention to what is happening around him:

ST: His gaze had wandered upwards, to the body revolving slowly overhead, and he seemed to be lost in thought (HPDH: 4) (HPDH TT: 6)وانتقلﺖ نظرته إلى أعلى، إلى الجسد الذي ﯾدور ببطء فوقهم. وبدا أنه ﯾفكر بعمق :TT Back translation: His look moved top, to the body that was spinning slowly above them. He seemed to be thinking deeply.

As the example shows, the idea of being ‘lost in thought’ was rendered as ‘thinking deeply’. Interestingly, the source text idiom could be interpreted both as being not aware of what is happening around as well as pondering over something. The back translation shows that the target text presents the second possible meaning, that is, to ponder over something. The target text offers a partial meaning of the source text idiom and thus, the metaphorical function of the idiom and imagery was compromised at the expense of bringing the meaning to the target text audience. In this case, the metaphorical meaning of the source text idiom was partly removed in the target text and instead the exact action of the character in this situation was presented. As a result, the presentation of the situation changes slightly as in the source text Voldemort is presented as being absentminded and in an inattentive disposition while in the target text he is described as a character that thinks deeply.

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5.1.1.4.3 Paraphrase of Variants of an Existing Idiom

There are 15 instances of paraphrase utilised with variants of an existing idiom. An example of paraphrasing a humorous idiom occurs when Hagrid describes what Professor Lockhart told him and indicates that he does not believe in any of the Professor’s words:

ST: Like I don’ know. An’ bangin’ on about some Banshee he banished. If one word of it was true, I’ll eat my kettle. (HPCS: 120)

(HPCS TT: 107) ﯾقول إنه استطاع إخراج البانش وطردهم. أراهن أنه لم ﯾحدث شيء من هذا :TT

Back translation: He said he was able to remove the Banshee and get rid of them. I bet nothing like that had happened.

In this example, the source text idiom is an altered version of an existing idiom ‘I’ll eat my hat’. The function of the new idiom is similar to that of the original idiom, which is to indicate that someone, in this case Hagrid, is certain of their opinion, in this case, that what Professor Lockhart said is untrue. The idiom is an example of wordplay on meaning as exchanging the word ‘hat’ with ‘kettle’ also has an entertaining function in the source text as the variant of the existing idiom has a humoristic effect. This idiom has been replaced in the target text with the expression ‘I bet’, which clearly has the same meaning as the original idiom. By paraphrasing the original expression, the entertaining effect is removed in the target text, in which a neutral expression is used.

Some cases of idioms are used to describe emotions. For example, Harry’s feeling of happiness when he sees one of his best friends, Ron, returning to Hogwarts. He is filled with happiness that he is not able to hide, which the author describes in the following expression:

ST: And above all, Ron’s return, it was quite difficult to maintain a straight face (HPDH: 316) وقبل كل شيء عودة رون، سعيد جدا، أﺻبح من الصعب عليه للغاﯾة الحفاظ على وجهه مشدودا بال ابتسام :TT (HPDH TT: 307)

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Back translation: And before everything Ron’s return, very happy, it became very difficult for him to keep his face tight without a smile.

The original idiom in English is ‘to keep a straight face’ which means to try not to laugh and not show when one feels strong emotions, usually of happiness or laughter. The expression used by the writer uses the same words with only a slight change in the verb, which is changed from ‘keep’ to ‘maintain’. The translated text offers a paraphrase by explaining the action of keeping one’s face tight and without a smile on it. It implies that the character feels overly happy and tries to hide this positive feeling by not smiling. The strategy of paraphrase in this case presents the meaning of the source text idiom. By explaining the meaning in detail, the target text becomes intelligible. However, the image of ‘straight face’ from the source text is removed in the target text. This could result in a slight change in the meaning as the source text indicates the character does not want to show any emotions while in the target text the paraphrase uses a general expression of having a ‘tight face’ and explaining the reason for that.

5.1.1.5 Replacement

5.1.1.5.1 Replacement of Figurative Idioms

Replacement is used on 9 occasions of figurative idioms. Some of them describe everyday situations, as when Harry and Ron are having a conversation about Ron’s poor skills in playing sports, Harry tries to comfort him by saying he is not such a bad player, while Ron insists that whatever he manages to do right is just a coincidence, to which Harry replies:

ST: Well, said Harry, recovering quickly from this unpleasant surprise, a few more accidents like that and the game’s in the bag, isn’t it? (HPOP: 373)

قال هاري وقد تعافى بسرعة من المفاجأة غير السارة: وال ﯾهمك بعض الصدات بطرﯾق الخطأ مثل هذه :TT (HPOP TT: 358) وستصبح المباراة في جيبنا. أليس كذلك؟ Back translation: Harry said as he has recovered quickly from the unpleasant surprise: don’t worry, some hits like that by mistake and the game will be in our pocket, isn’t it?

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The source text idiom ‘in the bag’ is an informal expression meaning that something is safe, certain or achieved. In the source text, it refers to the idea of winning a game with Ron’s help. The idiom uses the metaphor of having something in the bag, which could be associated with possession of something. This image has been replaced by the idea of a pocket rather than a bag, which is a more familiar image in the Arab culture. The meaning is similar to the source text idiom, that of being certain, especially in the context of winning a competition. In this case, Arab readers are offered a similar effect to the one that the source text readers might receive by the use of a familiar image. The effect of using an Arabic equivalent expression is that Harry’s speech sounds natural. However, it has resulted in the loss of the source text image.

Replacement was also used with idioms describing emotions. For instance, Harry’s shock is described by the use of a semi-figurative idiom:

ST: Harry stood rooted to the spot. The letters from the Ministry, Mr Weasley and Sirius were all crushed in his left hand. (HPOP: 36)

HPOP) وقف هاري متجمدا في مكانه. ورسائل الوزارة، والسيد وﯾسلى وسيرﯾاس مكومة في ﯾده اليسرى :TT TT: 36) Back translation: Harry stood frozen in his place, the Ministry letters, and Mr Weasley and Sirius piled in his left hand.

The source text idiom ‘rooted to the spot’ is used to describe a situation when a person is unable to move because of strong emotion, in this context utter shock. The idiom uses the image of having roots that fix the person to the place where they are standing, in a similar way to a tree which is motionless. The target text uses the idea of being frozen, which offers a similar meaning of not being able to move. This metaphorical image can be interpreted by the target text readers as related to Harry’s feeling of shock, while the expression ‘frozen in one’s place’ does not indicate the reason for lack of movement. In both cases, replacement has been used to offer Arab readers familiar metaphorical images which have a similar meaning to the source text idioms. The effect of replacing the English idiom is that the target text presents metaphorical elements from the target text culture that offers the meaning of the source text expression but the source text image of

118 being ‘rooted to the spot’ is not accessible to the target text readers. This could have an effect of reducing the emotional expressiveness in the target text when compared to the source text expression as the target text readers can only loosely connect the image of being ‘frozen in one’s place’ with the feeling of shock on the basis of the context. By contrast, the source text readers can relate to the emotions that Harry is feeling at that moment as ‘rooted to the spot’ carries the meaning of being unable to move because of strong emotions.

A case when an idiom describing the character’s opinion was replaced was identified when Harry talks to Hermione, and disapproves of her action:

ST: ‘Hermione’, interjected Harry, who considered this a low blow, ‘he just saved me’. (HPDH: 311) (HPDH TT: 302) وقاطعها هاري: الذي اعتقد ان تلك ﺿربة تحﺖ الحزام هرميون، لقد أنقذ :TT Back translation: Harry interrupted her: who thought it was a hit below the belt, Hermione has been saved.

The source text uses the English slang expression ‘a low blow’ which means ‘unscrupulous attack or an insult’ as well as ‘unfair action’. In the source text it is used to describe Harry’s opinion of someone else’s actions. The target text has exchanged this informal expression with an existing Arabic expression ‘a hit below the belt’ which is used in the Arab world to describe somebody’s unfair behaviour. It uses the idea from sport disciplines in which it is forbidden to hit an opponent in the lower part of their body. It could also suggest that a person who fights using these methods does not have enough courage to fight following the rules. In this case, the image and associations that the source and target text readers receive are slightly different, but the main pejorative meaning is kept. This is an instance of how morality is depicted by showing what fair play is. The use of replacement results in the target text being enriched with references to Arabic culture through which morality is presented. However, the style of the target text changes to formal when compared to the informal expression in the source text. This change of register may affect the characterisation of Harry who, in the source text, uses informal and colloquial language consistently while in the target text his speech sounds more neutral and might sound too mature for a young boy. As a result, the contradiction

119 of a young boy using a formal register might make building of the character of Harry Potter less believable to the target text readers who might expect a more natural and less formal expressions in a child’s speech.

5.1.1.5.2 Replacement of Semi-Figurative Idioms

There are 6 instances of replacement of a semi-figurative idiom, some of them describing a character’s attitude and background. One instance occurs when Harry is talking to Dumbledore’s brother, who presents Dumbledore from a negative perspective as someone who is never fully honest with people and keeps secrets. To describe Dumbledore, his brother says:

ST: I know my brother, Potter. He learned secrecy at our mother’s knee. (HPDH: 458) (HPDH TT: 445) إني أعرف أخي بوتر. لقد تعلم الكتمان على ﯾد والدتنا :TT

Back translation: I know my brother Potter. He learned secrecy from our mother’s hand.

This introduces an English idiom, which is used to describe a person learning something when they were a young child. The Arabic translation uses the expression ‘from one’s mother hand’ which means that a person’s mother was the one who taught them. Although these two expressions are very similar, they differ in some aspects. The source text idiom uses the image of a child sitting on its mother’s knee to describe their childhood rather than to emphasise that it was the mother who taught them everything. By contrast, the Arabic version offers a metaphorical expression using the image of a hand to highlight that a person appreciates and is thankful for somebody’s help in passing on the knowledge to them, in this case, indicating it was the mother who should be thanked. The effect of using the Arabic expression is that the target text conveys a metaphorical dimension, which may make it more interesting to young readers. However, the metaphorical image of ‘mother’s knee’ from the source text is not presented in the target text. Presenting the original image to the target text readers might be confusing and have no association with the feelings of being thankful, thus, replacing it with an existing Arabic expression that has a similar function in the target language is an effective way of presenting the meaning of the source text idiom at the same time using a metaphorical image.

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Another example of an idiom that describes personality occurs when Harry describes two other characters as being very similar in terms of their personality:

ST: Crabbe and Goyle are in the same mould, Harry assured her. (HPOP: 375)

(HPOP TT: 360) قال لها هاري مؤكدا انطباعها: كراب وجوﯾل من نفس العجين:TT Back translation: Harry said assuring her impression: Crabbe and Goyle are from the same dough.

The idiom ‘in the same mould’ is used by Harry to express the idea of these two characters resembling each other. The idiom is based on the image of a mould which is ‘a hollow container used to give shape to molten or hot liquid material when it cools and hardens’. This image illustrates that the two characters have a similar form and shape, which also applies to their personality. In contrast, a slightly different image has been presented to the target text readers, who are offered a metaphorical expression, ‘the same dough’. Like the source text, the target text uses the idea of forming shapes but instead of a mould, the image shows a dough which can be shaped differently while the ingredients are the same, thus, in essence, two people could look different but have the same personality. Using the Arabic equivalent expression has led to the target text offering a metaphorical expression that could be entertaining as well as familiar to the target text readers.

The following example deals with a similar aspect of describing actions. When Harry is hesitant about telling his friends about what has happened, Hermione, seeing that, starts to ask him questions, and thus takes the initiative:

ST: Harry didn’t quite know how to set about telling them, and still wasn’t sure whether he wanted to. Just as he had decided not to say anything, Hermione took matters out of his hands. (HPOP: 423)

لم ﯾعرف كيف ﯾبدأ في إخبارهما، هذا إن كان ﯾعرف مدى رغيته في إخبارهما أﺻال. وعندما قرر أخيرا أال :TT (HPOP TT: 405) ﯾقول لهما أي شيء امسكﺖ هيرميون بالخيوط من ﯾده Back translation: He didn’t know how to start telling them, that is if he knew how much he wanted to tell them anyway. When he finally decided not to tell them anything, Hermione caught the strings from his hand.

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The source text idiom is normally used to describe a situation of taking responsibility for dealing with a problem or decision. It is used either in the form of ‘taking matters into one’s hands’ if someone decides to deal with a problem on their own or in the above mentioned form, indicating that a person deals with somebody else’s problem. In this context, Hermione decided to start asking Harry questions when she noticed that Harry was not sure what to do. The target text uses a similar image of hands, but uses the image of catching strings from them. This metaphorical image has a similar meaning to the source text idiom, so Arab readers are offered a similar meaning by the use of a familiar expression. As a result, the target text is enriched with Arabic cultural references, but the source text cultural reference has been domesticated.

Idiom Translation Strategies Related to Foreignisation

Two strategies have been found to be related more to foreignisation. One was literal translation of variants of an existing idiom and the other was a combination of strategies. It is worth mentioning that these were very few cases. The aim of this section is illustrate foreignisation in the translation of idioms.

5.1.2.1 Literal Translation of Variants of an Existing Idiom

The strategy of translating idioms literally has been used in 5 instances of a variant of an existing idiom, all of which are foreignised. These are mainly cases of describing characters’ feelings as when Harry hears a friend of his mentioning a hearing he has completely forgotten about:

ST: Harry felt as though His stomach had sunk through the dusty carpet. He had not thought about the hearing once since dinner the previous evening. (HPOP: 106)

HPOP) شعر هاري وكان معدته قد غاﺻﺖ تحﺖ البساط المترب. لم ﯾفكر في المحاكمة منذ عشاء اللية الماﺿية :TT TT: 103)

Back translation: Harry felt as if his stomach had sunk under the dusty rug. He hadn’t thought about the trial since last night’s dinner.

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The source text variant ‘stomach had sunk’ relates to an existing English idiom ‘somebody’s heart sinks’ that is used to describe a feeling of ‘one’s courage or hope failing or a person feeling disappointed or dejected’. In this case, the original expression has been altered by exchanging the word ‘heart’ with the term for another body part ‘stomach’, but the sense of the idiom is the same, as Harry feels disappointed and sad that he needs to attend a hearing. In the target text, the literal meaning of the original idiom is presented in the expression of ‘one’s stomach sinking’. On the basis of the context and the situation in which Harry finds himself, it is clear that his feelings relate to fear and nervousness. Arab readers are familiar with presenting these feelings as having pain in one’s stomach. However, the idea of one’s stomach sinking may be new to Arab readers, so the translators offer a foreign image to them as the Arabic language does not use the metaphorical image of ‘stomach sinking’ to show that someone feels nervous. The source text idiom might not have any association with the feeling of fear to the target text readers so Arab readers have to rely on the context and loose associations between stomach and feeling nervous to access the metaphorical meaning of the literally translated expression. Although the target text uses literal translation which presents a partly foreign expression, the text does not lose its coherence and it maintains its neutral style.

On another occasion, describing a situation was also dealt with by literal translation. Harry is trying to get out of a lift, but is stopped by one of his schoolmates, Percy, who is reading some papers and trying to get into the lift at the same time without paying attention to what is happening around him, thus blocking the lift’s doors and Harry’s way out. Percy’s action of being occupied with reading the papers is described as:

ST: As Percy Weasley strode into the lift, his nose buried in some papers he was reading (HPDH: 206) HPDH) عندما خطا بيرسي وﯾزلي داخال المصعد، انفة مدفون داخل بعض األوراق التي كان ﯾقوم بقراءتها :TT TT: 202) Back translation: When Percy Weasley strode into the lift, his nose was buried in some papers he was reading.

The source text expression is reminiscent of the idiom ‘having one’s nose in a book’ which is used to describe a person who is often reading books and is keen on reading. The

123 source text expression uses the words ‘some papers’ instead of ‘a book’, but can be understood in a similar way as the English idiom, especially if we look at the character of Percy Weasley, who is shown throughout the story as a book lover. This variant of an existing idiom was translated literally and relied on the image of a person reading a book being associated with the expression of ‘having a head buried in a book’ in the Arab world. This is similar to the English expression used to describe a person who likes reading or studies something in great depth. As a result, the use of literal translation provides a close rendering of the meaning and at the same time introduces the word ‘nose’ which is used as a part of a whole expression that may be new to Arab readers. Translating the source text expression literally has an effect of making the target text interesting by exchanging elements of the known Arabic expression with the source text words. This could have an entertaining effect as the Arab readers are offered a form of word play on the well-known Arabic expression in which the word ‘head’ was exchanged with ‘nose’ and ‘book’ with ‘papers’. As a result, the target text readers might experience a similar entertaining effect that the source text readers as in both texts the word play is found. This shows that the target text offers a close translation of the source text by literal translation and at the same time it effectively presents the idiom’s entertaining function.

5.1.2.2 Combination of a Variant of an Existing Idiom

There are 10 examples of variants of an existing idiom that were translated by a combination of strategies, out of which only 1 was foreignised. Presenting a foreign element in describing a situation occurs when one of the characters does whatever he can to get Harry expelled from Hogwarts, but fails. Instead, he is able to arrest Dumbledore which was not his aim in the first place:

ST: Instead you get to arrest me, said Dumbledore, smiling. It’s like Losing a Knut and finding a Galleon, isn’t it? (HPOP: 571)

:HPOP TT)قال دمبلدور مبتسما: بدال من هذا، قبضﺖ على، كأنك فقدت نات لتجد جاليون، أليس كذلك؟ :TT 544) Back translation: Dumbledore said smiling: instead of that, you caught me, as if you lost a Knut to find a Galleon didn’t you?

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The source text variant of an idiom ‘losing a Knut and finding a Galleon’ is a play on an existing English idiom ‘losing a quid and finding a fiver’ which means that ‘a person has lost something that was precious to them, but also found something much better to replace their loss’. It is an informal expression, which uses slang expressions for English currency; ‘a quid’ refers to one pound and ‘a fiver’ refers to five pounds. In this case, the character has lost the chance to expel Harry but gained an opportunity to arrest a prominent wizard, Dumbledore. The original idiom was changed by the writer by changing English currency to wizarding currency, in which a Knut is an amount having less value than a Galleon, which is an instance of wordplay by incorporating magical elements into a commonly known English expression. The target text uses the same words as the source text by transliterating wizarding currency. As the wizarding currency has been presented in the story before, these words are known to the readers including their meaning and value of each. In addition, the words ‘loosing’ and ‘finding’ were translated literally. In this case, the target text remains faithful to the source text by keeping the foreign names of wizarding currency and the original form of the idiom. The effect of using this strategy is that the target text becomes entertaining by introducing new concepts related to magic. However, it could reduce the intelligibility of the target text.

Idiom Translation Strategies Related to Both Domestication and

Foreignisation

The analysis has shown that there were 2 instances of idiom translation strategies that have elements of both domestication and foreignisation. These were found in translation of variants of an existing idiom by a combination of strategies that used footnotes. This section illustrates how this was done.

5.1.3.1 Combination of Variants of an Existing Idiom

There were 10 cases of combination of strategies used with a variant of an existing idiom, out of which 2 were related to both domestication and foreignisation. Some of the variants

125 of an existing idiom were used to present situations in the story. The following example illustrates that when Hermione interrupts Hagrid and expects confirmation of her conclusions from his story, Hagrid stops her:

ST: Hold yer Hippogriffs, I haven’ finished me story yet! Said Hagrid indignantly, who, considering he had not wanted to tell them anything in the first place (HPOP: 399) قال هاجرﯾد: )لزانك( هيبوجرﯾف1 ﯾاهيرميون، انتظرى فأنا لم أنته من )قظتى( بعد. تكلم باستنكار، وباعتبار :TT (HPOP TT: 384) أنه لم ﯾرغب في الكالم في البداﯾة. ﯾقصد لسانك حصانك لكنه استبدل الحصان بالهيبوجرﯾف نظرا لولعه بالمخلوقات السحرﯾة الخطيرة :TT footnote

Back translation: Hagrid said: your tongue Hippogriff1 Hermione. Wait I haven’t finished my story yet. He spoke with disapproval, considering that he didn’t want to talk from the beginning.

Back translation of the TT footnote: Means your tongue is your horse, but he replaced the horse with the Hippogriff due to his passion for dangerous magical creatures.

The source text uses a variant of the English old-fashioned and informal idiom ‘hold your horses’ which is used in conversational English by a person who wants to interrupt or stop someone from speaking and consider carefully their opinions. The idiom uses the image of stopping a horse, which can be associated with the action of horse riding or driving a horse-drawn vehicle. Metaphorically, it is related to a rushed action, similarly to jumping to conclusions. The variant of this idiom in the source text is an example of wordplay by exchanging the word ‘horses’ with ‘hippogriffs’ which are magical creatures resembling horses. This resulted in an entertaining and humorous expression, as the source text readers are offered the original idiom used in an unconventional, new way. The target text uses a replacement of the English idiom with an altered, equivalent Arabic idiom together with the transliterated word ‘Hippogriff’. In addition, the footnote is added, which presents the original Arabic equivalent idiom and states why the change has been made by the source text writer. The effect of these changes is that the target text offers Arab readers a foreign element in an altered Arabic idiom as well as providing the meaning to facilitate their understanding. This results in the target text readership being offered an entertaining text to read that includes magical elements and recreates wordplay found in the source text effectively. However, the target text is less concise as the

126 expression is accompanied by a long footnote which could affect child readers’ comprehension and focus while reading as they might get distracted by having to read the footnotes and then coming back to the main text and the plot every time they want to understand the expression in the main text.

Another case has been identified when Mrs Figg and Harry are chatting together and she advises him to be careful and use magic if in danger as he did before even though Dumbledore has forbidden it:

ST: it’s no good crying over spilt potion, (HPOP: 22) (HPOP TT: 23) ال فائدة من البكاء على التركيبة السحرﯾة المسكوبةTT: 1

ال فائدة من البكاء على اللبن المسكوب :TT footnote Back translation: No benefit of crying over the spilled magical formula1

Back translation of the TT footnote: No benefit of crying over spilled milk.

The source text uses the original idiom ‘crying over spilt milk’ in which wordplay has been used by exchanging the idea of milk with ‘potion’, but the meaning of ‘dwelling pointlessly over past misfortunes’ has been preserved. It is a well-known expression to the English speaking readers, and together with the alteration it offers a humoristic variant of an existing idiom. The target text offers a replacement of the original idiom into a slightly changed Arabic equivalent expression in which the original word ‘potion’ was paraphrased with the words ‘magical formula’. On top of that, the target text presents the Arabic equivalent idiom in an unchanged form in the footnote. By doing so, the target text readers are offered a similar play on the idiom in the main text and an equivalent idiom in the Arabic language in the footnote. In the case above, the combination of strategies was used by replacing the English idiom with an equivalent Arabic idiom together with foreign looking words ‘magical formula’, and adding footnotes that offer a similar expression in the target text culture. By using a combination of strategies, the target text becomes amusing, suitable to Arab culture, and intelligible. Also, the use of a shorter footnote that only includes the Arabic equivalent idiom is more effective in this case than in the example above. This is because children can have a quick glance at the footnote that instantly offers the meaning while in the case of ‘your tongue Hippogriff’

127 above children are required to read a long explanation that might distract them from the plot of the main text.

5.2 Neologisms

Rowling predominantly uses the categories of new coinages and derived words. The analysis shows that the main strategies applied are transliteration, combination of strategies, and functional equivalence. The frequency of neologisms, together with the strategies applied, are shown in Table 12:

uivalence uivalence

Combination 25) (total Deletion 6) (total Descriptive Equivalence 12) (total Functional Eq 18) (total Generalisation 7) (total Literal (1) translation Transliteration 110) (total Borrowings 1 24 (total 25) Derived 3 1 2 2 40 Words (total 48) Existing 7 3 1 6 1 7 Words with New Sense (total 24) Multiple 9 1 2 3 2 16 Process (total 33) New Coinages 8 1 7 6 5 23 (total 49 )

Table 12. Frequency of strategies used to translate each type of neologism in the three novels from the Harry Potter series

Neologism Translation Strategies Related to Domestication

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There were fewer cases of neologisms being domesticated, and these were found in the strategies of functional and descriptive equivalence, deletion, generalisation, literal translation, and some cases of a combination of strategies. This section illustrates how neologisms were domesticated in the following examples.

5.2.1.1 Combination

5.2.1.1.1 Combination of New Coinages

There were 8 case of combination being applied to translate a new coinage, of which only 1 related to domestication. One of Harry’s friends explains the meaning of an insulting word:

ST: Malfoy called her Mudbloods (HPCS: 121)

(HPCS TT: 108) مالفوى لقد لقبها بذات الدم الخليط الملوث :TT

Back translation: Malfoy called her a dirty Mixed-blood.

In this case, the source text neologism that uses two words, ‘mud’ and ‘blood’ is explained by one of the characters in the novel as a description of a person born to one non-magic parent. Together with this description, the meaning is very clear in the source text. The word, ‘mud’ has a negative connotation of something being dirty. By contrast, the Arabic translation uses a word that means ‘mixed-blood’, which offers the meaning of the original, but can only be understood in the context of the whole text. The target text expression and the source text neologism both describe a group of people, but the negative connotation of the source text neologism is lost in the target text. However, the target text adjective ‘dirty’ emphasises the negative meaning implied in the source text expression. In this case, functional equivalence and addition were used together to provide the meaning of the original neologism. The neutral tone of the word ‘mixed-blood’ can have an effect on reducing the condescending connotation that the original ‘mudblood’ word has in the source text as in the target text in other cases when the word ‘mixed-blood’ is used, there is no additional description. As a consequence, there is a change in presenting the characters in the story. By exchanging the original neologism with the neutral word,

129 the imagery of mud, which could have a racist connotation (by association with dark skin colour) in both the source and target text cultures when used to refer to people, is removed from the target text.

5.2.1.2 Deletion

5.2.1.2.1 Deletion of Derived Words

There is only 1 case of deletion of a derived neologism. Harry finds out that his wizarding family has left him a fortune, which can only be used in the magical world, and when he describes the money, different kinds of wizarding currency are mentioned:

ST: Of course, it was only in the wizarding world that he had money, you couldn’t use Galleons, Sickles and Knuts in Muggle shops. (HPCS: 49)

(HPCS TT: 44) وطبعا هي تستعمل فقط في عالم السحرة، وال ﯾمكن التعامل بها في محالت العامة :TT

Back translation: And of course it’s only used in the wizards’ world and cannot be dealt with in the public shops.

The neologism, ‘Knuts’, in the source text refers to the lowest value coin that is made of bronze. It stems from the Old Norse word ‘knutr’ meaning ‘knot’, and might be associated with the English word, ‘knot’. However, in the story there is no relation between the meaning of this word and the word ‘knot’, so there might only be an entertaining purpose. The target text only mentions a general idea of ‘wealth’ that does not provide the readers with any specific examples, and the neologism is deleted which creates a simple, understandable text, but the entertaining names of wizarding currency are lost. The names of wizarding currency are used throughout the series and constitute an element of building the magical world in the source text while in the target text this feature of the magical world has been removed. Removing elements that build the magical world in the story could have a negative effect on the enjoyment of the story by the target text readers.

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5.2.1.2.2 Deletion of Existing Words with New Sense

There are 3 cases of deletion of existing words with new sense. An instance occurs when Harry and Mr Weasley discuss travelling, and the author uses two other names for wizarding currency:

ST: Of course, it was only in the wizarding world that he had money, you couldn’t use Galleons, Sickles and Knuts in Muggle shops. (HPCS: 49)

(HPCS TT: 44) وطبعا هي تستعمل فقط في عالم السحرة، وال ﯾمكن التعامل بها في محالت العامة :TT

Back translation: And of course it’s only used in the wizards’ world and cannot be dealt with in the public shops.

Interestingly, the other two neologisms are existing words, which have the new meaning of being a magical currency. The first one, ‘sickles’ is used to describe wizarding money that is made of silver and is the second highest currency. The original word ‘sickle’ in English means ‘a short-handled farming tool with a semi-circular blade, used for cutting grain, lopping, or trimming’. The second word ‘galleon’ describes the highest value currency and in English means ‘a sailing ship used from fifteenth to seventeenth century as a warship or for trade’. These names may be entertaining to young readers as they have an association with a pirate treasure or simply with silver. The Arabic version omits all currency names and uses a general idea of wealth, so the target text loses the entertaining effect that the source text has and reduces the descriptive and enjoyable elements of the story that relate to magic. By removing details that build the world of Harry Potter, the target text presents a reduced version of the story that can affect entertainment as well.

5.2.1.2.3 Deletion of Multiple Processes

The only instance of deletion of neologisms created using multiple processes occurs when Sirius uses a magical spell to conjure up some drinks for his guests:

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ST: That’s right, said Sirius encouragingly, come on, let’s all... Let us all have a drink while we’re waiting. Accio Butterbeer. (HPOP: 441) (HPOP TT: 422) قال سيرﯾاس مشجعا: هكذا دعونا. دعونا نشرب شيئا :TT Back translation: Sirius said encouragingly: like this let’s. Let’s drink something.

The source text uses two neologisms in the sentence above, both of which have been deleted. The first word, ‘accio’, which is a word borrowed from the Latin meaning ‘to summon’, has been transliterated throughout the story in other cases, and this is the only instance of it being deleted. By contrast, the second neologism ‘butterbeer’ is a new coinage which has been created by combining the words ‘butter’ and ‘beer’ to give the name of a magical drink which is served during wizarding occasions and contains a small amount of alcohol. It is a form of wordplay in which two names of products that are not normally consumed together are used to create an unusual and humorous name of a drink. This word was deleted as well, and the only reference to it is in a sentence preceding the neologism where it is referred to as a general expression ‘something’, which results in removing the entertaining function of the original. In the target culture, any reference to alcohol in children’s literature is considered taboo and is not expected to be found. Thus, the foreign element that is considered taboo was removed from this passage, and the situation was explained using neutral words. The effect of removing the spell ‘accio’ and the taboo word ‘butterbeer’ is that the target text presents this situation in a neutral tone, and compared to the source text, is less entertaining. Also, it reduces the description of the plot by removing the action of Sirius using a magical spell. This could have a negative effect on the world building function of the two neologisms as the invented magical drink ‘butterbeer’ is removed in the target text and the whole situation is described as a normal conversation whereas in the source text, the readers are presented with a much more vivid and interesting description of the situation. As a result, the target text readers are offered a reduced version of the story that omits amusing elements. Interestingly, in the same book, the neologism ‘accio’ was translated using a combination of strategies (see Appendix 4).

5.2.1.2.4 Deletion of New Coinages

Deletion was used in 1 case of translating new coinages, when Aunt Petunia has prepared a meal and addresses her son as follows:

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ST: There’s more in the frying pan, sweetums, said Aunt Petunia, turning misty eyes on her massive son. (HPCS: 2)

(HPCS TT: 1) قالﺖ الخالة بتونيا وعيناها تقطران حبا واعجابا: ﯾوجد المزﯾد في الطبق الكبير :TT

Back translation: Aunt Petunia said with lovely and admirable eyes: there is more in the big plate.

This neologism has been created from the words ‘sweet’ and ‘tum’. In the source text, it describes a boy who is overweight, but whose mother seems to ignore it and keeps on feeding him. The use of this neologism in the source text adds humour, as an overweight boy is called ‘sweetum’, which shows a contrast between Aunt Petunia’s perception of her son and the reality. This is also an instance of wordplay, describing the boy as a sweet tummy. In the target text, the word was removed which results in removing the entertaining and humoristic element from the target text. It also affected the representation of the relationship between Aunt Petunia and her son, which in the source text is presented as Aunt Petunia being overprotective towards her son and still treating him as a small child. In the target text, however, this element has been removed, reducing the characterisation of Aunt Petunia.

5.2.1.3 Descriptive Equivalence

5.2.1.3.1 Descriptive Equivalence of Derived Words

The strategy of descriptive equivalence was applied in the translation in 2 instances. For example, with the name of a curse mentioned in the source text, but never used by any of the characters:

ST: the Entrail–expelling curse. (HPOP: 451) (HPOP TT: 431) تعوﯾذة طرد األمعاء خارج الجسد :TT Back translation: The expel the intestines out of the body spell.

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This curse has never been used in the story, so only on the basis of its name can it be inferred that it causes one’s intestines to be expelled from the body. The word ‘entrail’ has its origins in Old French ‘entrailles’, which means ‘internal parts of the body’. However, it is an existing word in English, which stands for ‘intestines’. The second existing word in this case is the verb ‘to expel’ which means ‘to remove, throw or eject’. Together the two words create an image of internal parts being ejected from a body in the source text. The target text provides Arab readers with the description of the action that the spell results in, so the image of expelling intestines is preserved. However, the target text uses a long seven-word description to name the spell, which is unusual in the case of spells which both the source and target text tend to keep as one or two word expressions. This could have a negative effect on the consistency of the text that normally follows a different style of presenting spell names and reduces its entertaining effect by being a long description. This could result in the target text losing the conciseness of the source text expression due to the use of a long noun phrase instead of a two-word spell name. Also, the target text phrase looks more like an explanation and suggests that it is used for informative purposes rather than being a spell name.

The second example occurs when Harry talks to one of the characters, who shares with him the abilities she developed during a special magical training:

ST: I got top marks in Concealment and Disguise during Auror training without any study at all. (HPOP: 48) وحصلﺖ على أعلى الدرجات في دورات االختفاء والتنكر أثناء التدرﯾب على قتال السحر األسود دون :TT (HPOP TT: 48) أي دراسة او استذكار Back translation: She got the highest marks in the invisibility and disguise courses whilst training to kill black magic without studying or revision.

The training is named with a neologism ‘auror’ which in the story stands for a person who has been trained to fight dark magic, which is explained by the writer a few lines later in the story. The neologism is derived from the Latin word ‘aurora’, which relates to ‘a natural electrical phenomenon characterised by the appearance of streamers of reddish or greenish light in the sky, usually near the northern or southern magnetic pole’. Metaphorically, it could mean that an ‘auror’ is a person who is able to brighten up even the darkest sky, thus, fight the darkness. The target text uses a descriptive equivalent to

134 explain the meaning to Arab readers and simply presents that the training aims at teaching wizards how to kill black magic. This idea is clarified to the target text readers and the explanation is given by the writer a few lines after this word. However, the association with the light is not presented in the target text. Also, the idea that the word ‘auror’ is used to name a type of wizard has been removed from the target text, which reduces the world building function of this neologism.

5.2.1.3.2 Descriptive Equivalence of Existing Words with New Sense

There is only 1 case of an existing word being translated by a descriptive equivalent, which relates to an example of a word used in the source text to describe sweets which seem to make a person ill:

ST: But not even the user of the Snackboxes could compete with that master of chaos, Peeves, who seemed to have taken Fred’s parting words deeply to heart. (HPOP: 626) لكن حتى مستخدمى حلوى التقيؤ لم ﯾكونوا أندادا لسيد الفوﺿى بيفيس الذى أخلص كل اإلخالص :TT (HPOP TT: 595)لوﺻية فرﯾد األخيرة Back translation: But even the vomiting sweet users were not rivals to Mr messy Peeves who was the sincerest of all sincerity to Fred’s last words.

The neologism consists of two existing words‘snack’ meaning ‘a small amount of food eaten between meals’ and ‘boxes’ which is a plural form of the word ‘box’ which means ‘a container, usually square or rectangular in shape’. Together these two words create an image of a box with some food inside. The target text uses a word to describe the object and its function, by stating that it is sweet and makes a person who eats it vomit. It clearly offers Arab readers the idea of a person being sick, however, it limits their image to the idea of vomiting whereas in the source text a variety of illnesses are possible such as fainting, fever or nosebleed. The target text expression has an entertaining effect as it combines two contrasting ideas, of vomiting which is a negative feeling, and sweet which is associated with a positive feeling. However, it reduces the characteristics of this magical element and provides only a limited picture of it, which in general could affect the representation of the magical world in the story.

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5.2.1.3.3 Descriptive Equivalence of Multiple Processes

Multiple process neologisms were translated by a descriptive equivalent in 2 cases. For instance, when Moody prepares drinks for his guests:

ST: Before pouring a little Polyjuice potion into each one. (HPDH: 39) (HPDH TT: 41) قبل أن ﯾسكب وﺻفة التخفي في كل منها :TT Back translation: Before he pours the invisible recipe in each of them.

The neologism, ‘polyjuice,’ is a derived word since it consists of a prefix ‘poly’ meaning many, which originates from Greek, combined with the English word ‘juice’ creating a new word, ‘polyjuice’. This new word is used together with the word ‘potion’ to describe a magical drink that makes a person who drinks it look exactly like someone else. This is an instance of wordplay in which the name of a potion is created by presenting a new type of juice. This neologism was translated by the adjective ‘invisible’, which provides the meaning of a potion that makes a person not visible to others rather than transforming them into somebody else. However, in both the source and target text this sentence is followed by a description of what happens to a person who drinks it and how their physical appearance changes. Therefore, the descriptive equivalent provides the target text readers with a hint of the features that this potion has. Interestingly, the same example in book 2 has been transliterated (see Appendix 2), which shows that by using descriptive equivalence it does not accurately describe the function of the potion and a degree of coherence could be lost as it might be difficult to relate the transliterated word (in book 2) with the descriptive equivalent.

5.2.1.3.4 Descriptive Equivalence of New Coinages

7 cases of new coinages have been rendered by descriptive equivalence. These mainly stand for elements such as magical language and objects. An instance can be seen when Harry looks at all his possessions, he finds a mysterious magical object, which is used to detect dark magic:

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ST: Cracked and worn-out Sneakoscope. (HPDH: 12) (HPDH TT: 14) جهاز انذار سحري مكسور حال لونه :TT Back translation: A broken magical warning device changed its colour.

This neologism has been created by combining two English words ‘sneak’ and ‘scope’ with a letter ‘o’. The choice of these two words provides the use of this magical device; ‘sneak’ in English means ‘to move in a furtive manner’ and ‘scope’ in this example is used similarly as in the names of devices such as ‘telescope’ or ‘microscope’. Thus, a combination of these two words can be associated with a device that assesses something which is secret or suspicious. This neologism is an example of a wordplay on existing names of the devices mentioned above, in which the object is given a magical ability of sneaking, resulting in a humorous name of the tool. This neologism was translated by explaining its general use to the target text recipients as being a magical warning system to clarify its use in the target text. However, the wordplay used in the source text has been removed from the target text, and replaced with a description of the device. This has improved the comprehension of the target text that indicates what kind of device it is and despite removing the wordplay effect, it could still entertain the target text readers as it presents a magical element that arouses interest and curiosity.

Another case was identified when one of the characters is searching for an object on his desk. Among different objects and stationary, there are also magical objects:

ST: He saw quills and notebooks and Spellotape (HPDH: 203) (HPDH TT: 199) وشاهد رﯾشات كتابه ودفاتر واشرطة لصق سحرﯾه :TT Back translation: Then he saw writing feathers and notebooks and magical sticky tapes

The source text neologism refers to adhesive tape used to fix objects in the wizarding world that cannot be fixed by a spell. The author creates this word by using wordplay on an existing word ‘Sellotape’ which is a British brand of transparent tape used for joining and attaching. English readers, including children are highly likely to recognise the English word and enjoy the play on this word, which uses the idea of spell and tape. This neologism has been rendered into Arabic by the expression ‘magical sticky tapes’ that

137 provides the target text readers with the exact features of this object. Even though the wordplay has not been reproduced in the target text, the descriptive equivalent is still entertaining as it presents an unusual, magical object. As a result, the target text builds the magical world of Harry Potter by introducing magical objects and their functions to the target text readers, but removes the Western cultural reference. This has resulted in domesticating the target text, which could have been done as the target text readers might not be familiar with name of the British brand, and thus, would not able to understand neither the meaning nor wordplay involved.

5.2.1.4 Functional Equivalence

5.2.1.4.1 Function Equivalence of Borrowings

There is only 1 case of functional equivalence being used with a borrowed word, which refers to the spell used to torture one of the characters to obtain secret information:

ST: He tortured me, you must understand that! The Cruciatus Curse, (p.403)

(p.392) وقال: لقد عذبني، ﯾجب أن تفهم هذا. استخدم تعوﯾذة التعذﯾب :TT Back translation: And he said: he tortured me, you must understand that. He used the Torture Spell.

The source text neologism ‘cruciatus’ is a borrowing from Latin meaning ‘torment’ and in the story is used to describe a spell that causes pain to the person on whom it has been cast. The curse can be associated with the word ‘crucify’ or ‘crucifixion’, which, in a broad sense, relate to the idea of being tortured and Christianity, as the main symbol of this religion is a cross and the crucified Jesus. The target text uses a functional equivalent of this curse, that is, ‘torture spell’, which provides the meaning of the spell and explains the function of the spell in the story. However, broad associations related to Christianity that are present in the source text are lost in the target text as the foreign associations are removed from the target text expression. The use of a functional equivalent in the target text has a positive effect on the comprehensiveness of the text and presents an element that builds the magical world of the novel.

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5.2.1.4.2 Functional Equivalence of Derived Words

There are 2 instances of a functional equivalent used with a derived word, both used with spell names. In the first case, it is used with the name of a spell that is used on an object:

ST: The door’s been imperturbed. I’ve been flicking Dungbombs at it from the top of the stairs and they just soar away from it. (HPOP: 64) (HPOP TT: 63) فالباب محمى بتعوﯾذة مانعه. ولكي أتأكد ألقيﺖ بعض الدانجبومب :TT Back translation: The door is protected by a Prevention Spell. And to be sure, I threw some Dungbomb

The source text uses a neologism ‘imperturbed’ which is an adjective created from an ‘imperturbable charm’. It is used on objects to create a magic barrier such as a door and an affected object is called imperturbed. This neologism is derived from Latin ‘imperturbatus’ meaning ‘undisturbed’ or ‘calm’. In the source text, the neologism can be connected with the existing English word ‘imperturbable’ meaning ‘staying calm and controlled in difficult situations’, which offers the meaning of the spell. By contrast, a functional equivalent of this spell in the story was used, ‘prevention spell’, that provides its function in the story. By using a functional equivalent, the intelligibility of target text is improved and the text presents the world building element to the target text readers, though the relation of the original spell to Latin is lost.

The second case occurs when one of the dark wizards tells Voldemort that he successfully used a curse considered one of the most serious dark curses that place the victim under the caster’s control:

ST: I have - with difficulty, and after great effort - succeeded in placing an Imperius Curse upon Pius Thicknesse (HPDH: 4)

(HPDH TT: 6) لقد نجحﺖ بصعوبة وبعد مجهود كبير في وﺿع تعوﯾذة التحكم على بيوس ثيكنس :TT

Back translation: I succeeded difficulty and after a big effort in placing the Control Spell on Pius Thicknesse.

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The source text curse is a word derived from Latin ’imperiosus’, meaning ‘commanding, mighty, and powerful’, or ’imperio’, which means ‘to rule’. The name of the spell provides its meaning as there are words such as ‘imperium’ or ‘imperial’ in English, which relate to having power. This curse was translated into Arabic as ‘the control spell’, which offers the meaning of the curse to the target text readers. In this case, the functional equivalent presents the meaning and the use of the spell directly, which could entertain the readers by presenting a magical spell that is one of the elements, which build the world of Harry Potter. However, the reference to Latin is lost in this case.

5.2.1.4.3 Functional Equivalence of Existing Words with New Sense

6 examples of existing words with a new sense were dealt with by functional equivalence. Most relate to names of magical creatures and spells. For instance, Harry talks to a strange creature in his bedroom, which introduces itself as:

ST: Dobby, sir, just Dobby. Dobby the house-elf, said the creature. (HPCS: 13) (HPCS TT: 12) أجاب دوبي: اسمى دوبي وأنا جنى المنزل :TT Back Translation: Dobby answered: My name is Dobby and I am a house goblin.

The source text neologism uses a combination of two words: ‘house’ and ‘elf’, which together form a new meaning of an elf occupying houses. An elf in Western culture is a small, supernatural figure that looks like a human with pointed ears and magical powers, which can be found in folk tales. In Arab culture, there is no similar creature, and the target text offers the word ‘goblin’ to target text readers. A goblin in Arab culture is a supernatural spirit, which is present in Arab mythology, often used synonymously with jinn. Although the meaning is not entirely the same, the words ‘elf’ and ‘goblin’ have similar connotations for the readers. In this case, the target text provides a cultural equivalent that has a similar function in the target text culture and as a result, a similar effect is achieved in the target text. This has an effect on the target text readers who are presented with a character that is familiar to them, they can identify it easily and it can be appealing. However, a cultural reference in the source text is not accessible to the target text readers. As a consequence, the target text domesticated this neologism as using the original English word would not have the effect of providing the meaning and image of

140 this magical creature to the target text readers who might not be familiar with the Western cultural item of ‘elf’.

Another example occurs when Harry and his friends are sharing fake coins, which they use to communicate secretly, and one of the students asks a question:

ST: You can do a Protean Charm? Said Terry Boot. (HPOP: 369) (HPOP TT: 354)قال تيري بوت: هل تقدرﯾن على أداء تعوﯾذة التقلب؟ :TT Back translation: Terry Boot said: can you perform a Changing Spell?

The source text word, ‘protean’, means ‘changeable’ in English. The word’s original meaning is not linked to the function of this charm as its main effect is to link several objects through a shared purpose. The target text uses the name of a spell that links to the original meaning of the word, which is being able to change. This may be confusing, since the spell has a different function in the story: rather than changing objects it links them in some magical way. However, both source and target text present a word meaning ‘change’, which suggests that to understand the spell the context is needed. The effect of using a functional equivalence in this case is that understanding is only partly improved as the function of the spell in the story is still not fully accessible to the readers.

5.2.1.4.4 Functional Equivalence of Multiple Processes

There are 3 cases of functional equivalence being used with a neologism created through multiple processes, which were used as names of spells. When Harry asks Mr Weasley how he will deal with a spell having been cast on toilets so that rather than flush, they regurgitate their contents, which is a kind of magical prank, Mr Weasley replies:

ST: Oh, it’s a simple enough anti-jinx, said Mr Weasley as he mounted the stairs. (HPOP: 141) (HPOP TT: 136) قال السيد وﯾسلى وهما ﯾصعدان السلم: المسألة بسيطة، سأستخدم تعوﯾذه مضادة للتقيؤ :TT Back translation: Mr Weasely said as they were getting up the stairs: the matter is simple, I will use an Anti-Vomiting Spell.

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The source text uses a new coinage consisting of a prefix ‘anti-’, borrowed from Latin or Greek, which is used to express the meaning of ‘against’ as in ‘anti-allergic’ meaning ‘against allergy’. The second part of this word is the English word ‘jinx’ meaning ‘curse’ and together these two create a neologism meaning a spell against the effects of a ‘jinx’ previously cast. The target text uses an expression that has the same function and is called an ‘anti vomiting spell’. In this case, the target text presents a spell name that also provides its function, that is, to prevent the toilets from regurgitating. Its form in the Arabic language could be entertaining as from the context it is clear that the characters use the spell to prevent ‘the toilets from vomiting’. The example above shows that use of the strategy of functional equivalence provides both the meaning of the spell as well as preserving the entertaining function of the spell. Although the use of this translation of the spell is effective in this particular case, it might have a negative effect on the overall coherence as it is unlikely to be translated in the same way in a different context.

Another case occurs when Mr Weasley advises Ron to stop continuous rain by the spell:

ST: Meteolojinx recanto, whispered Ron. No, I didn’t. Thanks, D-I mean, thanks, Arthur (HPDH: 206) (HPDH TT: 202) همس رون: تعوﯾذة قلب المناخ؟ ال لم أجربها. شكرا ﯾا أ، أقصد شكرا ﯾا أرثر:TT Back translation: Ron whispered: the Climate Change Spell? No, I did not try it thanks A, I mean thanks Arthur.

The source text expression ‘meteolojinx recanto’ consists of two neologisms, one is a derived word and the second one a borrowing from Latin. The first word consists of a prefix ‘meteo-’ which has origins in the Greek word ‘meteoron’ meaning ‘high in the sky’. This prefix is connected with the word ‘jinx’ which in English means a curse or spell. The second word ‘recanto’ is borrowed from Latin, and means ‘to recant’ in English. Together these two words imply that the spell aims to cancel some meteorological phenomenon. This spell has been translated by the Arabic expression meaning ‘the climate change spell’, which has the same function in the target text as the source text spell. However, the target text expression provides a general idea of a change rather than cancellation and refers to climate, which suggests a more long lasting change. In this case, the source text spell has been exchanged with an expression that provides the general function of the spell. Using a functional equivalent has resulted in the target text

142 building the magical world for the target text readers in the form of presenting magical spells. However, the reference to Latin that the source text expression has is lost in the target text expression.

5.2.1.4.5 Functional Equivalence of New Coinages

Functional equivalence was used 6 times with neologisms that are new coinages, all of which have been created by the author to describe magic, for example, objects and people. An illustration of this is a one word neologism used by Harry to describe a spell that one of the wizards has sent him in a letter:

ST: Harry picked up the envelope and read Kwikspell, Correspondence course in beginner’s magic (HPCS: 133)

مد هاري ﯾده وأمسك بالمظروف وقراء: تعاوﯾذ سرﯾعة. درس خصوﺻي بالمراسلة. للمبتدئين في السحر:TT (HPCS TT: 119)

Back translation: Harry held out his hand, and caught the envelope and read: Quick Spells. A special correspondence lesson for beginners in magic.

In this instance, the neologism in the source text has been exchanged with a functional equivalent in the target text. In the source text, the meaning of the neologism is found by dividing the neologism into two parts and on the basis of its pronunciation. The first word ‘kwik’ does not exist in English, but if a native speaker reads it, they will produce or imagine a similar sound as when reading the word ‘quick’. This play on the pronunciation of the word has an entertaining effect in the source text. However, the target text provides the meaning of the spell as it plays a significant role in the text and plot. Although the wordplay used in the source text was not reproduced in the target text, the two words ‘quick’ and ‘spell’ together may still entertain the readers by encouraging a sense of challenge and curiosity to know what kind of spell it is. As a result, the target text has maintained the spell’s entertaining function regarding the play on its meaning as well as presented a spell that builds the magical world in the story. However, the play on the sound and spelling of the original neologism is lost.

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The use of functional equivalence with new coinages can also be found with names of characters in the story as when Hagrid explains to Harry and Ron how to deal with one of their enemies:

ST: Give the what gifts? Asked Harry. Oh, the Gurg – means the chief. (HPOP: 39) (HPOP TT: 380) سأله هاري: تعطون هداﯾا لمن؟ الزعزوع. أه.. وهى تعنى الزعيم :TT Back translation: Harry asked: whom do you give gifts to? The Zaazoo? Oh, it means the leader.

The source text neologism is used to describe the function of a leader of a group of giants. The source text word does not seem to be derived from any foreign language. However, it could be associated with the word ‘guru’, ‘a spiritual leader and authority’, which is normally used in the context of the Hindu religion. Having a Hindu background or knowledge of Hindi can help to recognise this neologism. The target text uses an expression that means ‘moving something’ in Arabic, which is different from the meaning in the story. However, from the sentence following it, the meaning of the word in the story is explained, thus, the context is used to facilitate understanding. The use of an existing Arabic word with a different meaning in the text could have an entertaining effect on the readers who are familiar with the Arabic word, but the meaning has changed in the target text and the association that the source text word has is reduced.

5.2.1.5 Generalisation

5.2.1.5.1 Generalisation of Multiple Processes

There are 2 instances of multiple process neologisms being exchanged by a general word. For instance, when Fred asks Dumbledore how they are going to travel and hears the following reply:

ST: The Network is being watched. You will be taking a Portkey. (HPOP: 438)

(HPOP TT: 419) فالشبكة تحﺖ المراقبة. ستذهبون عن طرﯾق هذه البوابة :TT

Back translation: The network is being watched. You will go through this door.

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The neologism ‘portkey’ is a word created by combining a derived word with an existing one. The part ‘port’ is derived from the French word ‘porter’ which means ‘to carry’ and used together with the word ‘key’, which in this case means ‘an object used to open doors’ or ‘a secret’. The word ‘port’ is also an existing English word meaning ‘a gate’. Together these two words mean ‘a secret gate’ or ‘carrying secretly’, which is the function of an enchanted object in the story. Thus, in the source text the name of the object provides its use in the story. This neologism has been rendered by a general word ‘door’, which offers the target text readers only part of the meaning of the original. In the source text ‘a portkey’ is any object that has been enchanted to magically and secretly transport a person while the target text expression does not provide any indication of this object’s characteristics. However, from the context it is clear that it is a secret way of travelling. In addition, the source text uses a more general meaning to multiple and various objects while the target text restricts the meaning to only one object which is a door. As a result, the target text limits the meaning and function of this element of the magical world, which could overall affect the text in terms of reducing the magical world in the novel. The same neologism was identified in Book 7, and was translated by descriptive equivalence (see Appendix 6), which also suggests that coherence of the text could be affected by these two different translations of the same magical element.

5.2.1.5.2 Generalisation of New Coinages

The strategy of generalisation is used in 5 cases of new coinages, mainly referring to objects and characters. An instance was identified when Harry talks to one of the characters and mentions the name of a magical object:

ST: You turned up right in front of us and said you was looking for a die-dum! What’s a die-dum? (HPDH: 513)

(HPDH TT: 498) ثم ظهرت أنﺖ أمامنا وقلﺖ إنك تبحث عن تاج! أي تاج هذا؟ :TT Back translation: Then you appeared in front of us and told us you were looking for a crown! What crown is this?

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The neologism ‘die-dum’ has been used in the source text to refer to a diadem that has been cursed by a dark wizard and in which some of his soul has been trapped. The new coinage is a play on the word ‘diadem’ which is spelt differently but has a similar pronunciation in English. The unusual spelling relates to the fact that a dark wizard’s soul is trapped in this object, and to the image of death. This word has been translated by a more general expression ‘crown’ which offers an understandable word in the target text. However, the play on the word in the source text could not be recreated in the target text in this case, so the additional magical property of this object can only be inferred from the context of the story. As a result, the target text reduces the magical dimension of the story by presenting objects that are magical in the source text as normal objects in the target text. This domestication by generalisation could have a negative effect on child readers’ enjoyment of the story as there is a loss of magical elements.

A different instance is found when Voldemort criticises how one of the Professors at Hogwarts approves of wizards who have relationships with people who do not belong to the world of magic:

ST: She would have us all mate with Muggles … or, no doubt, werewolves. (HPDH: 10) (HPDH TT: 12) ترﯾدنا جميعا أن نتزوج من العامة او بدون شك ، المستذئبين:TT Back translation: She wants us all to marry from the public or without doubt, werewolves.

The source text neologism has its roots in the English informal word ‘mug’, which is used to describe a stupid or gullible person. It seems that this word is used purposefully by the author to imply that wizards look down on people who do not possess magical skills and were not born in the magical world. This word was translated by the Arabic word meaning ‘the public’. It has a similar function to the source text word, which is describing normal people. However, the meaning of the target text word is neutral, thus, the implied degrading meaning is removed. This has a reductive effect on the target text as a significant element of the characterisation of people who are muggles together with the degrading attitude that wizards have towards muggles is lost in the translation.

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5.2.1.6 Literal Translation

5.2.1.6.1 Literal Translation of Existing Words with New Sense

Literal translation was applied in 1 example of an existing word with a new sense in a description of a duel between Harry and Malfoy supported by Death Eaters, one of which was hurt by Harry:

ST: Dolohov, freed of the Body-Bind Curse, was leering, his wand pointing straight at Harry’s face. (HPOP: 736) دولوهوف الذى تحرر من التعوﯾذة المقيدة للجسم أخذ ﯾنظر الى هاري شزرا وعصاه مصوبة إلى :TT (HPOP TT: 698) وجهه مباشرة Back translation: Dolohov, who had freed of the Body Binding spell, looked at Harry angrily, and his wand pointed directly at his face.

The description presents the name of a spell that Harry used during the duel. The spell uses the existing words ‘body’ and ‘bind’ which together give an impression of describing the function of the spell, which is to tie one’s body up. However, the spell is used to paralyse one’s opponent, which is not the same as binding them. The target text uses exactly the same words as the source text to name the spell, which also has the same meaning in Arabic. In this case, the source and target text provide a very similar if not identical image of binding the opponent. While both could be misleading since the real use of the spell is to paralyse, not bind, the text still offers an image of someone not being able to move due to this spell. As a result, the intelligibility of the spell is improved as the text offers a close rendering of the source text neologism at the same time it builds the magical world by presenting an amusing name of the spell.

Neologism Translation Strategies Related to Foreignisation

The findings of the analysis demonstrate that neologisms were mainly foreignised, which was found in the relation of transliteration to foreignisation. This section aims to show how foreignisation is achieved in translation of neologisms in the examples below.

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5.2.2.1 Transliteration

5.2.2.1.1 Transliteration of Borrowings

Transliteration was used in 24 cases of borrowings across the three books that I analysed. These were the cases that presented the magical elements of the story, and very often referred to magical plants and magic spells. One case occurs when Professor Sprout teaches Harry and his friends about magical plants. At one point she asks the class about a plant, to which Hermione answers:

ST: ‘Mandrake, or Mandragora, is a powerful restorative’, said Hermione, (HPCS: 96)

(HPCS: 85) قالﺖ ماندرﯾك او ماندراجورا، لها قوة كبرى في إعادة األشياء إلى أﺻلها :TT

Back translation: Mandrake said or Mandragora, it has big powers to return things to their original states.

The source text uses a borrowing from Latin to name the kind of living plant whose roots look like a human and whose cry is fatal to a person who hears it. The Latin word ‘mandragora’ is a name for an existing plant. This borrowing has been transliterated for Arab readers, which results in them being presented with a meaningless expression. However, from the context the function of this word, which is the name of a creature that looks like a plant, could be understood since the sentence after it explains the features of this plant in both source and target texts. In this case, the target text presents a concept of a new plant or creature that has magical properties, which helps to build the magical world of the story. However, the transliterated word does not provide any meaning to the target text readers and its Latin roots are not likely to be noticed by Arab readers while source text readers might be able to access these due to similar English words such as man and dragon. In addition, the use of Latin or Latin derived words in English could have the effect of these words sounding ‘more intelligent’ or ‘scientific’ in the source text while this effect is not reproduced in the Arabic as the readers are unlikely to differentiate between English and Latin words when they are transliterated. By transliterating this word the target text offers unusual sound and spelling to the target text readers which

148 could be amusing to the readers but loses the effect of sounding like a scientific term that the Latin word has in the source text.

As for the spells, there were numerous cases of these being transliterated, including one when Harry sees a strange shape on the floor and suddenly hears a spell being cast:

ST: Harry saw a long fingered white hand clutching a wand rise at the end of his own arm… heard the high, cold voice say, Crucio. (HPOP: 671) رأى هاري ﯾدا بأﺻابع بيضاء طوﯾلة تمسك بعصا سحرﯾة من عند طرف ذراعه. سمع الصوت العالي :TT (HPOP TT: 638) البارد ﯾقول: كروسيو Back translation: Harry saw a hand with a white long fingers holding a magical wand from the edge of his arm, he heard a loud cold voice say: Crucio.

The source text spell is a borrowed word from the Latin language, which means ‘I torture’ or ‘I crucify’. This is one of the most powerful spells, which inflicts excruciating pain on the person it is cast on. The name of this spell could have some connotations with Christianity for the source text readers or Western readers in general. The word ‘crucio’ looks similar to ‘crucifixion’ which is a term widely known to Christians and associated with being tortured to death. In the target text, the source text neologism is transliterated, but it does not have any meaning in Arabic on its own. As a result, the connotation of the original neologism with Christianity is lost in translation in this case. However, from the plot of the story (in which the word was explained before), the function and meaning of this word in the book can be clear. The effect of this is that although the target text presents the magical spell to the readers, the meaning and connotations that the source text word can have to English speaking children are lost. As a result, there is a reduction to the world building function of this spell but it can still be entertaining to the target text readers as it presents magic.

5.2.2.1.2 Transliteration of Derived Words

Rowling uses Latinate neologisms throughout the novel for magical activities such as casting a spell. The strategy of transliteration is used with 40 neologisms that have been

149 created from English words having Latin origins, and which are almost always used for magic spells. An example of this is when one of the wizards is making fun of Snape in front of an audience by using spells which move Snape around, making him hang upside down or having no sensation in his legs. This situation and the reaction of Snape is described by the author as:

ST: Disentangling himself from his robes he got quickly to his feet, wand up, but Sirius said, Pertrificus Totalus, and Snape keeled over again, rigid as a board. (HPOP: 598) وهو ﯾخلص عباءته من تحته هب واقفا، ورفع عصاه، لكن سيرﯾاس قال: بترﯾفيكوس توتالوس وسقط :TT (HPOP TT: 569)سناب وطرح أرﺿا ثانية وهو متجمد كاللوح Back translation: As he was getting rid of his cloak from underneath, he stood up and raised his wand, but Sirius said: Pertrificus Totalus, and Snape fell to the ground again, frozen as a board.

The source text neologism is used as a spell that paralyses the opponent and is normally used in duels. The spell consists of two words, both derived from Latin. The first word ‘pertificus’ is derived from ‘petra’ meaning ‘rock’ while the second word ‘totalus’ could have its origins in ‘totus’ meaning ‘whole’ or ‘entire’. Together their meaning could be that an entire person or object becomes a rock, which is similar to the function of this spell in the source text. The same words are used in the target text, which means that no meaning is presented in the spell as such. However, as in many similar cases of spells, its meaning can be inferred from the description that comes after it, in this case, the part in which Snape is described ‘frozen as a board’ that implies that the spell has the properties of freezing a person or making them become numb. It is interesting to note that the whole scene is described by the author in a humoristic manner, which shows that the wizard aims at humiliating Snape. The scene also presents how a wizard stands up to a person of authority, a professor at Hogwarts, which could be considered unsuitable for young children by more traditional educators in the Arab world. It is surprising that the whole situation was retained in the target text and the description has a similar effect on the readers since it is also described humorously. This suggests that Arab readers may have a similar experience to the source text readers with the exception of not being able to access the meaning of the spell directly from its form but rather through the description of the situation.

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In the next instance, a magical spell used in the story to kill wizards is used by Snape during his fight with another wizard:

ST: Snape looked back at her, quite impassive, as she turned slowly away from him again. Avada Kdavra The flash of green light illuminated every corner of the room. (HPDH: 10) ونظر إليها سناب دون أن ﯾتحرك، بينما التفﺖ هي مبتعدة عنه من جدﯾد أفادا كادا فرا، وأﺿاء شعاع أخضر كل :TT (HPDH TT: 12) ركن في الغرفة

Back translation: And Snape looked at her without moving, when she turned away from him again Avada kdavra, and a green light lightened every corner of the room.

The above neologism is used in the story on many occasions and is considered one of the most dangerous and unforgivable curses. Its etymology has been ascribed to the old Aramaic spell that is the original of ‘abracadabra’, which means ‘let the thing be destroyed’ and in Aramaic was used to cure illness. The target text transliterates the word, producing the same form and pronunciation as the source text neologism, but without providing its meaning. In both English and Arabic versions, the curse is not explained in the story for the readers in this passage, but knowledge of the story so far and the context allow readers to infer its meaning. The curse uses wordplay, as it is similar in sound to the expression, well known in Western countries, ‘abracadabra’, but its use in the book is different as it is a killing course, whereas the ‘abracadabra’ spell is normally a neutral spell used when performing magical tricks. By contrast, the ‘abracadabra’ spell is not common in the Arab world, so although the curse was transliterated the play on the spell and the association to 'abracadabra' in the source text is not accessible to Arab readers. Despite that, the Arabic expression is still likely to be entertaining as it is a mysterious, foreign sounding expression that reflects the magical mood of the story. The overall effect of transliteration in this case is that it reduces the word building function of this spell, as the name of the spell has no meaning or association to any other words to Arab readers, but it can also entertain the Arab readers.

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5.2.2.1.3 Transliteration of Existing Words with New Sense

Transliteration was used with 7 examples when translating existing words with a new sense. These were mainly words related to magic such as types of people and spells. In one case, one of Harry’s friends is very scared to admit that he is a:

ST: Squib(HPCS: 151)

(HPCS TT: 143) سكوﯾب :TT

Back translation: squib

The source text word is an actual English word, which means either a small, hissing firework or a small, weak child. In the context of the story, a squib is someone who is born to at least one wizard parent but is a non-magical person. This word is used in the source text to indicate a kind of disdain shown by wizards to people. The Arabic translation uses only transliteration in this case, and relies on the readers’ knowledge of the story so far as this specific neologism is explained early on in the text. Also, the context suggests that the word has a negative connotation as the character is afraid to admit who he is, which indicates that being a ‘squib’ is shameful. However, the fact that the word itself does not indicate the negative connotation has a reductive effect on presenting the characters in the story and the transliterated word does not offer the meaning that this word has the source text.

The second case relates to one of Harry’s made-up magical spells:

ST: Jiggery pokery said Harry in fierce voice. Hocus pocus … squiggly wiggly (HPCS: 10)

(HPCS: 10)قال هارى بصوت مرعب: جيجري بوكري...هوكس بوكس.... سكوﯾجلي وﯾجلي :TT

Back translation: Harry said in terrifying voice: Jiggery pokery… Hocus pocus... Squiggly wiggly.

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The source text neologism uses an existing expression ‘jiggery pokery’ that is used to describe dishonest or deceitful behaviour. However, in the novel it is used as a name for a spell that Harry is casting, and has thus been given a new meaning. The Arabic translation keeps the original words in the same form without explaining the meaning, but from the context it is clear that these words are used as the name of a spell. The meaning of the spell is never explained in either the source or the target text, thus, it remains a mysterious spell only briefly mentioned by Harry. This mystery adds to the entertaining features of the story as foreign and funny sounding spells may give young readers the possibility of using their imagination to work out the meaning. While the target text relies on the context for meaning, the source text readers can access the meaning of the existing English word, which gives them some insight into this spell. This is not likely to the target text readers, so the comprehension of this spell is affected in the process of transliteration.

5.2.2.1.4 Transliteration of Multiple Processes

There are 16 cases of multiple process neologisms treated by transliteration. All of them refer to magical objects and spells. All of them refer to magical objects and spells. An illustration of this is the following instance when

Another case occurs when Harry casts a spell on one of the half wizarding characters:

ST: Harry raised his wand, looked directly at Umbridge and imagined her being sacked. Expecto patronum. (HPOP: 659) رفع هاري عصاه السحرﯾة، ونظر مباشرة إلى أمبرﯾدج وتخيلها وهى تطرد من المدرسة: إكسبكتو :TT (HPOP TT: 627) باترونام Back translation: Harry raised his magical wand, and looked directly at Umbridge imaging her being kicked out of the school, Expecto patronum.

The source text neologism consists of two words that together constitute a spell. The first word in the spell is ‘expecto’ which is a borrowed word from Latin meaning ‘to expect’ or ‘to look for’ while the second word ‘patronum’ is a word derived from Medieval Latin ‘patronus’ meaning ‘a patron’ or ‘a saint’. The spell itself means that a phantom shape is

153 conjured up to protect the caster of the spell from dark creatures like dementors. As in other cases of words borrowed or derived from Latin, there are English words that have a similar meaning to their Latin origins. In this case, there are words like ‘expect’ and ‘patron’ that are widely known English words, thus, the spell's meaning can be accessed by English speaking readers through the above mentioned English words. The target text uses the same words written in Arabic letters, which provide the target text readers with no understanding of the spell. However, the text does describe the action of conjuring a phantom shape, thus giving the readers some indication of its meaning. Both instances above show that transliterating neologisms means using foreignisation since new words have been presented to the target text audience. In these cases the intelligibility of the spells has been affected as the target text readers do not have access to the meaning of the spells, which also has a reductive effect on the world building function of these words. However, the target text word can have an entertaining effect as it is a foreign and magical element.

In a different case, Harry tries to escape a fight with dark wizards by using a spell that makes objects fly or levitate: ST: He pointed his wand at the sidecar and shouted, Wingardium Leviosa! (HPDH: 45) (HPDH TT: 47) وجه هاري عصاه الى العربة الجانبية وﺻاح وﯾنجاردﯾوم ليفيوسا :TT Back translation: Harry pointed his wand towards the nearby vehicle and shouted Wingardium Leviosa.

The above mentioned neologism has been created by combining two words ‘wingardium’ and ‘leviosa’. The former consists of the English word ‘wing’ and Latin ‘ardum’ meaning ‘steep’ or ‘high’ with a Latin suffix ‘-ium’. The latter derives from Latin ‘levo’ meaning ‘to raise’ or ‘lift up’. Together they constitute the meaning of ‘lift up high’, which is the function of the spell in the story. The source text expression has associations with existing words like ‘wings’ and ‘levitate’, which provide the meaning of the spell. By contrast, the target text presents a transliterated version which does not offer any meaning to Arab readers. However, the effect that this spell has is described in the text by the action of a car levitating in the air, which means that the meaning of the spell is also provided in the context. The fact that the target text does not provide the meaning of the spell reduces its world building effect on the target text readers. Also, the source text readers are likely to recognise this neologism as derived from Latin while it is unlikely that the target text

154 readers would recognise the reference to Latin in this case. However, the sound and foreign form of this word related to the magical world of Harry Potter can have an entertaining effect in the target text as the word looks and sounds unusual.

5.2.2.1.5 Transliteration of New Coinages

Transliteration is the strategy most commonly used with new coinages; it is found in 23 cases. It is used for new coinages that represent the names of spells. For example, when Hermione uses a spell to open a locked door:

ST: Hermione pointed her wand at the handle and said, Alohomora. (HPDH: 150) (HPDH TT: 147) و أشارت هرميون بعصاها الى مقبض الباب وقالﺖ: الوهومورا:TT Back translation: Then Hermione pointed with her wand to the door handle and said: Alohomora.

The source text uses a new coinage which is the name of a spell that opens locked doors. The neologisms ‘alohomora’ could have roots in Hawaiian ‘aloha’ which is a form of greeting. Its meaning is, however, not ‘hello’ or ‘goodbye’, rather, the word conveys ‘love, affection, peace, compassion and mercy’. This neologism may be entertaining in the source text because of its association with ‘aloha’. The target text readers are presented with a similar word written in Arabic letters, which is unlikely to have any meaning for them. However, the context of the story may facilitate their understanding, as the opening of the door after this spell is cast clearly illustrates its function. However, the intelligibility of this transliterated word is affected as the target text readers cannot access the association that the spell has in the original, and as a consequence, reduces the world building function of this word at the same time it can be entertaining in terms of presenting an unusual magical element.

A further case includes a spell that is used by one of the wizards when she wants to clean a cage:

ST: That could do with a bit of cleaning, too. She pointed her wand at Hedwig’s cage. Scourgify. (HPOP: 49)

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واألفضل أن نقوم ببعض التنظيف أﯾضا وأشارت بعصاها السحرﯾة نحو قفص هدوﯾج قائلة: سكورجيفاى :TT (HPOP TT: 49) Back translation: It’s better to do some cleaning too, and pointed her magical wand towards Hedwig’s cage saying: Scourgify.

The source text neologism is a new coinage that is created from the word ‘scour’ which in English means to clean a surface by rubbing it hard and usually involves using a detergent. The writer added a suffix, ‘-ify’, which indicates that something is made to be in a particular state or condition. This is a common word formation type in English; for example, ‘pure’ becomes ‘purify’ (to make something pure) and ‘clear’ becomes ‘clarify’ (to make something clear). In this example, it suggests that the cage was made clean and the meaning of the word itself implies that it was done thoroughly by rubbing and using a detergent. The target text uses the same word transliterated into Arabic and the meaning is offered in the context of the story, in which the state of the cage before and after the spell indicates its function. However, the nuanced description of how the cleaning process looked like is omitted. This means that the target text readers are presented with a slightly different image of this situation as they would not access the image of cleaning the cage thoroughly, instead they are presented with a general idea of cleaning. This could affect the creation of the magical elements in the story as nuances related to magic are not accessible to the target text readers.

Neologism Translation Strategies Related to Both Domestication

and Foreignisation

Only a few cases of neologisms were treated by both foreignisation and domestication. These were instances when a combination of strategies was used, as illustrated in the examples below.

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5.2.3.1 Combination

5.2.3.1.1 Combination of Derived Words

There were 3 cases of derived words dealt with by a combination of different strategies, all of which were both domesticating and foreignising. For instance, when Harry talks to Sirius about his difficult situation:

ST: Because the Ministry of Magic’s still after me, and Voldemort will know all about me being an Animagus by now. (HPOP: 76) :HPOP TT) ألن وزارة السحر مازالﺖ تالحقني، ومؤكد أن فولمورت قد عرف أننى انيماجوسTT:1 75) Footnote: Animagus,

االنيماجوس هو الساحر القادر على التحول الى حيوان معين باستخدام السحر وهي مهاره ﯾصعب على الكثيرﯾن التمكن منها

Back translation: Because the Ministry of magic is still following me, and Voldemort knows for sure that I’m Animagus1.

Back translation of TT footnote: Animagus or transformer, is a wizard who can transform into a specific animal using magic, which is a skill that most can’t control.

The neologism ‘animagus’ is a combination of the word ‘animal’ and the Latin word ‘magus’ meaning ‘a wizard’ which together create the meaning of ‘animal wizard’. The word is used to describe a wizard who is able to change into an animal. The original word is transliterated, but a footnote is added, in which the original word in English letters is introduced and the meaning of the neologism is explained to the target text readers. This enables Arab readers to learn the meaning and form of the English word. It is interesting that the writer did not explain this word explicitly in the source text, but the meaning can be inferred from the parts ‘anima’ and ‘magus’ which resemble words like ‘animal’ and ‘magic’ in English. In this case, domestication is used, as foreign words have been explained either in the form of a footnote or additional words. This has improved the understanding of this neologism as the meaning is provided in the footnote. Simultaneously, foreignisation is also applied in this case since the source text word is

157 presented in its original form in the target text. However, this has a reductive effect as the target text readers do not access the play on the original word and the connotations that the transliterated word has in the source text.

5.2.3.1.2 Combination of Existing Words with New Sense

There were 7 instances of existing words treated with a combination of strategies, of which 3 were related to both domestication and foreignisation. An example occurs when Mrs Weasley informs Sirius that there is someone trapped in a writing desk:

ST: It keeps rattling and shaking. Of course, it could just be a Boggart, but I thought we ought to ask Alastor to have a look at it before we let it out. (p.78)

تصدر عنه أﺻوات مزعجة. ربما ﯾكون عو1، ولكن األفضل أن نطلب من ألستور إلقاء نظرة عليه قبل :TT (p.77) أن نخرجه

اوTTfootnote: Boggart

وسبب اختيار لفظ العو أن في الخيال الغربي الشعبي هو كائن كابوسي ﯾختبئ في الدوالب واألطفال نيام وﯾخرج في الظالم ﯾأكل الطفل الذي ﯾعصى امه وهو ﯾذكرنا بفكرة ) اﺻمﺖ واال جاءك العو( في خيالنا الشعبي

Back translation: Annoying noises coming out of it. Maybe it’s an Auw, but it’s better to ask Alastor to take a look at it before we take it out.

Back translation of TT footnote: The cause of choosing Auw term is that Boggart in western public myth is a nightmare creature who hides in cupboards whilst children are asleep and comes out in the dark, to eat the child that disobeys his mother. He reminds us with the idea of (be quiet or the auw will come to you) in our Arabic myth.

The source text character refers to a shape-shifting creature that occupies wizards’ houses and takes the shape of their biggest fear. It is a dark creature since it feeds on the emotion of fear. The name of this creature has its roots in English folklore, where a household spirit called ‘boggart’ or ‘bug’, ‘bugbear’, ‘bogey’ or ’bogle’ appears and is considered a poltergeist that causes mischief. However, the idea of a ‘boggart’ and beliefs in this

158 creature are dated to the nineteenth century and are no longer common, except in folk stories. In the target text, a functional equivalent of the source text word ‘Auw’ is used, which is a concept of a folk poltergeist creature that children in the Arab world believe in. In addition, the footnote provides more information about the Western folk creature and explains how the Arabic one relates to it. Finally, the footnote offers the source text word in its original English spelling so the target text provides access to the original English concept. The choice of these two strategies allows children to relate the text to their own knowledge and use their imagination to represent it. In this case, the source text term was domesticated by offering the target text readers an equivalent concept from Arab culture and explaining it in the footnote, and at the same time foreignised by presenting the original, foreign word in its foreign form in the footnote. This combination of strategies does improve the comprehensiveness of the word as Arab children are presented with a familiar concept of a magical creature. Although the transliterated word reduces the cultural reference that the source text offers, the footnote does provide the explanation of the cultural reference found in the original word.

5.2.3.1.3 Combination of Multiple Processes

There were 9 examples of a combination of strategies being used to translate a neologism created through multiple processes, all related to both domestication and foreignisation. These were used with names of spells and magical creatures. A spell was translated by a combination of strategies when Harry talks to his friends about what happened last time he and Remus met Snape:

ST: He lost his hood during the chase. Sectumsempra was always a speciality of Snape’s (HPDH: 57) :HPDH TT) لقد وقع غطاء رأسه أثناء المطاردة، لقد كانﺖ تعوﯾذة سيكتو مسيمبرا دائما تخصص سناب :TT 58) Back translation: His head cover fell during the chase. The Sectumsempra spell was always Snape’s speciality.

The source text neologism ‘sectumsempra’ is a word derived from Latin used as the name of a spell. The word consists of ‘sectum’, which in Latin means ‘having been cut’ and ‘semper’ which in Latin means ‘always’. The spell in the source text was used to describe 159 the action of cutting Remus’s ear off, so the Latin words provide the meaning of the spell. In this case, the description of the whole situation provides the meaning of the spell. In the target text, this spell was transliterated, and the meaning of the spell is offered in the description of the whole situation. In addition, the word ‘spell’ was added to the transliterated word, which offers a clear indication of this word’s function in the text. This shows that both foreignisation and domestication have been used, as a foreign word was brought to the target text readers through transliteration and a familiar Arabic word, ‘spell’, was added. The result of this combination is that there is a reduction in the intelligibility of the whole situation as the target text readers do not know the reason for Remus losing his head cover. While the meaning of the spell in the source text gives some indication of what the spell does, in the target text the use of the word spell facilitates understanding of this situation.

A further instance is found with the name of a magical animal when Luna tells Hermione about an animal from which an explosion has come. She uses the name of a magical beast:

ST: Luna, we told you, Hermione called over to her. That horn exploded. It came from an Erumpent, not a Crumple-Horned Snorkack. (HPDH: 416) نادتها هرميون: لونا لقد أخبرناك. لقد أنفجر ذلك القرن، كان قرن إﯾرومبينﺖ وليس سنوركاك مجعد :TT (HPDH TT: 406)القرن Back translation: Hermione called her: Luna we have told you. That horn exploded, it was the Erumpent horn and not Snorkack’s curly horn.

The source text word describes a magical creature that resembles a rhinoceros whose horns contain a deadly fluid that causes a person to blow up if they get gored. The word was coined from the beginning of the English word ‘eruption’ meaning explosion with an added suffix, ‘–ment’. The first part of the new word offers a partial meaning related to the magical properties this creature has. The Arabic version provides a transliterated word that has no meaning in Arabic. However, the context makes it clear that the cause of the explosion was the animal offering the characteristic of the animal in the story. The word, ‘horn’, is added in the target text, which indicates the part of the animal’s body that has caused the explosion. This case presents a combination of domestication and foreignisation as the original, foreign word was transliterated into Arabic and at the same

160 time, a familiar Arabic word, ‘horn’, was added. By transliterating the original word, the target text reduces the world building function that this name of the animal has as the source text indicates that the animal has an explosive characteristic, which is not accessible to the target text readers who cannot access this meaning from a transliterated word.

5.2.3.1.4 Combination of New Coinages

Combination of strategies was used to deal with 8 instances of new coinages, of which 4 related to both domestication and foreignisation. For example, when Harry and his friends are trying to open the door to get inside a room in which they can find secret information about Snape’s past:

ST: The door’s been imperturbed. I’ve been flicking Dungbombs at it from the top of the stairs and they just soar away from it. (HPCS: 64)

(HPCS TT: 63) فالباب محمى بتعوﯾذة مانعه. ولكى أتأكد ألقيﺖ بعض الدانجبومب TT:2

او قنابل الروث وهي العاب نارﯾه سحرﯾه كرﯾهة الرائحة من عالم هارى بوتر:TT footnote Dungbombs

Back translation of TT: The door is protected by a prevention spell. And to be sure, I threw some Dungbomb2.

Back translation of TT footnote: Dungbombs or Dung bombs which are magical fireworks with a foul smell from Harry Potter’s world.

The source text neologism ‘dungbombs’ has been created by combining two English words: ‘dung’ which is an informal word meaning ‘the excrement of animals’ and ‘bomb’ which is ‘a container filled with explosive that is used to explode and destroy its target’. In the source text, the object is a bomb filled with animal excrement, which, when dropped, releases a putrid odour. The word has an entertaining and humorous effect in the source text as it uses the image of bombs filled with manure that wizards can use. Two strategies were used to deal with this neologism. The word has been transliterated to the target text and its meaning has been explained in the footnote at the bottom of the same page. In this way, the original word as well as its meaning are offered. However,

161 the explanation uses a more general idea of a bad smell rather than one that relates to manure, which is what the source text presents. Also, the word ‘dungbombs’ is presented in English letters in the footnote so the original form is available to the target text readers. This instance illustrates how domestication and foreignisation have been used together to render the neologism by presenting the foreign element through transliteration and including the original English word in the footnote, and domesticating by offering an explanation of the meaning in the footnote. The effect of this is that the target text reduces the world building function of this word as the associations that the source text word has are not accessible to the target text readers.

5.3 Summary

This chapter presented examples from the three books I analysed with commentaries that explain how idioms and neologisms were translated. The focus was on the translation strategies used with idioms and neologisms and the effects of the target text expressions in terms of domestication and foreignisation and in terms of target text as a literary text. The section on idioms shows that that domestication is the most common since the highest number of idioms was translated with a strategy related to domestication, which is paraphrase. The use of paraphrase seems to have resulted in making the target text natural and smooth to read. By contrast, the section on neologisms demonstrates that foreignisation was the predominant approach used with these elements since most of the neologisms were transliterated. The use of transliteration seems to have preserved the entertaining elements of the source text in the target text. The effects of the translation strategies will be tested on 15 Saudi children that participated in a small-scale interview. Chapter 6 will present the methodology and results of the interviews and comments presented by the participants in order to substantiate the suggestions made in this chapter about potential effects on readers of the strategies used in the translations.

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Methodology and Analysis of Interviews

The previous chapter presented the results of the comparative analysis of idioms and neologisms translation strategies in three books from the Harry Potter series that I chose as the corpus for my study. In this chapter, I test some of the suggestions made in the previous chapter about the potential effects that some of the translation strategies used by the translators into Arabic may have on a child readership. In order to investigate the potential effects, I carried out a small scale interview study with 15 Saudi children. This chapter is divided into two sections, one is methodology and the other one is the results of the interviews.

6.1 Interview Methodology

This section presents the methodology of collecting a set of data intended to supplement the data obtained from the comparative analysis of the original and the translation. These data were collected by interviewing a selection of recipients of the Harry Potter translation into Arabic in order to test claims made in the discussion chapter. The methodology consists of the following parts: research design, data collection method, data analysis, and ethical considerations.

Research Design

Because this study deals with cultural understanding between the Arab and Western world, which is a complex issue that requires careful consideration and in-depth interpretation of the participants’ views, a qualitative approach was chosen. Qualitative research ‘usually emphasises words rather than quantification in the collection and analysis of data… broadly inductivist, constructionist and interpretivist’ (Bryman, 2016: 380). In the case of this study, I will focus on the words used by Saudi children when answering the interview questions, which will provide a deeper understanding of the target text readers’ response to the translation strategies used by the translators.

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The decision to apply a qualitative approach is also related to the fact that using a quantitative approach would only provide the picture of the issue at a surface level. As Silverman (2014: 22-23) perceptively states, ‘qualitative research can offer a deeper understanding of social phenomena than would be obtained from purely quantitative methodology’. This is especially true in the case of readers’ reaction to a translated text, for example children, who use words to express their perceptions and experience of reading Harry Potter.

Data Collection Method

The decision to use a semi-structured interview stems from the needs of the study, which are to validate and substantiate claims about the reception of Harry Potter among Saudi children used in the discussion. The participants’ accounts given during the interviews will be used to support claims made about the effectiveness of translation strategies in terms of the translators’ potential aims and the actual response from the target text readers.

6.1.2.1 Semi-Structured Interviews

The semi-structured interview is a useful research method for data collection if a deeper insight into the participants’ views and fuller answers to questions are needed (Denscombe, 2017: 175-176). Interviews can take different forms, for example, structured, semi-structured or unstructured (ibid.). Structured interviews are characterised by having a fixed set of questions that are asked of the interviewees with the emphasis on ‘tight control of the wording’ and ensuring all respondents are faced with identical questions. Semi-structured interviews, on the other hand, allow more flexibility for both the interviewer and the interviewees. Although the interviewer has still a set of questions ready, they can alter and add extra questions to elicit valuable responses from the respondent. Finally, unstructured interviews go even further in the flexibility of the interviewer and interviewee as the researcher’s main role is to introduce the topic and be as little intrusive as possible, handing over the talking to the interviewee (ibid.). In this case, the choice has been made to adopt semi-structured interviews because this format allows the researcher to be flexible in investigating emerging topics and issues by asking further questions and eliciting more data (Miles and Huberman, 2014). This is especially

164 important in the case of child participants, as in this study, because they might find it hard to express their opinions precisely and extensively. Therefore, asking extra questions may help them to give fuller and more accurate responses.

Another advantage of semi-structured interviews is that they enable the interviewer to change the line of inquiry if interesting answers that demand follows-up have arisen. This allows participants to provide data that could be obtained by questionnaires (Fawcett and Pocket, 2015). This is especially true in the case of children being asked about their perceptions of and opinions about a book they have read. When children are asked open- ended questions, they can say as much as they want about the book. For example, when I asked ‘Can you tell me about your experience of reading Harry Potter books, was it enjoyable or not?’ the children could say whatever they wanted and this led to other questions like ‘What are the things you prefer or like most about it?’ where they could add more details.

Semi-structured interviews allow for a comparison of the answers across the participants because they follow the same general structure, and at the same time give the participants the freedom to present their own viewpoints (Bryman, 2016). This interview format was followed with each interviewee and was preceded by general, relaxing small talk to ensure the children were at ease and happy to engage in a conversation.

As can be seen in the interview questions sheet (see Appendix 18), the format followed a general to specific structure. It started with background about the children, their linguistic abilities and reading habits. Although reading habits are not strictly linked to translation, I included them in the interviews to provide an insight into the participants’ background and their reading and comprehension abilities in the case of the translation of Harry Potter. This was followed by questions that narrowed down the topic to their experience of reading Harry Potter and their reaction to neologisms and idioms, which was the most crucial part of the interview. The interview included ten main questions and some follow- up questions to most of them.

The questions in the interview were based on the discussion section of my thesis and the parts that needed exploiting and substantiating by adding responses from the recipients of the translated books. Some of the original questions were changed during the research

165 process, as a result of piloting the interview and checking how they worked with children and what data were obtained from them. For instance, at first I asked the children ‘can you give me some examples?’ but most of them found it difficult to come up with specific instances and this produced very little data for analysis. Thus, before the actual interviews I had prepared some examples that I could ask about to obtain the participants’ opinions (see Appendix 18). Similar changes were made in order to obtain information when the children did not fully present or did not justify their views, which is one of the advantages of piloting interviews (Walliman, 2011).

During the pilot study with four children, I also dealt with any potential problems that could arise when interviewing children such as difficulty comprehending some questions, digressions and dealing with the inequality between the interviewer and interviewee (Cohen, Manion and Morrison, 2013). In some questions, certain words seemed difficult to children so I rephrased them, for example, ‘what are the core factors?’ was rephrased into ‘what are the main reasons?’. As for the inequality between the interviewer and the interviewees, I tried to maintain a friendly atmosphere during the interview and used the comfortable and safe environment of the school’s visitation room to allow children to feel safe and willing to talk. Finally, as children are especially prone to digressing during interviews (Wray and Bloomer, 2012: 174), conducting the whole interview allowed me to be more precise when asking elicitation questions and later allowed me to take some control of the direction of actual interviews.

Initially, the participants for my interviews were children aged 10 and 11. This decision was made on the basis of the fact that Harry Potter as the main character is 11 years old in the first book in the series, which could suggest that this was Rowling’s intended readership age (Lennard, 2007: 10). The choice of this age group will also allow me to analyse how children understand the language of the target text, especially difficult features such as idioms and neologisms and the effect of the translation on their reception of the story and characters. However, after conducting the pilot study I limited the age of participants to 11 only. In my pliot study I asked my interview questions to two children aged 10 and the other two aged 11. When comparing their responses, I decided to carry out the main interviews only with children aged 11 as the two younger participants found it hard to express their thoughts clearly and confidently; they needed quite a lot of support and elicitation whereas children aged 11 were able to provide detailed and longer answers

166 to my questions. As a result, more data was obtained from the two older children. Finally, I had a chance to practise my interviewing skills and adapting to interviewing children, which helped me during the interviews for the main study.

These interviews were carried out in person, with the researcher, a child and a class tutor in one room. There was a 15 minute interview slot for each child, which took place within the two weeks when the research was carried out. The total number of participants was 15 and included only females. Although the initial plan was to interview both boys and girls, it was not possible to gain access to a boy’s school due to cultural restrictions in The Kingdom of Saudi Arabia where boys and girls study separately. This limitation could have implications for gender bias, as girls might have a different view on the story than boys. Thus, gender bias needs to be taken into account when looking at the results. The children were all aged 11 and attended primary school year 6. The choice of participants was mainly based on their experience of reading Harry Potter books; thus, only children who had read at least one book from the series were included in the interviews. Although the schools and head teachers were helpful and supportive, it was difficult to find children who had read Harry Potter as reading did not seem to be as popular as I had expected.

The interviews were conducted face-to-face, lasted for about 15 minutes and were carried out in Arabic for ease of understanding. Face-to face interaction allowed me to establish rapport with the child and ensure we understood each other (Opdenakker, 2006). For example, when I saw a child was confused or clearly had no idea what to say, I could react appropriately by repeating the question, giving the child more time to think and answer or asking a further elicitation question. As a result, the process of communication during the interviews went smoothly and ensured a clear understanding between the child and me.

6.1.2.2 Data Analysis

The main way of analysing the data obtained from the interviews was thematic analysis. This was chosen as the most suitable analysis method because it provided a ‘distinctive cluster of techniques’ (Bryman, 2016: 578) that I used in the analysis and which will be presented later in this section. The interviews were audio-recorded, and the recordings 167 were transcribed and then translated into English. After that, information in the translated text was coded into main themes that were related to the literature review (Flick, 2015). The coding was carried out by taking notes, and categorising pieces of information and expressions according to the topics related to the thesis in general and issues presented in the discussion that required substantiation via the participants’ responses. Relevant points were indicated by using coloured pens, and similarities and differences, repetitions and patterns were identified across different responses. These methods enabled me to build a framework for thematic analysis (Bryman, 2016: 579). The themes were then categorised into background information, children’s responses to Harry Potter, experience of reading Harry Potter and the children’s responses to foreignisation and domestication. The process of thematic analysis was carried out manually and the emerging themes can be found in Appendix 20.

6.1.2.3 Ethical Considerations

Carrying out the interviews involved considering ethical concerns. To carry out this study, I obtained ethical approval from the University of Leicester Research Ethics Committee (see Appendix 13) to ensure I followed the ethical framework of the University of Leicester. As this research was carried out in a school setting, permission from the school was needed as a means of gatekeeping. In order to obtain written permission, I contacted the head teachers and provided general information about the research and the dates of my field work. The same information was also sent to the Saudi Arabian Cultural Bureau in London to provide the details of my research, and permission was obtained.

As for the participants, taking part in the research was voluntary and based on informed consent (Denscombe, 2017: 332). In this study, all participants’ parents and teachers were given information sheets and consent forms to sign and were informed of the voluntary nature of participation, confidentiality and anonymity of the information and that they could withhold their agreement to their children’s participation at any time before the interviews (see Appendix 14). In addition, all child participants were given information sheets, which were written in language appropriate to their age so that they could understand it (see Appendix 15).

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Before conducting the interviews, I made sure that the children understood the structure and purpose of the research by allowing them time to ask questions and giving them the liberty to stop participation if they felt uncomfortable with the situation. The parents, teachers and children were able to access the interview questions beforehand so that they could make an informed decision about participating. In order to avoid any harm resulting from this research, the interview questions avoided any sensitive issues. After the interviews, the participants were able to access the recording and withhold their participation if they felt they did not want these recordings to be used in the analysis. As for confidentiality, data obtained that included personal information about the participants such as names, school name and other information were kept secure and confidential so that their identity was not revealed at any point during the research and later when writing up the thesis. This was done by using numbers or referring to the participants as ‘children’ in general.

6.2 Analysis of the Children’s Response to Harry Potter Series

This section presents the results of the interviews with Saudi children on their response to the translation of Harry Potter. The interviews addressed three main areas. Firstly, background information about the children was obtained. Secondly, I explored the children’s familiarity with and responses to the Harry Potter books and film. Finally, the children’s reactions to the use of foreignisation and domestication were explored. The children came from two schools, which I refer to as school A and school B. The participants are identified by a letter related to their school, and by a randomly assigned number. The results of the interviews are related to the comparative analysis findings to enrich the discussion in Chapter 7.

Background Information

Due to the fact that Harry Potter was translated from English into Arabic, children’s linguistic knowledge was an interesting point of investigation. The interviews showed that 10 out of 15 children had little knowledge of the English language. The following are responses in support of this:

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I know one more language a little bit, which is English, but I cannot speak this language fluently. (B6)

I know one more language, English, but not much because I just learnt it when I was in year four. (B3)

However, 5 participants revealed that they knew English very well, mainly because they had acquired it through means such as having lived abroad for a while or receiving tuition. One participant mentioned living abroad:

I learnt English because lived in Manchester with my family so I studied it at school in year 1 and 2. (B1)

Another interviewee attributed their knowledge to having private classes:

I developed my English language because my parents want me to learn English so I have a private teacher who comes to my home to teach me English. (A6)

Children’s Response to Harry Potter

As for the children’s experience of reading Harry Potter, there was a noticeable difference between their levels of interest in reading the whole series. The findings of the interviews showed that the first and the second novel in the series were the most commonly read as 6 out of 15 interviewees mentioned these two books. 3 children mentioned they read the series until book 5 and 2 children stated they only read the first book. One child participant said:

I have read only two books, the first and second, which are Harry Potter and the Philosopher’s Stone and Harry Potter and the Chamber of Secrets. (A2)

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By contrast, reading all the novels in the series was less popular with only 4 interviewees stating they had read the whole series:

Actually, I have read all seven books in the series. (B4)

With regard to the children’s enjoyment of reading Harry Potter, they mostly found reading Harry Potter interesting, with 13 out of 15 participants stating that they found it enjoyable reading. As one participant commented:

I think I really enjoyed reading these amazing books. (B4)

However, 2 participants were not interested in reading the books, as mentioned by one participant:

I didn’t really like reading the Harry Potter book, I found it boring. (A7)

Another point related to the children’s interest in Harry Potter is the features they found entertaining. Harry Potter presents a number of features belonging to a variety of genres such as the school story, the adventure story, mystery and fantasy (Fry, 2005: 1). The interviews confirmed that some of these features were the main factors that the participants found entertaining when reading the novels. Fantasy was one of the most interesting points highlighted by 12 interviewees. The following comments are examples:

I think the good thing about Harry Potter books is that the stories involve many exciting things such as wands, spells, magic school and magical creatures. (B6)

The thing that I prefer most in the book is the details, also, it’s a new idea, I haven’t heard about it and it includes magical words and places that are strange and mysterious. (B1)

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In contrast, elements of the school genre were mentioned by 3 interviewees and these elements were combined with fantasy. Children listed the aspects of presenting school life and relationships between the characters. These are examples of participants who described school elements:

What I really like about Harry Potter is that it has a lot of imaginary things and I like these things. Also, the story presents nice things such as relationships with people, friendship and problems at school. (A3)

I found the adventures of Harry the most exciting because he had all the adventures with his friends and did the magic without his parents, so it was an interesting story. (A8)

Children’s Reading Habits with Reference to Harry Potter Books

One important aspect of children’s reading habits is whether they read Harry Potter books aloud or silently and alone or with their parents. When it comes to the ways in which Saudi children read the Harry Potter series, two main modes of reading have been identified. Firstly, 13 participants indicated that they preferred reading the book alone, mainly because this way helps them to concentrate on the story, makes them enjoy the imaginary dimension of the story, and is their usual mode of reading. As some participants stressed:

I like to read it alone because it allows me to imagine what is going to happen and think of the settings as a reality. (B7)

I prefer reading Harry Potter alone, because it helps me to concentrate on the story and go in-depth in the story and imagine the magical creatures and spells, so that my imagination has no limits. (B5)

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On the other hand, there were 2 participants who preferred reading the books with their parents. They noted that:

I prefer reading it with my mum, I want her to correct my pronunciation when reading and help me with difficult words. I also want to show my mother that I read books. (B2)

I like reading it with one of my parents, because I sometimes need an adult, who could help me understand the text as it is written in formal Arabic, and sometimes I am not so confident reading and understanding the meaning of some words. (A8)

The second point related to reading habits that the interviews explored was reading silently or aloud. The main finding indicated that 11 out of 15 children read Harry Potter silently mainly because it is their preferred style of reading, it helps them to read quickly and makes them become immersed in the story. Comments illustrating these points are the following:

I enjoy reading it silently, so I can live the atmosphere of the story. (B3)

When I read silently I read quickly so I can read all the series, also sometimes I read at school or in my living room. If I read silently, I can do it anywhere without making a noise and disturbing anybody. (A6)

Interestingly, there were only 4 children who read the book aloud. Among their responses, improving their reading fluency and repeating new, often funny and magical words were the main reasons for their choice of reading aloud. Some participants revealed that:

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I usually read the book aloud, because my parents can hear if I read fluently or not and it has some funny words, it is interesting to read these words aloud. (B2)

To understand the story sometimes I read it aloud, so that I can repeat some spells and magical words when I play and use my wand. (A4)

Factors that Motivated Children to Read Harry Potter

The data revealed that there are different perspectives related to Saudi children’s motivation to read Harry Potter. One interesting finding is linked to the impact of the movie on the children’s motivation, as the Harry Potter books have been adapted into a movie series. As Madej (2003: 8-9) argues, one way of entertaining children and encouraging them to read books is through film adaptations. The results of the interview demonstrated that there was a significant impact of watching the Harry Potter movie on reading the book, because 13 children had seen the movie before they read the book. This suggests that most children were influenced by the film to read the book, as the following examples of participants’ statements indicate:

I think after I watched the movie I became interested and excited to read the story to know everything in detail as the movies often miss out some parts. (A3)

Watching the movies built up my interest in such kind of a story. It helped me to know about the plot so when I went to the library I found myself choosing Harry Potter, maybe because I knew what kind of a story I would read. (B6)

However, only 2 interviewees enjoyed reading the book and then watching the film. As they mentioned:

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After reading the story I found that there are some parts in the book I didn’t get so I tried to watch the movie to help me understand magical elements such as spells and creatures. (B5)

I always try to read the books first and then watch the movie. It helps me to gather information before I watch a film version. I first like to imagine the story and create my own opinion, and then I watch the film because it is nice to see how they present these magical creatures. (A7)

A different point of view is related to children’s interest in the entertaining features of the story. The results showed that 9 out of 15 participants were motivated to read the books because they considered it an entertaining series, which could be read for pleasure in their free time. This suggests that children’s intrinsic motivation played the main role in encouraging them to read the Harry Potter books and in making them immersed in the world of the story (Colombo and Landoni, 2014: 1). The following account gives more details of this:

The main thing that motivated me to read the story was that it is an entertainment book, also it is so popular most people know it. I want to challenge myself to read all the series. (A6)

Another participant who has a similar opinion stated:

I was encouraged to read Harry Potter by the idea that it is different from other books, it has special characters and it introduces a wonderful magical world. Also, I am a fan of fantasy. (B7)

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However, another major reason for reading Harry Potter was the impact of friends, family and the popularity of the series, which was mentioned by 6 interviewees. The following viewpoints by some of these participants present their perspective:

The main reason that prompted me to read it is because it is a famous story, all people know it, also my friends say it is a good book to read. (A2)

I was interested to read the books because some of my family members and relatives usually talk about it when we gather. They said it is a great book, if I read it I will love it. This encouraged me to read it to see if the book is as wonderful as they say. (A8)

Children’s Response to Domestication and Foreignisation

With regards to foreignisation which in the translation was mainly presented through neologisms, the study found all 15 interviewees strongly believed that strange and unusual words are used to describe the magical world of the story. When asked about their impression of these words, all children stated that they are entertaining words. 6 participants revealed that they liked them because they were funny and made them laugh. The following example elucidates the reason for the children’s preference for foreignised elements in the form of transliterated neologisms:

They are funny words that stay in my head so I always repeat them. When I play with my friends, I use my wand and say Avada kdavr. (A7)

In addition to the funny aspect of neologisms, 5 participants appreciated the sound effects of neologisms and identified this as the main reason why they like them. One participant expanded on this point stating:

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I like them because they sound nice when I pronounce them and they make me laugh, especially because when wizards use them, amazing actions happen. (A4)

A further factor that makes children fond of neologisms in the text that was pointed out by 4 participants relates to their unusualness. As one interviewee stated:

These words are very special as they are new words. I have not heard them before and they are so unusual. (B4)

In relation to the intelligibility of neologisms, Epstein (2012: 102) believes that neologisms are a challenging feature of a text for children to understand. The responses of the participants support that claim as 11 out of 15 participants found neologisms difficult not only to comprehend, but also to pronounce and write. One participant reported that:

They are difficult to understand because it is difficult to pronounce, write and understand them. But after reading the explanation or description what will happen when he says the words I can understand them. (B1)

Another participant made a further comment that supports the above finding:

I found them difficult, because they are spells and these are usually tricky to get right. I did not understand them because they may be words from other languages so they have no meaning in Arabic. (B5)

By contrast, 4 participants reported that they found neologisms easy to comprehend and stressed that this was due to the context and plot of the story. The following comments illustrate this:

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I think I found them easy. Sometimes I enjoy practising them in front of the mirror using my own wand. Also, I could understand them because something will actually happen after these words are used in the story so I feel like the magic is indeed real. (B7)

I could understand these words because I watched the movie before I read the book, so when I was reading the story I had already had a picture of these magical creatures. (A5)

In terms of domesticated elements, which were presented in the form of paraphrased idioms, all participants reported that they did not identify any special feature or characteristic of these words, found them easy to understand, and they sounded familiar. This can be seen in the following comments:

I can understand their meaning and I did not notice any difference between these words and the rest of the text because these words are normal to me. (A8)

I did not struggle to understand them when I was reading the story and I have heard these words before, so I know their meaning well. They do not sound new to me. (B1)

6.3 Summary

This chapter presented the methodology and key results of the interviews carried out with the Saudi children. It has offered insight into the children’s response to the translation of Harry Potter, which will serve the purpose of enriching the discussion of translation strategies, and the children’s response to foreignisation and domestication. In Chapter 7, the results from this and the previous chapter will be gathered and discussed.

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Discussion of Findings

This study set out with the aim of examining the predominance of domestication or foreignisation by examining translation strategies of idioms and neologisms in the three books in the Harry Potter series. In Chapter 5, a comparative analysis of the source and target text was carried out, which was done to establish idiom and neologism translation strategies, and the relation between these strategies and the concepts of domestication and foreignisation. In Chapter 6, I displayed the results of interviews with Saudi children, which provide insight into the reception of the translation and the effects of domestication and foreignisation on the target text readers. The purpose of this chapter is to provide an in-depth discussion of the results of the analysis and interviews, in relation to the studies discussed in the literature review, and the research questions posed at the beginning of this thesis. This chapter is divided into four subsections. The first section presents the translation strategies applied to idioms and neologisms. The next section discusses the predominance of domestication or foreignisation. After that, the factors that may influence the translator’s choices are examined, which is followed by the effects of foreignisation and domestication on the Arab world.

7.1 The Strategies Applied by the Translators

The present study was designed to determine the predominance of domestication or foreignisation in the translation of the three books from the Harry Potter series, which is done through an investigation of idiom and neologism translation strategies. Pie Chart 1 summarises the strategies used when translating idioms according to the frequency of use of each strategy in percentages.

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Book 2 Book 5 Book 7

Paraphrase Paraphrase Paraphrase Deletion Deletion Deletion Combination Combination Combination Replacement Replacement Replacement Literal translation Literal translation Literal translation

Pie Chart 1. The frequency of idiom translation strategies in the three books from the Harry Potter series.

The most striking finding regarding idioms was that the main strategy used in the three books was paraphrase, which was lower in the second book (49 per cent) when compared to books five and seven that have an almost equal percentage of paraphrase use and equals 72 and 71 per cent respectively. It was mainly used with figurative idioms while only occasionally applied to semi-figurative idioms and variants of an existing idiom (see Chapter 5, Table 11). When paraphrase was utilised, the meaning of the source text idiom was presented to the target text recipients. This is likely to have facilitated the target text readers’ comprehension of the expressions, which is supported by the results of the interview, where all 15 participants stated that they found paraphrased elements easy to understand. As child participant A8 stated ‘I can understand their meaning’ (see Chapter 6). In addition, the extensive use of paraphrase has resulted in domesticating the style of the target text, which changed from informal and naturally sounding into a neutral and formal style. This was achieved by the use of neutral and formal Arabic words by using Modern Standard Arabic in the paraphrase to exchange colloquial source text idioms. Domestication was a result of paraphrasing examples that were related to the source text culture and used for humouristic or entertaining effects. For example, the idiom ‘I’ll eat my kettle’ was paraphrased by ‘I bet nothing like that had happened’ (see Chapter 5, section 5.1.1.4.3). This could affect Arab readers’ enjoyment of the story as they might

180 not access the source text’s humorous idiom that uses wordplay on a well-known English idiom.

Another interesting finding is that deletion was used in 5.7 per cent of all idioms, which were mainly figurative idioms. This strategy was particularly common in the translation of the second book which comes in the middle of the series, which accounted for 24 per cent of idiom instances in that book. The use of deletion resulted in domesticating the target text by simplifying the source text through a reduction of the plot, events, characterisation and dialogues (see Chapter 5, section 5.1.1.2.1). This means that the Arab readers are given an incomplete picture of the story because certain nuances regarding the characters and situations are omitted, which affects the construction of the textual world. In addition, domestication by deletion of idioms in the second book could affect continuity in later books, especially if they are repeated later on. For example, the idiom ‘what the devil’ used by the same character is deleted in the second book but translated literally in the fifth book (Chapter 5, section 5.1.1.2.1). This could have an effect on the consistency of presenting and building this character in the story as the same character is presented neutrally in the second book, but in a more expressive and possibly unfavourable way in the fifth book. However, deletion of idioms is hardly ever found in later books (1.6 per cent in the fifth book and 2.1 per cent in the seventh book) and idioms deleted in the second book do not occur in the other two books expet for the instance above. This means that the reductive effect and lack of continuity are hardly visible in the other two books. Studying these three books, with a considerable amount of neologisms and idioms, from different points in the series establishes a better idea of how the different strategies, in this case deletion, have been used throughout the series as a whole. Interestingly, the tendency to use less deletion in the fifth and seventh book could be related to the fact that the readers of Harry Potter grow up as the series progress, so the later books present more complex plots and characterisation of protagonists that older children and teenagers could understand. Therefore, books five and seven present more detailed translations when compared to book two.

Similarly, the combination strategy of paraphrase and deletion is strongly related to domestication (57 per cent) with only 3 per cent of instances being related to

181 foreignisation. It was the second most common strategy used with idioms, most frequently used in the second book (17 per cent), while it is used less frequently in the fifth book (12.2 per cent), and in the seventh book (8.4 per cent). It was mainly applied with figurative idioms and variants of an existing idiom. 37 out of 40 instances of combination of strategies used with idioms (see Appendix 1, 3 and 5) illustrate that this strategy shows features of domestication. This is mainly due to the fact that in 24 instances, the combination of strategies involved paraphrasing the source text idiom and including an addition, either an in-text addition or a footnote (see Chapter 5, section 5.1.1.1), both of which are related to domestication. The use of combination domesticated the target text by becoming neutral/ formal and reducing idioms’ entertaining function by presenting their meaning only. However, there were 2 cases of combination being related to both approaches, both found with variants of existing idioms and included the use of footnotes as in ‘hold yer Hippogriffs’ which included domesticating the idiom by replacing it with the Arabic equivalent and adding the meaning in footnotes, and at the same time presenting the foreign element by transliterating the word ‘Hippogriff’(see Chapter 5, section 5.1.3.1).This combination resulted in the target text maintaining its entertaining function while being intelligible to the target text readers. Finally, 1 instance of combination relating to foreignisation was also found with a variant of an existing idiom. This was in the case when a play on the English idiom ‘lost a Knut to find a Galleon’ was translated by transliterating the wizarding currency ‘Knut’ and ‘Galleon’ and translating the words ‘lost’ and ‘find’ literally (see Chapter 5, section 5.1.2.2). The effect of foreignising this instance is that the target text becomes more entertaining by including new and magical ideas.

In addition, the results indicate that replacement was the least common strategy used to deal with idioms and accounts for a similar percentage in all three books, which was 5.2 per cent (second book), 4.4 per cent (fifth book) and 4.2 per cent (seventh book). When idioms were replaced with the Arabic equivalent expression, these were often expressions that presented a similar metaphorical image with a slight change in the words used (see Chapter 5, section 5.1.1.5). By this means, the target text readers are provided with the meaning and may be entertained in much the same way as the readers of the source text, for instance, the Arabic expression ‘in the pocket’ provides a familiar image to Arab readers and sounds natural (see Chapter 5, section 5.1.1.5.1). The use of the Arabic

182 equivalent expression has resulted in domesticating the target text as there is no sign of a foreign expression and the source text cultural reference is lost.

The use of literal translation is higher in the later books in the series as it was found that this strategy accounted for 3.5 per cent (second book), 8.8 per cent (fifth book) and 13.6 per cent (seventh book) of all examples in each book, which were mainly figurative idioms (see Chapter 5, section 5.1.1.3). 26 out of 31 cases were found to be more related to domestication although the target text provides the literal meaning of the source text words, and there is no sign of any foreign features being presented to the target text readers. This occurs only in cases where source text and target text readers are familiar with a similar image so that the literal meaning of the source text idiom is known to Arab readers, for instance, ‘pay the price’ (see Chapter 5, section 5.1.1.3.1). The domesticating effect of using literal translation is that the meaning is clarified by presenting a familiar expression to the target text readers, but the style of the target text has become formal. This finding conflicts with that of Penttila and Muikku-Werner (2012: 133), who found that word-for-word translation is mainly seen as foreignisation. However, there were 5 instances of literal translation that related to foreignisation, all of which were variants of an existing idiom. For example, the source text idiom ‘one’s stomach sinks’ was translated literally, which resulted in presenting a foreign, new image to the target text readers (see Chapter 5, section 5.1.2.1). The effect of bringing foreign images to the target text is that it reduces understanding (unless facilitated by the context), but also these elements can be entertaining to the target text readers as new and unusual expressions.

Some translation patterns were identified during the analyses. Only 2 cases of idioms were repeated in all three books in the series but rendered using different strategies (see Appendix 7). There are 15 instances of idioms being repeated in two books from the series, out of which 9 idioms were translated using the same strategy (see Appendix 8). Nevertheless, there were minor differences related to the choice of words. For instance, there are 6 cases of paraphrasing the same idiom using different expressions to render the meaning from the source text (see Appendix 8), and there were 7 cases of the same idiom rendered using a different strategy. This could have an effect on the consistency of translating idioms as the source text readers can recognise the same idioms being used in

183 different books in the series while thetarget text readers might not make the link between the different expressions used to translate the same idiom. This also supports the findings of previous researchers that translators of the Harry Potter series have worked separately despite being employed by the same publishing house (Dukmak, 2012: 223; Al-Daragi, 2016: 320). Interestingly, although there seems to have been no direct cooperation among the translators and editors, there was a considerable improvement in the completeness of the presentation of the plot, the characters, and the events of the story by including details that describe the world of Harry Potter in the fifth and seventh book when compared to the second book (see Chapter 5, section 5.1.1.2.1). This supports Al-Daragi’s (2016: 322) finding that books five to seven show a greater degree of ‘fullness’ of the story.

Regarding neologisms, Pie Chart 2 presents the main strategies used by the translators in the three books I analysed. This chart will allow me to discuss the use of each strategy with accurate percentages.

Book 2 Book 5 Book 7

Transliteration Transliteration Combination Combination Functional equivalence Transliteration Functional equivalence Descriptive equivalence Combination Descriptive equivalence Generalisation Functional equivalence Generalisation Deletion Descriptive equivalence Deletion Literal translation Generalisation

Pie Chart 2. The frequency of neologism translation strategies in the three books from the Harry Potter series

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The main strategy identified in all three books is a transliteration, the frequency of which was similar in the second book (54.2 per cent) and the fifth book (52.5 per cent), but it was much higher in the seventh book (75.7 per cent). It is interesting to note that neologisms have a world-building function in the story, and the findings show that the target text preserves these elements through transliteration. Using this strategy resulted in foreignising the target text by offering the form of the source text neologism (in Arabic script) and its function in the text. For instance, the transliterated words give an indication of whether they are a spell or an object, but these words have no meaning in Arabic, so the meaning that the source text readers can access through association with existing English words is not accessible to Arab children. This affects the intelligibility of the target text, as the target text readers need to rely on the context and their knowledge of the story to understand these words. In addition, the traces of other languages or cultures found in the original words were removed from the target text. For instance, the target text readers cannot access the association between the neologism ‘crucio’ with crucifixion in the Christian religion that the source text readers might have (see Chapter 5, section 5.2.2.1.1). This has a reductive effect on the world-building function of neologisms as associations found in the names of characters, places and objects are not accessible to the target text readers. However, some Arab children, who know English, might recognise the transliterated neologisms and relate them to other English words they know and be able to partly understand their meaning. This might, for example, be true in the case of the 5 out of 15 Saudi children who stated that they know English well (see Chapter 6). Although transliteration affects intelligibility and reduces the world-building function of neologisms, the target text readers can still enjoy the foreignness of these expressions to an extent as being mysterious and coming from the magical world.

A combination of strategies was more frequently used in the fifth book (25.6 per cent) when compared to the second book (5.7 per cent) and the seventh book (4.5 per cent). 20 out of 25 instances of a combination of strategies showed features of both domestication and foreignisation (see Appendix 12). These cases include translation by transliteration of a neologism and using footnotes to explain the source text expressions which is done by either providing the readers with a similar expression in the target text or clarifying

185 the meaning or function in the text. For instance, the source text neologism ‘Animagus’ (see Chapter 5, section 5.2.3.1.1) was transliterated in the main text, and its meaning was explained in the footnotes. This resulted in domesticating the neologism by clarifying the meaning in the footnotes and foreignising the word by presenting the form of the original in the target text. This combination of strategies has an effect on improving the intelligibility of neologisms, but at the same time it reduces the world-building function of these words, as the exact meaning and associations that are present in the source text word, in this case, ‘animal’ and ‘magic’ is not accessible to the target text readers. These findings show that a combination of domestication and foreignisation has been used to render one expression. This finding is in line with the long-established observation that domestication and foreignisation may be used together in one text (Baker, 2010: 128), but it adds to this point that both approaches can be used together on a word level and in the same example.

A strategy related to domestication was functional equivalence which was used more frequently in the second book (17.1 per cent) and the fifth book (11.5 per cent) in comparison to the seventh book (4.5 per cent).This strategy presents the function of the source text neologism using Arabic words that have a similar function in the target text. For example, the source text spell ‘cruciatus’ curse was exchanged with its functional equivalent ‘torture spell’ (see Chapter 5, section 5.2.1.4.1). The use of this strategy has an effect on the target text’s understanding, as the functions of spell and magical objects are provided to the target text readers. They could also be appealing to Arab children as they present the magical world through familiar expressions. However, this also results in spells that have a similar meaning to the source text words but cultural connotations not being fully accessible to the target text readers, as the connotation of the ‘cruciatus curse’ is lost in translation.

Similarly, the strategy of descriptive equivalence, which was used in varying frequency in the three books, ranging from 5.7 per cent (second book), 3.8 per cent (fifth book) to 10.6 per cent (seventh book), is related to domestication as the strategy describes the source text neologism to the target text readers in Arabic words. For instance, the source text neologism ‘entrail-expelling curse’ was translated by providing a long description of

186 the spell ‘the expel the intestines out of the body spell’ (Chapter 5, section 5.2.1.3.1). The use of such long descriptions has clarified the meaning to the target text readers and improved the comprehension of the target text. However, it has affected the entertaining function of the magical elements such as spells and objects which do not have entertaining ‘names’ as in the source text but are only described. In addition, this is not coherent, with most cases of spells and magical objects that are usually exchanged with one or two words while this case shows that descriptive equivalence can result in losing the conciseness of the source text spells.

Less common strategy related to domestication was generalisation which was at a similar percentage of use in all three books and accounted for 2.8 per cent (the second book), 3.8 per cent (the fifth book) and 4.5 per cent (the seventh book). Similarly, deletion is a strategy related to domestication. It was used most frequently in the second book (14.2 per cent), but it was applied very rarely in the fifth book (1.2 per cent), and there were no instances of this strategy in the seventh book, which shows that the effects of deletion are more noticeable in the second book (Chapter 5, Table 12). The use of both generalisation and deletion has affected the world-building function of the source text neologisms by reducing characterisation of protagonists and limiting the meaning of spells and objects. Domestication was achieved by removing elements of the magical world such as names of wizarding currency or generalising terms that have connotations important for the story in the source text, for instance, the degrading connotation of the word ‘muggle’ was replaced by a general word ‘public’ (see Chapter 5, section 5.2.1.5.2). Both strategies have a reductive effect on the target text that either does not present the neologisms which have a world-building function or removes characteristics of protagonists and objects.

The least common strategy was literal translation, which was only found in the fifth book in 1.2 per cent of neologism translation strategies, while there were no cases of this strategy in the second and the seventh book. The only instance of literal translation is with the spell ‘body bind’ (see Chapter 5, section 5.2.1.6.1). The use of this strategy has resulted in the target text domesticating the source text relevant neologism by proving its literal meaning without any new concepts being conveyed to the target text. At the same

187 time, providing the name of the spell could be amusing to the target text readers as it presents a magical element of the story.

Analysing the patterns indicate that there is only 1 neologism that is repeated in all three books and has been translated using transliteration. In contrast, another case of a neologism repeated in three books was rendered using a different strategy (see Appendix 9). 18 cases of neologisms repeated in two books were translated using the same strategy, mostly transliteration, whereas 7 cases of neologisms repeated in two books were translated using a different strategy. As the magical dimension is one of the main elements of the story, translating the same neologisms using the same strategy can improve the coherence of the text. A similar point is made by Al-Daragi (2016: 290), who found that inconsistent translation can have a negative impact on the cohesion of a text.

7.2 The Predominance of Domestication or Foreignisation

The objective of this study was to investigate how the approaches of domestication and foreignisation have been applied in the three books in the Harry Potter series in order to determine the predominant approach. This was done by relating idiom and neologism translation strategies to these two approaches. The main finding was that a clear categorisation of translation strategies was not possible as they do not belong to two distinctive groups, but, rather, relate more to one or the other approach. This supports Ambrosiani’s argument (2012) that domestication and foreignisation do not tend to have clear-cut boundaries.

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120

100

0 Paraphrase Combination Literal Deletion Replacement translation

Domestication Foreignisation Both

Bar Chart 1.The relation between idiom translation strategies and foreignisation and domestication in the three books from the Harry Potter series.

The Bar Chart 1 illustrates that deletion, replacement and paraphrase were more related to domestication since all cases of idioms being translated by these strategies have been found to be domesticated in this study. This confirms the initial relation in Chapter 4 that by adding, deleting, paraphrasing and replacing, foreign elements are removed from the target text. In the case of a combination of strategies, the results show that my initial relation of this strategy to both approaches is only partly true, as 57 per cent of examples when a combination of strategies was used are related to domestication as presented above. Interestingly, 40 per cent of a combination of strategies is related to both domestication and foreignisation, while only 3 per cent is related to foreignisation. As for literal translation, an unexpected finding is that literal translation, which I expected to be related to foreignisation, was, in fact, more related to domestication in most instances (83 per cent) with 17 per cent of foreignised examples.

Similarly, in the case of neologisms, I determine the predominance of domestication or foreignisation by relating the neologism translation strategies to these two approaches. The analysis demonstrated that the initial relation between the neologism translation

189 strategies and the two approaches was mainly true as presented in the following Bar Chart 2:

120

100

Domestication Foreignisation Both

Bar Chart 2. The relation between idiom translation strategies and foreignisation and domestication in three books in the Harry Potter series.

As Bar Chart 2 shows, the main finding is that all cases (100 per cent) of transliteration are related to foreignisation. By contrast, all cases of functional and descriptive equivalence, addition, generalisation and deletion have been found to be related to domestication in this study. The above findings support the initial relations between these strategies and domestication and foreignisation from Chapter 4. Combination of strategies was found to be related to both approaches, which was found in 74 per cent of cases, and this partly confirms the initial relation. However, there were 26 per cent of cases that were related to domestication, which the initial relation did not envisage. Finally, literal translation was initially related to foreignisation but was found to be more related to domestication as the only case of this strategy was domesticated.

In the case of neologisms, the issue of double foreignness also needs to be taken into consideration. One foreign aspect found in the case of neologisms is that they were created on the basis of Western culture and languages. Another foreign dimension is that

190 all these new words presented magic that is specific to the Harry Potter world. The study shows that the main way in which foreign elements were partly presented to the target text readers was by transliterating neologisms (see Chapter 5, Table 12). Nonetheless, as Mdallel (2004: 5) argues, referring to the Arabian Nights, magic is not a new or foreign concept to Arab children. In addition, a number of Arab readers might have seen the movie or come across the most popular neologisms in some other way before reading the book, as shown by the interviews: 13 out of the 15 Saudi children interviewed had seen the movie before reading the book (see Chapter 6). This shows that the concept of magic could be familiar to the target text readers. However, the issue of double foreignness is found only in the magical elements in Harry Potter that are related to Western culture and languages which might not be fully accessible to the target text readers as although they could understand that these are magical elements, the specific characteristics that are found in their meaning and connotations might be reduced or not found in the target text.

As for the predominance of foreignisation or domestication, the findings reveal that domestication was the predominant approach in the case of idioms while foreignisation was more commonly used with neologisms (see Chapter 5, Table 11 and 12). In addition, the analysis has indicated that domesticating idioms through the strategy of paraphrasing has resulted in a text that seems natural and easy to read for children, while foreignising neologisms has had an entertaining effect on the readers. This mirrors Tymoczko’s argument (2000: 38) that the best option is to balance domesticating to make the text acceptable to the target audience with foreignising to keep the text interesting as well as Venuti’s position (1995: 20) that is presented with foreign elements can be enjoyable. All the 15 Saudi children I interviewed said they found neologisms interesting (see Chapter 6).

It is worth mentioning that relating idiom and neologism translation strategies to domestication or foreignisation has been found to be an effective way to investigate the predominant approach. Looking at specific cases of idiom and neologism translation allowed me to establish the predominant approach accurately in the case of these two aspects, whereas investigating domestication and foreignisation in whole texts might lead to overgeneralised findings. This supports the arguments made by Tymoczko (2000), who suggests that domestication and foreignisation are easily traceable at sentence level,

191 referring to specific translation examples, while it is much harder to generalise these two approaches with reference to whole texts.

Regarding the use of domestication and foreignisation in children’s literature, the current findings are consistent with previous research in this field. The analysis reveals a combination of domestication and foreignisation in the translation of the three books. This is in agreement with a number of studies on children’s literature that have found that domestication and foreignisation can complement each other rather than be seen as two separate approaches (Wu, 2010; Ambrosiani, 2012; Fathalipour and Akef, 2013). Domestication has mainly been used by paraphrasing idioms, which resulted in fluent and easy to read text. This agrees with Oittinen’s (2000) statement that domestication is commonly used in children’s literature as an effective approach to facilitate children’s comprehension. However, domestication through deletion was found in the translation of the second book, which resulted in a shorter and simplified version of the story for Arab children, in which some of entertaining elements were removed when compared with book five and seven (see Appendix 1, 2), for example, in descriptions of school life and relationship between the main characters (see Chapter 5, section 5.1.1.2). This agrees with the suggestion that overdependence on domestication may result in the text losing its entertaining function (Coles, 2011; Al-Daragi, 2012). Furthermore, in terms of studies on domestication and foreignisation specific to Harry Potter, the results of this study are consistent with previous research. I found that domestication is the predominant approach when dealing with culture-bound expressions, which are idioms in the current thesis. This is in accord with the previous study showing that culture-specific items in certain parts of the Harry Potter series were mainly domesticated (Yuliasri and Allen, 2014).

7.3 Factors that may have Influenced Translators’ Choice between Domestication and Foreignisation

The discussion above of idiom and neologism translation strategies, and the predominance of domestication or foreignisation, as well as the literature review, suggest that the factors that may have influenced the translators’ choices include: didacticism,

192 entertainment, influence of foreign literature, the publisher, target text reading habits and the source text genre.

Didacticism

Didacticism has been found to be present in the Arab translation in two main ways, one in the form of teaching Arab readers and the other in the form of removing elements of the source text culture in the case which present topics and issues that are not in line with the target text cultural values and beliefs. Efforts to teach Arab children about both their own culture and the source text culture are evident in the translation of the fifth book, which contains a number of neologisms that have been explained using footnotes. These normally provide readers with the original word or expression and then explain its cultural associations in English culture as well as at times providing references to Arab culture if any related phenomena exist. An illustration of this is an existing word with a new sense that was presented in the text as well as the explanation of the original word and its meaning in the Western culture was provided in the footnotes. For instance, the word ‘Boggart’ was explained in footnotes in the following words ‘in western public myth is a nightmare creature who hides in cupboards whilst children are asleep and comes out in the dark’ (see Chapter 5, section 5.2.3.1.2). This supports Marjiyyah (2001: 96) argument that children’s literature can constitute a link between Arab and foreign cultures created by making the target text suitable for the intended readers. As a result, explaining the meaning of foreign elements affords Arab children a better understanding of English culture.

Didacticism also exists on a linguistic level. Translation of neologisms illustrates this, as there are instances of English words in the original form being explained in the footnotes in the fifth book, which can be regarded as a means of teaching Arab children English words and their connotations. This again confirms the educational aim of extending children’s linguistic abilities by exposing them to English words and their meanings. This is reminiscent of one of the aims of translating for children, which is enriching the readers’ linguistic skills (El-Kholy, 2006: 77). Similarly, Arab readers’ linguistic ability may also be enhanced when they are presented with equivalent Arabic idioms, which is

193 consistent with Kilani’s view on the importance of using children’s literature as a means of teaching Arabic language (Abu-Naser, 1996: 189). In addition, in book seven, footnotes were used to explain the meaning of Arabic words. Although these examples are not related to idioms and neologisms, they clearly emphasise the presence of the educational aim.

Attempts to teach morality have also been identified in the themes presented to the target text readers. The target text follows the source text in terms of teaching child readers moral values such as loyalty, friendship, and responsibility, and moulding them into good human beings. A number of idioms used to describe characters, their relationship with others and their moral conduct have been paraphrased (see Appendix 11). As a result, the target text offers both the meaning of the source text idioms and provides valuable morality lessons that include issues such as: good behaviour and fair play as in the example ‘low blow’, being loyal to one’s friends and family as in ‘follow one’s footsteps’ and ‘be in the same boat’, and being responsible as in ‘pay the price’ (see Chapter 5). In addition, didacticism is not limited to being found in single expressions but is broadly portrayed in presenting the fight between good and evil through the plot of the whole story by describing characters and their actions when they are faced with moral dilemmas. This echoes claims by, e.g. McKenna (2011: 359) and Knowles and Malmkjær (1996: 24) that the fight between good and evil is a feature of didacticism that is often presented through the characters being heroes and villains. However, contrary to many classic stories for children, the morality in Harry Potter is presented as not only a clear cut contrast between good and bad characters, but also as a feature that has many shades, for instance by showing that one character can have both good and bad features and is often faced with the choice between the two.

However, didacticism has been found in the form of deletions and reduction of the story especially when it presents problematic issues related to the representation of authority figures, alcohol, parts of the human body and negative remarks about others, which could be generally considered either taboo topics or not suitable for children in the target text culture. This has been found in the previous study on Harry Potter by Al-Daragi (2016: 328) who argues that the amount of deletion in a translated text for children reflects how

194 strong the translator’s tendency towards didacticism is. She emphasises that this is the case when deletion is used to ‘adapt to norms and conventions of the receiving culture’ (ibid: 324) and in the case of Arabic translation includes reference to culture-specific items and unsuitable topics such as swear words, taboos, negative remarks, and presenting authority figures in a negative way. In the translations under scrutiny here, taboo topics that are problematic in the target text culture have hardly ever been found in idioms and neologisms in the three books analysed and have been either deleted or reduced (4 cases of idioms and 4 cases of neologisms). This is done by a reduction of characterisation of protagonists in the second book, especially if the story presents language and behaviour that is not in line with the target text cultural norms and conventions. For example, the degrading connotation of neologism ‘muggle’ is removed and exchanged by the neutral word ‘public’ and the idiom ‘what the devil’ is deleted (see Chapter 5, section 5.2.1.5.2 and 5.1.1.2.1). In addition, didacticism was evident in the translations of the three books in examples, which preserved Arab culture and traditions, and in the removal of items specific to foreign cultures. This is visible in deletion of neologism ‘butterbeer’, which refers to alcoholic drink normally drunk in the Western world but not allowed in the Arab world for religious reasons (see Chapter 5, section 5.2.1.2.3). This is in agreement with the statement that didacticism is a means of preserving Arab culture by relating the contents of a story to strictly Islamic culture (Zalat, 1994a: 171; Al-Manaa, 2001: 202). Similarly, in situations that present negative remarks towards others, the language has been toned down by exchanging taboo elements with a more neutral expression. For example, the idiom ‘sun shone out of one’s orifice’ includes a reference to part of the body that is considered taboo in the target culture, and it was exchanged by a neutral word ‘mouth’ (see Chapter 5, section 5.1.1.1.3). This means that ideas, characters and events presented in the source text are not developed or present in the target text if they present topics that are considered unsuitable for young children in the Arab world. Furthermore, presenting figures of authority such as parents in a negative way was normally dealt with by toning down the language and presenting the situation in a neutral way. For instance, the negative comment using an idiom ‘rotten to the core’ (see Chapter 5, section 5.1.1.2.1) referring to Malfoy’s family in a degrading way was deleted from the story. Finally, the issue of reducing a romantic boy-girl relationship in the story was found by Al-Daragi (2016: 192- 194), as she looked at various aspects related to didacticism and foreign culture. However, this study focuses on specific elements of idioms and neologisms, neither of which were used in the source text to present the boy-girl relationship, so it is

195 not possible to relate these two aspects with the representation of this issue in the target text.

Entertainment

An important finding in the current study is that magic and fantasy can be related to entertainment. All of the neologisms identified are used to build the magical world of Harry Potter and are used for entertaining purposes in the source text. This study shows that the entertaining function of neologisms was found in the target text as 12 out of 15 participants in the interview study acknowledged that magical creatures, objects, and spells were the most exciting and interesting parts for them (see Chapter 6). These findings corroborate the idea presented by scholars such as Hollindale (1997: 30) and Al- Olaqi (2012: 384) that entertaining books often include features such as extraordinary characters, thrilling events and magical kingdoms. It is worth mentioning that magical features have been found to be universally entertaining as they exist in both Western and Arabic stories for children. By contrast, Al-Dandarawi (2013: 103) argues that the presence of magic in translated texts is harmful and has a negative effect on a child’s mind. She maintains that magic and associated features such as bizarre characters and objects are often scary and usually presented together with violence. As a result, magic is not recommended for Arab children as it may affect their development (ibid.). However, my findings suggest that the magic in the translation of Harry Potter does not have a negative impact on Saudi children as they consider it attractive and entertaining rather than frightening (see Chapter 6). When it comes to the extent to which the entertaining effect has been presented in the target text, the findings show that by reduction of plot, objects and characters that build the magical world of Harry Potter in book two, the entertaining effect of magical elements has also been reduced. This is done by deletion of neologisms that are important to build the wizarding world, for instance, wizarding currency ‘Knuts’, ‘Galleons’ and ‘Sickles’ was removed from the story (see Chapter 5, section 5.2.1.2). This is in agreement with Al-Daragi’s (2012: 307) findings that ‘reductions affect entertaining and fun’.

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It is interesting to note that wordplay plays a significant role in entertaining children. My analysis of neologisms shows that wordplay is used in all three books analysed, in the form of playing on the sounds and spelling of existing words in English such as ‘spellotape’ and ‘sneakoscope’. In addition, wordplay was found in the form of playing on the meaning of words in the source text.27 per cent of all neologisms are derived from other languages, normally Latin or Greek, and they include references to mythology, folklore and Christianity such as ‘Imperius’ and ‘Cruciatus curse’ (see Chapter 5). The neologisms with wordplay were used to create names of magical objects, creatures and spells. Similarly, Dukmak (2012: 103) found that wordplay was related to neologisms that present magical elements in Harry Potter. As the majority of these neologisms (83 per cent) were foreignised through the strategy of transliteration, wordplay was mainly transferred to the target text in the same form, consequently reproducing the sounds and spelling of the original. However, the target text readers were presented with a slightly different effect as transliteration did not convey the meaning or associations found in the original neologisms, for example when wordplay using neologisms related to myths or were derived from Latin as in the case of ‘Avadakdavra’ (see Chapter 5, section 5.2.2.1.2). By contrast, 8 per cent of neologisms that are new coinages and multiple processes and use wordplay were domesticated by using functional and descriptive equivalence, generalisation and deletion resulting in the wordplay being removed from the target text in these cases, for instance, ‘kwikspell’ (see Chapter 5, section 5.2.1.4.5). Despite that, Arab children could still enjoy the excitement of the story through these words with their unusual pronunciation being elements of the magical world. This was confirmed by the interviews in which all participants identified neologisms as entertaining, even though not all of them could understand these words (see Chapter 6).

As far as idioms are concerned, the results indicate that wordplay was found in 3 per cent of all idioms and these were found in 33 per cent of variants of an existing idiom, the type of idiom that was not found in previous studies. In this type of idiom, the source text achieved the entertaining effect by wordplay that included changing the order of words and exchanging elements of well-known idioms with magical elements, for example, ‘Hold yer Hippogriffs’ (see Chapter 5, section 5.1.3.1). The idiom-play was domesticated in 60 per cent of variants of an existing idiom by a combination of strategies and paraphrase. As a result of domestication, the meaning of the original idiom was provided

197 to the target text readers, but the entertaining effect of the original idiom was lost, for instance, ‘I'll eat my kettle’ was paraphrased into ‘I bet nothing like that had happened’ (see Chapter 5, section 5.1.1.4.3). However, 20 per cent of wordplay was foreignised by literal translation and combination of strategies as in ‘losing a Knut and Finding a Galleon’ was brought to the target text by transliterating the wizarding currency and translating the rest of the idiom literally (see Chapter 5, section 5.1.2.2). Finally, 20 per cent of cases of a play on idiom were conveyed to the target text readers by a combination of foreignisation and domestication. In the cases when idioms were both domesticated and foreignised, preserving the magical elements in the target text expression resulted in entertaining expressions in the target text that Arab children would be able to enjoy. For example, ‘crying over spilt potion’ was translated as ‘crying over the spilled magical formula’, and the equivalent Arabic expression was given in the footnote (see Chapter 5, section 5.1.3.1). This finding echoes Epstein’s argument (2012: 168) that idiom-play is an entertaining feature of children’s literature. Idiom play in the target text was mainly domesticated, which resulted in reducing the entertaining effect, but also there were cases where the entertaining elements were presented to the target text readers.

Another feature of entertainment in the Harry Potter books is interactivity. The success of the Harry Potter book series has resulted in the story being adapted into movies, and production of related products such as e-books and games (Thompson, 2008). All of these products are available in the Arab world, in both English and Arabic versions with the film being in English with Arabic subtitles. This has enhanced its entertaining effect by allowing readers not only to enjoy the story by reading it, but also by watching the film version or playing games, during which they can interact with the elements from the book. In the case of domesticated elements, which were mainly idioms, this could result in the book not being coherent with the film version as in the movie the actors use the original idioms, which in the translation are mostly paraphrased in all three books. As for foreignised elements, which were mainly neologisms, the film version and the translation of the book seem to be coherent as most of these elements were transliterated in all three books which offers the sound and form of the source text. For instance, children can be presented with sound and visual effects used with spells, and images from the movies that may raise their interest in the books and they can relate them to the words in the target text. The effect of watching the movie on children’s motivation is supported by the results of the interviews, in which 13 out of 15 participants stated that watching the movie

198 motivated them to read the book (see Chapter 6). This is in agreement with Madej’s argument (2003: 9) that combining traditional books and interactive versions can have a positive effect on children. However, this suggests that it is likely that children who did not see the movie would find transliterated words difficult to understand.

Overall, my study identified a tendency to present the entertaining aspect of the source text in terms of translating neologisms, while reducing entertainment in idiom play. This is reflected in the target text that conveyed the entertaining elements of the source text in the form of presenting magical elements of the story and wordplay in neologisms, but the idiom play was treated mainly with domestication, which could affect entertainment. Simultaneously, the didactic function is found in the target text in the teaching of morality, reducing unsuitable elements such as taboos and exposing Arab children to foreign culture and language (see section 7.3.1). These findings support Madej’s view (2003: 6) that one of the most common approaches to writing children’s literature is a combination of entertainment and education, called ‘edutainment’.

The Publishing House

As mentioned in the background on the publisher (see Chapter 1, section 1.2), NahdetMisr Publishing House specialises in books for children translated from other languages (Al- Daragi, 2016: 6) and plays a major role in establishing and shaping children’s literature in the Arab world. The publisher is known for cooperating with Western companies, for instance, Disney movies, National Geographic and Cambridge University Press productions, and thus, is a significant publisher in building a relation between Western and Arabic cultures. The findings indicate that there could be a relation between the translation and the publisher’s vision and ideology. The fact that NahdetMisr has accepted to translate Harry Potter suggests that the publisher aims at opening the Arab world and society to other cultures through translation and publishing of foreign children’s literature. The publisher’s aim to open Arab readers to Western culture can be noticed in the translation of the three books analysed, in which foreignisation was predominantly applied to present the magical elements that are linked to Western mythology and British folklore through neologisms enabling the Arab readers to interact with these elements of

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Western culture. These results support the company’s claim on its website that its vision is to bridge the gap between different cultures (NahdetMisr official website, 2018). However, there is a careful treatment of Western and British cultural elements that are not in line with the norms of the target text culture, which included topics unsuitable to Arab children such as taboos, negative representation of the figures of authority or presenting insulting comments, all of which were domesticated in the target text. Overall, the publisher’s aim of bridging the cultural gap is visible in the cases where foreign elements are in line with the target text cultural norms.

The educational aspects identified in the translations of the Harry Potter books also reflect the publisher’s stated objective of educating Arab readers. The target text displays didacticism in its presentation of morality through the plot, descriptions and actions of the main characters (see section 7.3.1). This result is consistent with the publisher’s educational agenda to promote universal values and instil morals in children (NahdetMisr official website, 2018). It is also a reflection of a general trend in the publishing industry in the Arab world, where morality is one of the main criteria when choosing the books for children that will be translated and published (Mdallel, 2003: 304). In addition, teaching morality is also presented in the finding that problematic issues, for instance, taboos have been removed or reduced in the target text. Another educational feature identified in the translation was the teaching of Arabic and English words in footnotes (see section 7.3.1). This finding reflects the publisher’s aim of developing Arab readers’ intellectual potential and creativity (NahdetMisr official website, 2018).

Another finding was that the entertaining features of the translation of Harry Potter could reflect the publisher’s aim to offer interesting stories to its child readers. Entertainment was visible in the translation of the three books I analysed in the form of depicting the magical mood of the story and through presenting foreign elements in a playful way, for instance in wordplay (see section 7.3.2). These results corroborate the statement by the publishing house that one of its main aims is to provide ‘appealing content at affordable prices’ (NahdetMisr official website, 2018: 1). The company boasts a selection of adventure and fairy stories that are attractive to child readers and offers publications that make use of modern technology to keep children interested (ibid.).

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According to Madej (2003: 7), the publishing industry in the Arab world can be characterised as mainly customer-driven. Publishers take into account prospect customers’ and readers’ needs and expectations, and given that the educational value of a book is highly regarded by parents and educators, education makes an excellent selling point in children’s literature (ibid.). As outlined above, the translations of the Harry Potter books I have analysed could reflect the publishing house’s ideology that combines didacticism and entertainment, which also characterises its marketing strategies. The publisher uses the educational agenda in the books it publishes and tends to emphasize that its books for children are ‘educational’ and ‘facilitating the development of a child’s creativity and intellectual abilities’ to attract customers (NahdetMisr official website, 2018: 1). At the same time, the publisher acknowledges children as the main readers of their products and chooses to publish books that belong to genres that are abundant in entertaining features such adventure and fantasy series (ibid.). By choosing entertaining and well-known books, the publisher attracts child readers to purchase their products. This is in agreement with Abou-Zeid’s observation (2013: 102) that one of the aims of the publishing house is commercial prospects from the sales of books published.

Furthermore, the ideology of language adhered to by the publishing house enhances the scope of its products and is used by the company as one of its marketing strategies. This study shows that Modern Standard Arabic (MSA) was used in the translation of the three books from the Harry Potter series. This is the official language taught and used in all Arabic countries (Shaalan et al., 2007: 1), so by using MSA, the publisher can reach a wide range of readers, make the books popular and accessible for all children around the Arab world, and at the same time increase its sales. In addition, using MSA in the translation can be in line with the publisher’s educational agenda to teach children Arabic since MSA is formally used in writing and officially taught at school (Al-Jarf, 2007: 3). All this suggests that the company is making an effort to motivate children and parents to read in their free time together, and contributes to promoting reading as an interesting activity. This is especially important in countries such as Saudi Arabia, where children do not tend to read extensively and to read for pleasure is not a common activity among children and parents (Darwish, 2002: 2).

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Influence of Foreign Literature

One of the factors that may influence the translator’s choice of how to translate Harry Potter is the influence of foreign literature on the position of children’s literature in the Arab world. As mentioned in Chapter 2, modern children’s literature in the Arab world has been greatly influenced by books translated from other languages and cultures, which is visible in a significant number of translated books that are becoming popular reading choices. The findings of the current study indicate that Harry Potter, being a book from Western culture, is an example of the popularity of foreign literature as the whole series was rendered into Arabic. This result, together with other translations of books from the Western world, suggests that the trend of translations influencing children’s literature in the Arab world is still visible. In addition, the findings reveal that a movie adaptation of the Harry Potter series has also had a significant effect on the popularity of the book in the Arab world. This relation between the movie and popularity of the book is supported by the interviews, which found that all 15 participants who read Harry Potter admitted to watching the film. This is in agreement with Madej (2003: 8-9) who states that with the development of technology, the influence of foreign literature has been enhanced by other forms and means such as TV programmes, movies, and games that arouse interest in stories from the Western world. All participants being influenced by watching the movie can suggest that Arab children’s literature is still affected and shaped by Western literature and film. In addition, many scholars have underlined the argument that the influence of foreign literature is a form of cultural invasion of Western countries and see it as a harmful trend in the Arab world (Al-Faisal, 1998: 43; Al-Hity, 1988: 225). A closer look at the data on idioms and neologisms indicate that the Arabic translation of the three books from the Harry Potter series does not present ideas that are considered detrimental for children (see Chapter 5). This is similar to the children’s point of view, as the participants found foreign elements entertaining rather than unpleasant (see Chapter 6).

In the 1960s, there were poor translations of books for children being brought to the Arab world as a result of the influence of foreign publishers that attempted to enter the Arabic market (Abu-Nasr, 1996: 790). These low-quality translations were normally done in classical Arabic, and as a consequence, Arab children found them difficult to understand. The difficulty of translating foreign books for children can be still visible not only in

202 foreign publishers but also the ones from within the Arab world. At the same time, poor translation can also be attributed to translators and editors’ skills, as mentioned by Al- Daragi’s (2016: 324) who argues that books 1-4 from the Harry Potter series can be characterised by lack of professionalism in terms of the translators’ and editors’ skills and expertise while books 5-7 were rendered by more professional translators and editors, and the finding of the current study supports this view regarding the three books. For instance, the translator of the seventh book, Sahar J. Mahmud, has obtained a number of academic and professional qualifications such as a Bachelor’s Degree in English Literature from the University of Cairo and has translated numerous books for children (Almoltaqa, 2009). Her skills and experience are visible in the high quality, detailed translation of the seventh book that rarely uses deletion. By contrast, there is no information on the background of Raja Abd Allah, the translator of the second book, in which frequent use of deletion and simplification lowered the quality of translation (Al-Daragi, 2016: 324) in terms of reducing narrative features. Interestingly, the translation of the fifth book in the series which was by a group of translators, even though there is no knowledge of their qualifications or experience, rendered the story in greater detail and presented the source text idioms and neologisms more fully than the translations made by a single translator. This might be because, in a group of translators, the workload could have been divided amongst the translator team by topics, for instance, one translator specialising in culture- specific items and researching these elements. The translation of the fifth book provides the target text readers with footnotes that not only explain the source text idioms and neologisms but also offer the equivalent Arabic expression and occasionally present the original English words. By comparison, book seven offers only occasional use of footnotes to explain general Arabic expressions (not idioms and neologisms), and there are no footnotes in the translation of book two. It is worth mentioning that according to Dukmak (2012: 210), footnotes are used in book six for cultural items. Dukmak suggests that although footnotes tend to be avoided in children’s literature, they have been used here because the readers of Harry Potter grew older with each book (ibid: 218). My study supports this view as footnotes were also found in books five and seven, although it can be noticed that a group of translators in book five made an effort to use them more frequently and explain foreign elements to the target text readers.

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Reading Habits and Motivation

The discussion of children’s reading habits and motivation can provide additional information on how the translation of Harry Potter was received by Arab readers. Regarding reading habits among Saudi children, the current study found that 13 of my 15 interviewees tend to read Harry Potter books alone as they mentioned it helps them to concentrate on and enjoy the imaginative mood of the story. They also mentioned that they read Harry Potter in their free time, as it is not a book that schools require their pupils to read. An explanation for the dominating habit of reading alone can be related to the trend in Saudi families where parents are more likely to engage with their children’s reading if it is the child’s homework rather than when it is reading for pleasure (Alsubaie, 2014: 18). However, 2 participants emphasised that they prefer reading with parents, mainly due to the parent being able to help them to understand difficult words and correct their pronunciation (see Chapter 6). This finding supports the claim by Capotostoet al (2017: 7) that reading with parents offers opportunities for children to ask questions and helps the child to read better.

As far as reading style is concerned, the results indicate that reading silently is prefered by 11 participants. These Saudi children found reading silently quicker, and it enabled them to get immersed in the story. The preference for silent reading reflects Colombo and Landoni’s (2014: 1) statement that one way of engaging children in reading is through making them become involved deeply in the story. By contrast, 4 participants preferred reading aloud, which was mainly to get help from the parents and to enjoy pronouncing the magical spells (see Chapter 6). This finding is consistent with the studies of Wigfield et al. (2004: 301) and Yip (2008: 3-4) to some extent, in which reading aloud was linked to obtaining positive feedback from others and developing communication skills. In addition, it partly agrees with Clark and Hawkins (2010: 6) who believe that reading with parents promotes an interest in reading.

A relationship was identified between entertaining features of the books and children’s reading motivation, as 9 participants stressed that one of the main reasons for reading Harry Potter was that they consider it an interesting series that abounds in magical

204 elements such as characters and spells (see Chapter 6). This result is in accord with Cox and Guthrie’s (2001: 116) argument that reading for pleasure motivates children to read and that books offering playful topics and experiences are an effective means of encouraging reading among children. As mentioned in section 7.3.3, the publishing company has made it one of its objectives to motivate children to read for pleasure by offering choices of entertaining books. It is also worth mentioning that a child’s motivation to read entertaining books in their free time may contrast starkly to reading at school that often imposes on children topics that are less exciting and have more of a preaching tone, which is the case in Saudi schools (Al-Jarf, 2007: 14). Another interesting finding regarding Saudi children’s motivation to read Harry Potter books is that the influence of family and friends, and the popularity of the series prompted the participants to read the story in 6 cases (see Chapter 6). This corroborates the idea of Clark and Hawkins (2010: 6) that the influence of family and society can have an effect on children’s reading motivation.

The Fantasy and School Genres

The current study identified a number of elements of the fantasy genre. One of the characteristics of this genre was the foreign elements related to magic in the form of neologisms. This is in agreement with Hume (1984, cited in Sullivan 2004:1), who states that the fantasy genre is characterised by strange and unusual characters, objects and events. Neologisms in the Harry Potter series play an important world-building function as their form indicates the magical elements’ properties. The findings of my study show that neologisms were mainly foreignised by transliteration (60.7 per cent), which may have an entertaining effect because Arab children are presented with new and mysterious expressions; on top of that, they have the same sound and form of the neologism as they occur in the source text. Although the presence of transliterated neologisms can be entertaining, the meaning and connotations of the original neologisms are not accessible to the target text readers. This has a reductive effect on the target text as a fantasy genre, in which magical elements are not fully presented and developed (see section 7.3.2). Another interesting finding relating to features of the fantasy genre is that a great number of neologisms presented in the source text analysed here refer to myths, which confirms Jackson’s (1981: 4) point that mythology is often present in the fantasy genre. The current

205 study shows that these references were not accessible to Arab readers, as a result of transliterating these neologisms. However, in the cases when neologisms referring to myths were domesticated by providing Arabic equivalent and explaining the neologism in footnotes, the target text presented reference to myths either from the source text or the target text as in the example of ‘Boggart’ (see Chapter 5, section 5.2.3.1.2). Domesticating neologisms that refer to myths could result in the target text being less entertaining as the magical element specific to Harry Potter world is reduced. However, Arab children are presented with a familiar image, which improves the intelligibility of the target text.

As Maund (2012: 150) affirms, the fantasy genre is characterised by the consistency of names of characters and objects related to magic; this was successfully rendered in the translation of the Harry Potter series and consistently presented through the use of the transliteration strategy (see section 7.1). In addition, the source text builds the magical world on the basis of familiar words to the source text readers (Holl-Jenson and Tolbert, 2016: 168) as neologisms in the source text resemble English words. This effect of the source text is not found in the target text as the translator did not create neologisms in Arabic to present fantasy. However, the use of transliteration strategy has a positive effect on the coherence of the target text within the three books in the series; and this could improve the coherence between the book and the film, as children who watch the movie can make links between the two easily. On the other hand, creating the neologisms in Arabic could be more entertaining as Arabic speaking children would be presented with a form of play on the Arabic language, culture and myths. This is the usual effect that fantasy books written in Arabic would normally have on its readers, which is presenting magic by referring to Arab culture in a playful way, as is the case in many classic Arabic fantasy books, as in One Thousadn and One Nights. Therefore, it seems that the use of transliteration affects the target text as a fantasy genre in Arabic as it lacks cultural references that would normally be found in typical fantasy books. Furthermore, the study has shown that there is a difference in style between the source and target text in the treatment of idioms, which were mainly domesticated through paraphrase (68 per cent). While the source text frequently uses a casual and informal style, especially in dialogues (Alderete-Diez, 2009: 11), the target text uses Modern Standard Arabic for the whole book, which is formal in Arabic. This results in the target text being neutral or formal in style and reducing the humorous and entertaining effect of the source text idioms as in

206 the case of ‘I'll eat my kettle’ (see Chapter 5, section 5.1.1.4.3). This change in style does not affect the target text as a literary genre because, as a rule, books that are published in the Arab world are written in MSA including fantasy stories.

Regarding the school genre, certain features of this genre are presented in the books analysed here in the form of teaching children morals and virtues (see section 7.3.1). This feature of the school genre is present in the novels in the plot, characters and their behaviour as well as in idioms, which express the issues related to school, growing up and establishing relationships with other people. The study identified 43 idioms in all three novels that were used to demonstrate virtues typical of the school genre (see Appendix 11). The ideas related to morality in the case of idioms related to school genre have been included in the target text, which was done by preserving morality in the plot and characters. When it comes to idioms that show this feature, although they have been paraphrased, the morals that they present in the source text were still introduced to the target text readers, and as a result, the educational dimension of the story was preserved. These results are in keeping with Ray’s suggestion (2004: 470) that school stories have a clear aim of teaching morals in the context of the school environment. As mentioned in Chapter 1, the school genre is not common in children’s literature in the Arab world, which raised the issue of choosing between foreignising and domesticating the elements of this genre in translation into Arabic. However, even though this genre is foreign in traditional Arab children’s literature, the topics and features that this genre aims to present are known to Arab children because they are familiar with the school environment.

7.4 General Discussion of the Effects of Domestication and Foreignisation in the Arab World

The analysis indicates that there are several, general, positive effects of foreignisation and domestication. One effect is that through the process of foreignisation children’s knowledge can be extended when they are exposed to English literature. First of all, there is a linguistic benefit for Arab readers of the fifth book in the series (see section 7.3.1). Children can be helped to learn a foreign language by reading books, as illustrated in the books analysed here, as single English words were introduced in the target text. In

207 addition, there can be a further benefit for Arab children of being indirectly exposed to Latin words or Latin derived words used by the writer to create neologisms in the source text (see section 7.3.2). Because these words were consistently transliterated across the series, Arab children may come to recognise words derived from Latin. If they encounter these words in the future, they might remember them, and thus have an advantage over other people who have never learnt Latin. Another beneficial effect of foreignisation is that children can broaden their general knowledge of the world by being exposed to different experiences and cultures (Azeriah, 1994; Ayoub, 2010). For example, they can learn about foreign cultures and different ways of living. For one thing, children reading Harry Potter series can come to know more about Western mythology and British folklore. This is depicted in the translation of idioms and neologisms that include references and connotations to source text culture, and their cultural reference was explained in footnotes. This can result in Arab children being able to access foreign culture and expand their knowledge of Western culture. The beneficial effects of using foreignisation outlined above support the views of Fathalipour and Akef (2013: 38) who argue that thanks to foreignisation, children can develop new ways of thinking and respond more positively to new ideas.

By contrast, using foreignisation in children’s books has been considered a negative factor that may affect Arab children’s sense of identity adversely (Al-Asafi, 2017: 1). This could have implications for children reading the Harry Potter series, which is saturated with foreign elements, including idioms and neologisms and elements characteristic of Western culture. This is believed to pose a threat to Arab language and culture since Arab children could move away from their own traditions and start using English more in their daily life. This has been suggested by Dunges (2011: 176) who states that there is a growing trend among Arab children to become fluent in English or French, while not being able to speak correct Arabic. This concern has been discussed by Al-Asafi (2017: 1), who shows that using English words is becoming increasingly popular these days in the Arab world, especially single words added to speech in Arabic. Al-Asafi argues that this could have a negative effect on the Arabic language that would slowly lose its importance and certain items of vocabulary, which could lead to a loss of cultural identity among Arab speakers who mix English and Arabic. However, this negative view may be balanced with the insight that exposing children to foreign elements can be a way

208 of enriching the target readers’ culture. This is supported by Venuti (1998: 11), who states that foreignisation can be a valuable source of new terms that add to the target text language and culture. In addition, foreignisation can be a successful way of entertaining target text readers, as confirmed by the participants in my interview study.

Another point in the discussion of how translation of foreign literature is received in the Arab world has been raised by some Arab scholars who claim that foreign literature can have a negative impact on a child’s perception of reality (Shahwan, 1991: 25), through the themes that are not suitable for the target text readers, for instance, if they conflict with Islamic values (Al-Manaa, 2001: 201). Additionally, there is a claim that the values and morals included in the foreign literature normally conflict with the ones present in Arab society, so the child can become confused and isolated from his/her own society (Mouzughi, 2005: 20). In the case of the Harry Potter series, there were 8 cases of idioms and neologisms that present the topics that are considered problematic and unsuitable for Arab children, which ranged from taboo words related to body parts and alcohol to the negative representation of authority figures and to negative remarks about other characters in the story. All cases of idioms and neologism that present these issues were removed or reduced in the target text (see section 7.3.1 above). However, the findings of this study indicate that there is perceived value in Arab children reading the book as it also presents universal values and morals appropriate for students in 43 cases of idioms related to the school genre that represents morality — for instance, being responsible, establishing friendship and fighting evil, which is all worth teaching Arab children today and seems to reflect values that an Arab child is expected to learn as part of its socialisation. Finding morals that are the same morals in the source and target text cultures may seem a surprising finding since Western and Arabic cultures differ in many ways regarding values and morals that should be instilled in children, but in fact, there are areas that are shared by both cultures (see section 7.3.1). This finding is similar to other studies on the translation of children’s literature into Arabic, for example, Ayoub (2010), who highlights the importance of teaching morals even if it is from a different culture. However, the morals that are presented to the target text readers still undergo cultural filtering to be in line with the target text cultural norms. Overall, it seems that the influence of Western culture through foreignisation has a more beneficial effect on the Arab readers as they are given an opportunity to develop and broaden their knowledge

209 which is additionally entertaining while the threats related to Arab children’s identity and perception of reality have been minimised in the translation by domesticating taboo topics.

The wider implication of my findings relates to the role that translation of children’s literature could play in the process of globalisation taking place in the Arab world. A number of scholars believe that translation is one of the means of imposing a dominant culture over the local one (Abuelma’aatti, 2005: 41), in this case, Western culture dominating the Arab world. Abuelma’aatti argues that this is encouraged by using words borrowed from English, which come to replace Arabic expressions, showing a positive image of foreign cultural values without presenting its negative aspects to children who might accept these uncritically. This trend is reflected in the growing number of translations being published in the Arab world as well as the omnipresence of movies, TV shows and music that are products of Western culture (ibid: 44). Indeed, the results of this study reveal that adapting Harry Potter into a movie had an effect on the popularity of the book among Saudi children (see Chapter 6). The findings of this study suggest that there has been careful consideration of this issue in the translation of the Harry Potter books. Only a limited number of foreign features such as source text neologisms were reflected in the target text, while culture-bound expressions like idioms were domesticated. This has resulted in a balance of foreign elements that keep the target text interesting and domesticated parts that make it acceptable to the target audience. Nevertheless, due to globalisation, apparently, foreign elements might in fact not be foreign to a great number of Arab child readers who can be exposed to English idioms and cultural connotations through other means such as TV and the Internet. This could have an influence on the general discussion of the predominance of domestication or foreignisation because if the trend of globalisation continues, foreignisation will no longer be so prominently present.

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7.5 Summary

The present chapter has analysed and discussed the findings that were gathered with regard to the strategies used in the translation of idioms and neologisms in the three books in the Harry Potter series. The discussion has addressed the predominance of foreignisation or domestication as well as the factors that may influence the translator’s choice and has been enriched with reference to the results of the interviews. The following chapter will draw together the results gathered by conducting the current study. It will present a final summary of the study by showing how analysing the findings has served to answer the three research questions that were posed at the beginning of this thesis, which will be followed by a reflection on doing my research project including recommendations, an overview of the limitations and contributions of this study.

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Conclusion

8.1 Summary of Findings

This study set out to investigate the translation from English into Arabic of idioms and neologisms in three books from the Harry Potter series. It broadly deals with the issue of cultural understanding between the Western and Arab world. More specifically, the current study examines the predominance of domestication or foreignisation through investigating idiom and neologism translation strategies. It also explores the factors that might influence the translator’s choice of these two approaches, and its possible effects on Arab readers. The aspects above have been investigated mainly by looking at source and target texts to carry out a comparative analysis, and also by means of interviewing a small number of Saudi children. On this basis, the study addressed the research questions in the following ways:

1. What strategies have the translators used for dealing with idioms and neologisms in the translation into Arabic of the three novels from the Harry Potter series that I focus on?

To answer the first research question, I started by offering research overview and background information on Harry Potter in Chapter 1, which was followed by literature review on children’s literature and the concepts of foreignisation and domestication. To specifically address this research question, I also provided a general overview of idioms and neologisms in Chapter 3, which resulted in a proposed typology of these two aspects. In Chapter 4, I reviewed existing models of translation strategies used by scholars in the translation field such as Baker (1992), Epstein (2012), and Newmark (1988b). The initial analysis resulted in combining the existing models and creating an adapted model. Taken together, the proposed typology and the adapted model allowed in-depth analysis of idiom and neologism translation strategies in the three books, and the discussion of these strategies together with the outcomes of the interviews.

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Paraphrase was the main translation strategy used with idioms in all three books. The use of this strategy resulted in providing the meaning of the original idiom to the target text readers. The effect of paraphrasing idioms was clearly stated by the Saudi children, who when presented with examples of paraphrase said that these were normal words they could understand. However, the extensive use of paraphrase affected the entertaining aspect of the target text that does not present source text idioms used for humouristic or entertaining purposes. This is because paraphrasing reproduced the meaning and lost the humoristic/funny images packed in the source text idioms and thereby lost the entertaining effect of the relevant idioms. In addition, paraphrasing idioms has given Arab children fewer possibilities to learn about Arabic and English idioms but it did expose them to MSA and facilitated understanding of the target text. Other common strategies identified included literal translation, deletion and combination of strategies. Interestingly, the least frequent strategy was replacement, suggesting that Arabic expressions equivalent to those in the source texts were not commonly used.

Neologisms were mainly transliterated in all three books analysed. Using this translation strategy has brought the form of the original neologism to the target text and resulted in preserving their entertaining effect. This has been identified in the interviews, in which all the participating Saudi children found transliterated neologisms entertaining. However, this strategy also resulted in the magical words being difficult to understand, as the meaning and connotations of these transliterated words were not accessible to Arab children, when compared to the source text readers who could access the meaning and connotations by resemblance of neologisms to existing English words. This has also affected the world building function of neologisms, as transliteration affected characterisation of magical elements. In the case of children who have seen the film, the visuals could aid understanding through cross-information as found in the interviews. Other strategies used with neologisms were functional and descriptive equivalence, generalisation and combination of strategies, but these were considerably less common. Determining these translation strategies leads to the second research question that this thesis aims to address:

2. How are the approaches of foreignisation and domestication used in the translations of the three novels from the Harry Potter series that I focus on and what conclusions can be reached about their predominance?

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The process of answering this research question included several stages. Domestication and foreignisation were, firstly, outlined in Chapter 2 by reviewing the existing literature on these concepts in general, on their presence in children’s literature, and in the Harry Potter series in particular. In Chapter 4, I related translation strategies to these two approaches. This relation was investigated in Chapter 5 and the results discussed in Chapter 7.

Investigating the relation has established that there is no one-to-one relationship between either of these two approaches and specific translation strategies. The strategies of combination and literal translation were related to domestication and foreignisation depending on the context and on whether any foreign element was brought into the target text. The research has also shown that foreignisation and domestication can complement each other, as suggested by Baker (2010) and Tymoczko (2000) as the target text presents a combination of these two approaches. In addition, the study has shown that domestication was predominant when translating idioms, and this was found in the strategies of paraphrase, deletion, replacement, and addition. When it comes to neologisms, foreignisation emerged as the predominant approach in the use of transliteration, which was the main strategy used.

3. What are the factors that might influence the translator’s choices and the possible effects of these choices on Arab child readers?

The study has raised an important question about the factors that might influence the translator’s choice. This question was answered by firstly, reviewing the existing literature on the factors that shape children’s literature and on those that are specific to the context of translation of the Harry Potter books in the Arab world, which was done in Chapters 1 and 2. These factors were then discussed in the broader context of cultural understanding in Chapter 7, in which the findings from the analysis and the results of the interviews were used to strengthen the link between the factors and the translation choices made. This enabled a further discussion of the general effects of using foreignisation and domestication in the translation of Harry Potter books on the Arab world.

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Several factors have been identified as possibly having an influence on the translator’s choices namely didacticism, entertainment, the publisher, foreign literature, the projected child audience’s reading motivation and habits, and the source text genre. A presence of didacticism has been found in three major features in the translation. One feature of didacticism is morality (McKenna, 2011), which has been identified in all three books analysed mainly in the representation of universal moral values in the target text. This representation was done in the form of preserving idioms related to school genre (43 cases) that present the plot, description of characters and their behaviour and that are considered acceptable in the target text culture. Interestingly, the results suggest that there are universal moral values in children’s literature that are found in both Western and Arab countries. By contrast, the problematic issues represented in idioms and neologisms could be considered unsuitable in the target text culture and are related to taboos, negative representation of authority figures and negative remarks about other characters in the story. These issues were hardly ever found in translation of idioms and neologisms (4 cases out of 332 idioms and 4 cases out of 179 neologisms), but the ones that were identified were removed from or reduced in the story by domesticating idioms and neologisms using deletion and paraphrase. By removing these elements, the target text became suitable for Arab children but it could affect the world building in the story through reduction of the plot and characters. Another didactic feature is teaching language (El-Kholy, 2006) and culture, which was evident in teaching Arab readers English words and elements of Western and Arab culture. This was mainly achieved using footnotes in book five, and teaching MSA in book seven to provide a better understanding of the meaning of Arabic words. Finally, didacticism can also be present in the form of deletion of foreign culture-specific elements as a means of preserving Arab culture and traditions (Al-Daragi, 2016), which was frequently done in book two. Comparing the use of didacticism in the translation of three books from different points in the series allowed a more in-depth analysis of the remaing books that have not been studied and a better understanding of how the whole series has been translated, and a shift in the way didacticism is presented throughout series can be noticed. Didacticism was reflected in a tendency to domesticate through deletion of foreign elements in the second book, which was also the case in other early books (1-4) in the series (Al-Daragi, 2016: 154). This shows that there was a degree of reservation towards presenting foreign features in Harry Potter in the early books in the series. However, this changes in the fifth book, in which didacticism is approached as a way of teaching Arab children about foreign, and their

215 own culture and language. The tendency to reduce the plot, characters and events is not common in the fifth and seventh books as my study found, which is consistent with book six, as Al-Daragi (2016: 322) found. In the seventh book, the emphasis is placed on teaching MSA through explaining difficult Arabic words in footnotes, which was not so prominent in the other books analysed. Different forms of didacticism could be related to the fact that the readers grow up as the series progress so the use of footnotes and teaching MSA in book five and seven could be more suitable for older children and teenagers while simplification could be effective for younger children in the second book. Regarding entertainment, the results of this investigation show that there is a consideration of this factor in the translation. One form of entertainment is presenting magical elements (Al- Olaqi, 2012), and in the translation magical elements crucial to building the fantastic world of Harry Potter such as magical spells, objects and characters have been preserved. I have shown that magic has been present in children’s literature for a long time and is a positive feature of entertainment in the case of the Harry Potter books. This was confirmed by the Saudi children who took part in the interview study, and contradicts the view that magic is harmful (Al-Dandarawi, 2013). Another feature that has an entertaining effect is the use of wordplay, which can take the form of idiom play (Epstein, 2012) or the creation of new words (Dukmak, 2012). These two types of wordplay have emerged from this research as entertaining features present in both idioms and neologisms in the source text. While the entertaining feature of neologisms was presented in the target text by transliteration, idiom play was mainly domesticated, which reduced the entertaining function of idiom play. A significant finding of this study is a type of an idiom that has not been found before, namely a variant of an existing idiom, which was often used for entertaining purpose. In general, the study has found that entertainment and education were combined in the target text, which is a reflection of an 'edutainment’ approach (Madej, 2003).

The evidence from this study suggests that the publisher’s ideology and vision regarding education, entertainment, and the marketing strategies play a role in shaping the translation. The presence of educational and entertaining features have been outlined above and these are in line with the publisher’s ideology of educating children through entertaining content (Nahdet Misr official website, 2018). In addition, the marketing strategies of the publisher have been reflected in the target text being written in MSA to

216 extend Arab readers’ linguistic ability (Al-Daragi, 2016) and in promoting reading for pleasure by choosing a best-selling foreign book such as Harry Potter. This could contribute to changing the trend of children not reading in their free time among Arab readers (Darwish, 2002). This choice also mirrors the aim of bridging the gap between Western and Arab cultures that the company boasts (Nahdet Misr official website, 2018). The aim of bridging the gap between Western and Arab cultures is more visible in the translation of books five and seven, which present foreign culture specific items. These cultural specific items allow the reader’s to experience elements of Western culture whilst promoting education which achieve the publisher’s aim. However, this aim is less visible in the second book in which foreign culture is removed or reduced in the target text. The deletion of such cultural specific items avoids any major cultural clashes that could occur between the Western and the Arab culture which would in effect hinder the publisher’s aim of bridging the gap and consequently create one. In general, the publisher’s aim is carefully applied in dealing with morality as problematic issues that are at odds with the target text cultural norms are removed or reduced. Another factor that might influence the translator’s choices is the influence of foreign literature and culture, which is still visible in the Arab countries, as the current study found. This is mainly done through the influence of Western movies (Madej, 2003) that arouse interest in reading foreign books, which this study revealed, as the Saudi children mentioned that watching the movie motivated them to read the book. The current study also argues for openness to foreign cultures, as these have not been found to be harmful to Arab readers, which has been claimed by some Arab educators such as Al-Faisal (1998) and Al-Hity (1988).

The findings from the interviews provided additional information on Saudi children’s reading habits and motivation regarding the reception of the translation of Harry Potter. The study revealed that the main reading habits among the Saudi children was reading silently and alone, which allowed them to get immersed in the story by imagining the magical world of Harry Potter (Colombo and Landoni, 2014). Another interesting point this study provided insight into is that reading aloud with parents can be used to improve the child’s reading skills and comprehension by obtaining help from adults (Wigfield et al, 2004; Yip, 2008). In addition, the source text genre seems to have had an influence on the translators’ choices since all three books analysed presented features of the fantasy genre, especially by including neologisms in the target text that portray the magical

217 setting of the story, as has been highlighted in Chapter 7, section 7.3.2 on entertainment. However, by transliterating neologisms the world building function of these words was reduced as the meaning and connotations of the source text neologisms were not accessible to the target text readers. As a result, the magical elements were not fully presented and developed and references to myths were lost. Furthermore, elements of the school genre such as the school environment and morality have been brought into the target text. As a whole, the discussion of the factors that might influence the choice of foreignisation and domestication has identified two main areas as having a general effect on the Arab world. Without interviewing the translator, which was not possible, it is difficult to establish when exactly they are factors and when they are effects. The domesticating effect in the case of idioms was achieved in the target text which can lead to preserving children’s Arabic identity by reducing the number of source text culture- specific items in the translation. However, children’s knowledge can still be extended by exposing them to foreign linguistic and cultural elements, which can be considered a beneficial result of the foreignising effect with neologisms (Fathalipour and Akef, 2013). It is worth mentioning that because of globalisation, foreign elements from the Western world can become familiar to Arab readers not only through translation of foreign books, but also through TV and the internet. In light of this phenomenon, it can be said that foreignisation of Harry Potter is a form of enriching the Arab world and allowing Arab children to expand their world view. It can be concluded that by domestication the target text has become intelligible whereas by foreignisation the target text presented magical and entertaining elements. This means that these two approaches can complement each other and should be applied in translation of children’s literature.

8.2 Contributions of the Study

The present study contributes to the field of translation of children’s literature into Arabic by looking at the two linguistic aspects of idioms and neologisms. These two features have not been considered previously in the context of translation from English into Arabic. By focusing on the translation of idioms and neologisms in books for children, the findings of this study also add to the growing body of research on translation of children’s literature into Arabic, and as a consequence, contributes to the improvement of the position of children’s literature in the Arab world in general.

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The second contribution of the current work is to enrich translation theory regarding the models of translation strategies used with idioms and neologisms in children’s literature. Although several models of strategies used in the translation of children’s literature exist, these models are general and lack comprehensive categorisation. This study has gone some way towards expanding the number of available models, by presenting two adapted models outlining strategies used to translate idioms and neologisms in children’s literature specifically in the fantasy genre. Thus, the study offers a framework for the exploration of translation strategies and their effects on this genre when used with idioms and neologisms and provides more detailed and comprehensible models of analysis with relation to specific linguistic features of children’s literature particularly in the fantasy genre.

The analysis of idioms undertaken here has extended our knowledge of idiom typology by discovering a type that has not been previously identified. In this study, this type has been called a variant of an existing idiom and it has been added to the existing typologies. This finding will be of use in the cases that are specific to translation of entertaining elements of children’s literature. As for neologisms, this study has proposed an additional typology, which is more comprehensive and nuanced than the ones found in the existing literature. This proposed typology has shed a light on the types of neologisms used for entertaining purposes and may be particularly useful in cases that deal with the fantasy genre.

This study establishes a novel relationship between idiom and neologism translation strategies and domestication and foreignisation. These findings will help other researchers, translators, and scholars of children’s literature when investigating these two approaches. In addition, this is the first study to investigate the effects of these two approaches in the case of translating Harry Potter into Arabic. The new understanding should help to improve predictions of the impacts of using these two approaches in the translation of children’s literature in the Arab world.

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8.3 Limitations of the Study

Despite a great amount of time and effort to ensure the best possible outcomes of the current work, a few limitations can be identified. Firstly, a limitation of using manual analysis in this study is that there is a possibility of human error and thus, the results might not be totally accurate. The analysis included a large amount of data, and no computer software was available that could aid the search for and identification of translation strategies.

The limitation shown above also plays a significant role in restricting the scope of the analysis, which includes only three books out of seven that constitute the Harry Potter series. Nevertheless, analysing each of the three books in its entirety allowed for a deep analysis, discussion and comparison of translation choices regarding idioms and neologisms. However, these results may not be applicable to the whole series; thus, when I present my results in the context of other books in the series I draw on previous studies that analysed the other books to corroborate my results and caution must be applied before drawing generalisations involving other books in the series. Another possible approach would have been to analyse a selection of chapters from each of the books but this approach would not have enabled me to undertake in-depth analyses taking the context for each example into account.

A further limitation of this work is lack of detailed information about the translators, editors, and the publishing house. Although numerous attempts were made, it was not possible to contact any of the translators, editors, or the publisher. Information about the translators, editors, and the publisher’s motivation which might have been obtained through interviews or questionnaires would have helped me to provide more evidence regarding choices of translation strategies and the factors that might influence them. However, I used all information available online and from other researchers to substantiate my discussion of the results.

A final limitation can be attributed to the number of interview participants. Due to time constraints, I was only able to conduct my study in two schools in the Kingdom of Saudi Arabia, and all participants were female because of cultural restrictions. This could have

220 an implication for the gender bias as boys and girls might have different views on the books analysed. Therefore, the interviews can be considered a small-scale study, the results of which need to be interpreted cautiously. However, it would be useful to investigate the response to Harry Potter among boys.

8.4 Recommendations of the Study

A number of recommendations can be made as a result of the current study. This study collected data from three representative books containing significant amounts of idioms and neologisms from different points in the series that have not been studied before which allowed for a fair representation of the whole series, however, it would be interesting to investigate the strategies used to translate idioms and neologisms in the films’ subtitles and the impact of visual dimension on children’s understanding of the translated words. This would allow a comparison between the approaches shown by the translators of a paper copy and a film version of the same book. This would be useful to the investigation of the predominance of foreignisation or domestication.

The adapted models of analysis could be usefully explored in further research. The adapted models applied in the current work could be utilised by translators who are interested in translation of idioms and neologisms in children’s literature into Arabic. The adapted models could guide new translators in terms of strategies that may be used when dealing with idioms and neologisms and could be used as a basis for further analysis of children’s literature.

The findings of this study could be used to guide translators, editors, and publishers of children’s literature in the Arab world, making them aware of the factors that may influence translation, and become more reflective of their own practices, preferences and choices made. Further studies need to be carried out to better understand the role that these factors may play in the translator’s choices and explore other possible factors.

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Because I was not able to gather detailed information about the translators, editors, and the publisher, it would be interesting to investigate this area in a greater depth, which could provide further evidence about potential motivations for translation choices. Further research could also be conducted to explore the accounts of the translators, editors, and the publisher in relation to the factors that might influence the translation.

A further extension of my study could be a full study of all books in the series. It would be interesting to carry out the analysis of translator preferences and developments across the series regarding issues such as readers growing up as the series progress and the representation of problematic topics related to morality. This could be of benefit in the investigation of the development of children’s reading abilities, as they grow older and how didacticism is achieved throughout the whole series.

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Appendix

Appendix 1:Table of idioms in Harry Potter and the Chamber of Secrets

number number

ST Page

Strategy

ST Type TT Page

TT Back

ST Idiom

translation

Translation He said Deletion قال من بين what the devil Figurative 17 18 between his أسنانه: ماذا are you teeth: what تفعل؟ لقد doing? Said are you .قاطعﺖ حدﯾثنا Uncle Vernon through doing? You gritted teeth, have his face interrupted horribly close our speech. to Harry's . You have just ruined the punchline of my Japanese- golfer joke Screams Deletion وانطلقﺖ It looked as Semi- 19 20 came out الصرخات من though Uncle figurative from the حجرة الطعام. Vernon would .dinning room وقال فيرنون manage to And Vernon محاوال السيطرة gloss the said trying to على الموقف: whole thing control the إنه ابن أخﺖ over( just our situation: he بتونيا. وهو nephew – very is Petunias ﯾخاف من – disturbed nephew. And الغرباء. ولذلك meeting he is scared of كنا حرﯾصين strangers .strangers على وﺿعه upsets him, so That’s why !بعيدا عن هنا we kept him upstairs) He we have been shooed the careful to shocked keep him Masons back away from into the dining here. room , promised Harry he would flay him to within

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an inch of his life

Uncle Vernon Paraphras انحنى العم You didn’t tell Semi- 20 22 leant over e فيرنون فوقه us you weren't figurative him like a كالوحش. تلمع allowed to use monster with أسنانه. وعيناه magic outside gleaming تطلقان نظرات school, said teeth. His المعة جنونية ... ,uncle Vernon eyes shining وقال : لماذا لم a mad gleam with crazy تخبرني أنك dancing in his looks and ممنوع من eyes.Forgot to said: why ممارسة السحر؟ mention didn't you tell هل نسيﺖ؟ هل slipped… me you were فقدت ذاكرتك؟ ,your mind not allowed to practice magic? Have you lost your memory? It was cold, Paraphras كانﺖ باردة، The soup was Semi- 21 23 with some e وبها بعض stone-cold, figurative frozen الخضار but he drank .vegetables المجمد. ولكنه half of it in But he ابتلع نصفه مرة one gulp swallowed واحدة half of it at once. Fred said: a Paraphras قال فرﯾد: قصة Very fishy, Figurative 26 29 strange story! e غرﯾبة! غير said Fred .Unusual عادﯾة finally As soon as he Paraphras وبمجرد أن As soon as Figurative 26 29 sat in the car, e جلس في Harry was in :Ron shouted السيارة. ﺻاح the car and let’s go رون: هيا بنا had slammed .quickly بسرعة ,the door shut Ron yelled, Put your foot down, That is Combinati وهذا مخالف If he raided Semi – 29 32 illegal. And on للقانون. وامي our house he'd figurative my mother is Paraphrasi تخشى أن ﯾقبض have to put afraid that he ng + literal عليه. لقد كاد أن himself would be ﯾصيبها الجنون straight under arrest. It arrested. She drives Mum almost mad became mad.

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Ms Weasley Deletion وﺻرخﺖ You could do Figurative 31 34 shouted as السيدة وﯾزلى with taking a she pushed وهي تدفع فرﯾد leaf out of Fred in his في ﺻدره: كان Percy’s book chest: you من الممكن أن yelled Mrs could have تموت ,Weasley Prodding a died. finger Fred's chest. you could have died she gave her Paraphras وتلقى على throwing dirty Semi- 31 35 children e أوالدها نظرات looks at her Figurative .angry looks غاﺿبة. وبين sons as she And from وقﺖ وأخر threw time to time ترميهم باللوم sausages into threw blame والتأنيب مثل: the frying pan and لسﺖ أدرى كيف Every now . reprimand to تفكرون؟ او ال and then she them like: I أﺻدق ما حدث muttered don't know أبدا things like don’t know how you what you were think? or I thinking of don't believe and never what would have happened at believed it all! The public Paraphras العامة ال Bless them, Semi- 36 40 never believe e ﯾصدقون أبدا ما they'll go to figurative whatever we نفعله حتى لو any lengths to do even if رأوه بأعينهم ,ignore magic even if it's they had seen staring them it with their in the face own eyes. Dumbledore Paraphras دمبلدور ﯾعرف Dumbledore Figurative 40 45 knows you e أنك موجود هنا already knows are here ﯾا هاري. هذا ,you're here .Harry الرجل ال ﯾخفى Harry, doesn’t Nothing is عليه شيء miss a trick hidden from this man. That is a Paraphras إنها عائلة مثيرة That family's Figurative 55 59 trouble e للمتاعب.ال تأكل trouble, don’t making أكثر مما go biting off family. Don’t تستطيع أن more than you eat more than تهضمه can chew you can digest.

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He finally Paraphras ونجح أخيرا في He managed Figurative 60 64 succeeded at e التسلل من بين to make his sneaking الزحام، way out of the through the والوﺻول إلى limelight to crowd and الطرف األخر، the edge of the reached the حيث تقف جيني room, where other side بجوار مرجلها Ginny was where Ginny الجدﯾد standing next to her new was standing cauldron next to her original be in new cauldron. limelight Hagrid said as Deletion قال هاجرﯾد وهو You should've Figurative 62 66 he raised ﯾرفع وﯾزلى من ,ignored him Weasely from األرض: كان Arthur, said :the ground من الواجب أن ,Hagrid you should تتجاهله ال أحد almost lifting have ignored ﯾستمع إلى كالم Mr Weasley him. No one مالفوى. إنه ال off his feet as listens to !ﯾستحق ذلك he straightened Malfoy, He his robes. doesn't Rotten to the deserve it. core, the whole family, everyone knows that.No Malfoy's worth listenin ter Harry looked Deletion ونظر هاري إلى Harry looked Figurative 65 71 ,at the clock الساعة، باق من up at the giant ten seconds الزمن عشر clock with a …are left .ثواني ...تسع sickening feeling in the Nine. pit of his stomach. Ten seconds….nin e seconds The car had Paraphras كانﺖ السيارة قد The car, Figurative 71 79 made all the e بذلﺖ كل however, the effort it جهدها، end of its could, and وتوقفﺖ، tether. With stopped, and وفتحﺖ أبوابها. two smart opened its وطار مقعد clunks, the doors. Harry's هاري ليجد نفسه doors flew seat flew and وقد سقط فوق open and he found حشائش الحدﯾقة Harry felt his himself on the المبتلة seat tip sideways

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gardens wet grass.

He said: of Combinati قال طبعا: So, he softly, Figurative 73 82 course. The on القطار ال ﯾالئم the rain isn’t train doesn't Paraphras هاري بوتر good enough + suit the e الشهير وﺻدﯾقه for the famous famous Harry addition الحميم. ﯾرﯾد أن Harry Potter Potter. And ﯾصل بضجة and his his best تعلن عنه! اليس faithful friend. He كذلك؟ sidekick Weasley. wants to Wanted arrive arrive with a with a bang, bang that did we, boys? announces his original start arrival doesn't off with a he? bang The next day, Paraphras في اليوم التالي، The next day, Figurative 80 90 a smile never e لم تعرف ,however found its way االبتسامة Harry barely to Harry's طرﯾقها إلى وجه .grinned once face, as things هاري، فمنذ Things started started to وقﺖ اإلفطار في to go downhill happen since الصباح، بدأت from breakfast breakfast االحداث تتوالى in the Grat Hall. time. When I Paraphras عندما سمعﺖ – When I heard Semi- 84 95 heard-well. I e حسنا. إنني ألوم Well, of Figurative – .blame myself نفسي. لقد كنﺖ course, it was I was the أنا السبب .all my fault Could have reason kicked myself They finished paraphase انتهوا من They finished Variant of 89 100 lunch, And الغداء، وخرجوا lunch and existing went out to إلى الفناء went outside idiom the outside الخارجي، into the hall. And ودفنﺖ هرميون overcast Hermione وجهها في كتاب .courtyard buried her رحلة مع Hermione sat face in a book مصاﺻي الدماء down on a step and – a journey buried her with a nose in vampire. Voyages with Vampiers again.

Original idiom: have 246

your nose in a book

He cried: Paraphras ﺻاح: أوليفر Oliver, Harry Semi- 98 110 Oliver we are e إننا مازلنا في croaked, it's Figurative still at dawn الفجر the crack of dawn time Collin did not Combinati لم ﯾتوقف كولن But Colin Figurative 99 112 stop talking on عن الكالم didn’t stop or asking Paraphras واألسئلة حتى questioning + questions e وﺻال إلى Harry all the until they addition غرف تغيير way down the reached the المالبس. ومنعه sloping lawns changeover هاري من التقدم to the rooms. And أكثر من ذلك Quidditch pitch, And Harry Harry only stopped him shook him off from going when he forward than reached the that. changing room Alicia Combinati واليشياسبنيﺖ Alicia Figurative 100 113 Spinnet lent on تركن رأسها Spinnet, who her head on Paraphras على الحائط، seemed to be + the wall, and e وبجوارهما nodding off by her side, addition كاتى بيل against the Katie Bell وأنجيليا wall behind and Angelina جونسون وهي her. Her Johnson were تتثاءب بكسل fellow Chasers, Katie yawning Bell and lazily. Angelina Johnson, were yawing, side by side, opposite them Slytherins Combinati وانتابﺖ فرﯾق The Slytherin Figurative 105 118 team were on سليذرﯾن حالة team were overtaken by Paraphras من الضحك parlysed with +crazy e الجنوني. كان laughter. Flint laughter. Flint addition فلينﺖ ﯾتقافز was doubled was jumping .بعصاه الجدﯾدة ,up around with his new wand. He said he Paraphras ﯾقول إنه استطاع Like I don' Variants 107 120 was able to e إخراج البانش know. An of an remove the وطردهم. أراهن bangin on existing about some idiom Banshee and 247

get rid of أنه لم ﯾحدث Banshee he them. I bet شيء من هذا banished. If one word of it nothing like was true, I'll that had eat my kettle happened.

Original idiom: I will eat my hat Four hours Replacme لقد مرت أربع We've been Semi- 112 127 have already nt ساعات. ال here nearly Figurative passed. I don't أﺻدق ذلك، لقد four hours! I'd believe it, the سرقنا الوقﺖ. never have .time stole us أليس كذلك؟ -believed it the time’s Didn't it? flown, hasn't it? But, I know Paraphras لكن، أعرف أنك Of course- but Figurative 122 136 you want to e ترﯾد حضور I dare say go to the حفل الهالووﯾن you'd rather Halloween في المدرسة. go to the party at ونظر إلى هاري ?school feast school. And في لهفة He watched Harry on Harry looked tenterhooks at him eagerly. Ron: I think Combinati رون: أعتقد أنني You know it Figurative 137 153 I've heard on سمعﺖ شيئا rings a sort of +something Deletion عنها. لكنى ال bell, said Ron about it. But I addation أتذكر شخص slowly. I think don't ما. ربما كان بيل someone told remember أخبرني بوجود me a story .someone حجرة سحرﯾة about a secret Maybe it was في هوجوورتس chamber at Hogwarts Bill who told once…might' me about a ve been Bill secret room at Hogwarts. Harry said Literal قال هاري Oh, is that all? Figurative 167 187 angrily: why translation غاﺿبا: ولماذا Said Harry do you want ترﯾد أن تعيدني angrily. I to return me إلى المنزل don’t suppose home in أشالء؟ you're going to tell me why pieces you wanted me sent home in pieces? Yes, Harry Paraphras نعم أﺻبح هاري And Harry Semi- 167 188 Potter has e بوتر هو شعاع Potter shone Figurative become a ray الفجر لمن like a beacon

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of light to اعتقدوا أن of hope for those who الظالم سيبقى these of us thought the إلى االبد who thought the dark days darkness will would never stay forever end And in the Paraphras وفى المكتبة قابل As Harry 171 192 library, he e بيرس الذي كان passed the Variants met Percy مبتسما على غير library, Percy of an who was العادة Weadly existing strolled out of idiom smiling it, looking in which was in far better unusual spirits than last time they'd met.

Original idiom: in good spirits If Harry has Paraphras فإذا كان بوتر قد I mean to say, Figurative 185 209 decided that e قرر ان ﯾكون if Potter's he’ll be his ﺿحيته التالية marked him ,next victim فمن األفضل أن down as his then it's better ﯾختفي من أمامه ,next victim it's best if he that he keeps a low disappears profile for a from in front while. of him. Harry found Paraphase ووجد هاري Harry found Figurative 188 214 himself stuck نفسه ﯾلتصق himself if to the wall بالحائط، بينما pinned against whilst the األساتذة ﯾطلبون the wall as professors الهدوء teachers shouted for were asking quiet. for quiet.

Ernie who Replacem إﯾرنى الذي أشار Caught in the Figurative 189 215 pointed to ent إلى هاري وقال: act, Ernie :Harry said ها هو متلبس yelled, his here he is بجرﯾمته في face stark caught with مكانها ,white pointing his his crime in finger its place dramatically . at Harry He was in Deletion كان في مكتب All the Semi- 190 217 Professors األستاذ دمبلدور. teacher's Figurative Dumbledors وشعر هاري offices Harry office. And بأنه أجمل من had visited so

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Harry felt it كل مكاتب ,far this year was the most األساتذة التي Dumbledore's beautiful دخلها هذا العام was by far the most professors interesting.If office he had he hadn't been gone into all scared out of year. his wits that he was about to be thrown out of school And they Combinati واتجها ناحية The figure Figurative 199 232 headed on الصوت. was emerging towards the Paraphras واﺿطرب from a side + voice. Their e قلباهما في room. As they hearts addition ﺻدرﯾهم. لم ﯾكن hurried trembled in فردا من ,nearer their chests. It سيليذرﯾن. ولكنه however, their wasn't a كان بيرس hearts sank. It wasn’t a person from Slytherin, it Slytherin. It was Percy. was Percy. original your heart sinks He said: Deletion قال: أﯾن كنتما؟ There you are, Figurative 200 233 where were إنني أبحث ,he drawled you? I've !عنكما منذ فترة looking at them. Have looking for you two been you for some pigging out in time. the Great all this time? I've been looking for you Malfoy Literal غاب مالفوى Malfoy came Figurative 201 234 disappeared translation دقيقة، ثم عاد back a minute ,for a minute ومعه ﺻفحة من later, holding and came جرﯾدة. ودسها what looked back with a أسفل أنف رون like a newspaper page from a cutting. He newspaper. thrust it under And hid it Ron’s nose under Rons nose. Harry and Paraphras كتم هاري Harry and Figurative 202 236 Ron held their e ورون أنفاسهما. Ron waited .breaths البد أن مالفوى with bated Malfoy must سيعترف االن :breath be admitting بأنه هو Malfoy was surely second

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away from it was him telling them it now. was him And Harrry وأمسك هاري It would be a 203 237 held Ron's Combinati بيد رون ليمنعه bit of a give – Variants hand to stop on من ﺿرب away if Ron of an + him from Deletion مالفوى. وسأل punched existing beating addition ببساطة، لكن هل Malfoy, Harry idiom Malfoy and تعرف ماذا shot him a :asked simply حدث لذلك الذي warning look but do you فتح الحجرة؟ 'and said , D you know if know what the person happened to who opened the person the Chamber who opened last time was the room? caught?

Original idiom: dirty look He decided to Deletion وقرر أن ﯾذهب Even more Figurative 207 242 go and ليشكو إلى ! work for me complain to األستاذ دمبلدور. Mopping all professor فقد كان ذلك night, like I Dumbledore ﯾمثل عبئا ثقيال haven’t got This was … من العمل الزائد !enough to do No, this is the like a heavy final straw, load of extra I'm going to work. Dumbledore Used in Paraphras استعمالها في You'll have Semi- 210 248 treating his e عالج قطته Mrs Norris Figurative cat Norris نورﯾس والتي back in no which will ستعود اليه على time return to him الفور straight away. Harry nearly Deletion كاد هاري ﯾموت Harry would Figurative 213 252 died of خجال وحاول have given all embarrassme التظاهر the gold in nt and tried to بالضحك مع Gringotts to appear like he الجميع evaporate on the spot. was laughing Trying with valiantly to everyone. laugh along with everyone else,

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The board Paraphras لقد قرر مجلس But the Figurative 232 277 directors have e اإلدارة أنه قد governors feel decided that حان الوقﺖ لكي it's time for it's time to تترك المدرسة. you to step leave the وهذا أمر وافق aside. This is school. And عليه اثنا عشر an Order of this is عضوا – Suspension you'll find all something twelve twelve signatures on members it agreed upon. Unanimously Paraphras أي باألجماع، I'm afraid we Semi- 232 277 It seems like e , ﯾبدو أنك قد feel you're Figurative you have lost فقدت سيطرتك. losing your .your control كم حادثا وقع في touch. How How many الفترة األخيرة؟ many attacks have there incidents been now? have happened in the last period? It's Paraphras فمن المستحيل I know you'd Semi- 235 283 impossible e أن تهاجم never attack Figurative that هرميون. Hermione Hermione وأعتذر لك عن Granger, and I .gets attached كل ما قلته من apologise for And I قبل. نحن االن all the stuff I apologise for جميعا في said.We're all everything I مواجهة خطر in the same said before to واحد boat now, and , well- you. Now we are all facing one danger. He looked at Paraphras ونظر إليهم Come now, he Figurative 237 285 them smiling e باسما وقال: ,cried :and said لماذا أرى beaming Why am I وجوهكم حزﯾنة ,around him seeing your قلقة؟ why all these long faces? face sad and worried? Then Paraphras ثم فجأة، أطلق Then Fang Figurative 239 288 suddenly, e فانج نباحا suddenly let Fang let out a ﺻارخا جنونيا. ,loose a great crazy جعل هاري ,echoing bark screaming ورون ﯾقفزان making both bark. Which في مكانهما Harry and Ron jump out made Harry of their skins and Ron jump in their places.

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And he said Replacem وقال لهم وهو Mark my Semi- 250 303 to them as he ent ﯾتنقل من ممر words, he sais Figurative passed from a إلى أخر: تذكروا ushering , corridor to كلماتي. سوف them around a :another تكون الكلمة corner, the Remember االولى التي first words out .my words ﯾنطق بها of those poor Hagrid will المرﺿى بعد Petrified be the first شفائهم هي كلمة people's word that the هاجرﯾد mouth will be , It was Hagrid patients will say after their recovery. We will make Paraphras سنحرص على We'll make Semi- 257 310 sure everyone e أن ﯾبتعد الجميع sure Figurative moves out of عن طرﯾقك. ها everyone's out .your way هي الفرﺻة قد of your Here is your أتﺖ إليك way.You'll be able to tackle chance that's the monster come to you. all by yourself. A free rein at last. McGonagoll Deletion قالﺖ Right, said Figurative 256 311 ,said: now ماكجونجال: Professor The heads of االن، على كل ,McGonagall the pupils رؤساء الطلبة whose nostrils should tell أن ﯾبلغوهم بأن ,were flared them that the قطار that's got him Hogwarts هوجوورتس out from train will take سوف ﯾعيدهم .under our feet them back to إلى بالدهم في The heads of their الصباح الباكر House should go and inform countries in their students the early what has morning. happened. Tell them the Hogwarts Express will take them home first thing tomorrow Lockhart Deletion قال لوكهارت: Well, you Figurative 260 318 said: well. I حسنا. ال أظن hardly seem to don't think أنكما تحتاجان need me , said you need me لي ,Lockhart with a shadow

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of his old smile. I 'll just

You stay with Deletion وابق أنﺖ مع Waite with Semi- 263 321 Lockhart, and لوكهارت، وإذا Lockart. I'll go Figurative if I'm not لم أعد خالل on. If I'm not back in an .ساعة back in an hour…There hour. was a very pregnant pause And Deletion واستمر ﯾقول: Listen, said Semi- 266 325 continued علينا أن نخرج Harry Figurative saying: we من هنا. ﯾوجد urgently, his need to get ثعبان الباسليك knees sagging .out of here القاتل، وقد ﯾأتي with Ginny's There is a في أي وقﺖ ,dead weight we 've got to killer Basilisk go! If Basilisk snake, It comes could come any time. Riddle Deletion رد رﯾدل: هذا And quite a Figurative 266 326 :answered سؤال مهم . لقد long story. I that's an حدث لها ذلك suppose the important ألنها فتحﺖ قلبها real reason question. This وروحها لي Ginny Weasley's like happened to this is because her because she opened She opened her heart and her heart and spilled all her soul to me. secrets to an invisible stranger And she put a Combinati وﺿعﺖ الكثير So Ginny Figurative 268 327 lot of her soul on من روحها في poured out her into the note Paraphras المفكرة. أي في ,soul to me +book. Into my e روحي أنا .قدر and her soul soul. An Addition ﯾكفى ألن happened to amount ﯾجعلني أخرج be exactly enough to من المفكرة .what I wanted make me come out of the diary. Dumbledore Combinati قال دمبلدو: ال Only a true Figurative 284 352 said: not on ﯾمكن ألي Gryffindor every person شخص أن ﯾنجح could have can succeed Paraphras في إخراج pulled that out +in taking the e السيف من ,of the Hat sword out of addition القبعة، إال إذا Harry, said 254

the hat unless كان من Dumbledore he was from جرﯾفدور .simply Gryffindor. He took the Paraphras أخرج المفكرة Mr Malfoy Figurative 285 356 burnt diary e المحترقة من ripped the out of the الجوارب، sock off the sock, and وألقاها من ﯾده، diary, threw it threw it from وﺻرخ في وجه aside, then ,his hand هاري بوتر: looked shouting at سيكون مصيرك furiously from Harry Potters مثل والدﯾك the ruined book to face: you will Harry.You'll you’re the meet the same same fate as sticky end as your parents. your parents one of these days

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Appendix 2: Table of neologisms in Harry Potter and the Chamber of Secrets

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translation Aunt Petunia Deletion قالﺖ الخالة There's more in New 1 2 said with بتونيا وعيناها frying pan, coinage lovely and تقطران حبا ,sweetgums admirable واعجابا: said Aunt eyes: there is ﯾوجد المزﯾد ,Petunia more in big في الطبق turning misty .plate الكبير eyes on her massive son.

Harry said in Transliterati قال هاري Jiggery pokery Existing 10 10 terrifying. on بصوت said Harry in word :voice مرعب: fierce voice . with new Jiggery جيجري Hocus pocus sense …pokery بوكري...هو squiggly …… Hocus كس بوكس wiggly ..pocus .... سكوﯾجلي Squiggly.. وﯾجلي wiggly. Harry said in Transliterati قال هاري Jiggery pokery New 10 10 terrifying on بصوت said Harry in coinage :voice مرعب: . fierce voice Jiggery جيجري Hocus pocus …pokery بوكري...هو squiggly …… Hocus كس بوكس wiggly ..pocus .... سكوﯾجلي squiggly وﯾجلي wiggly Dobby Functional أجاب: Dobby, sir. just Existing 12 13 answered: equivalence دوبى..اسمى Dobby. Dobby words My name is دوبى...وأنا the house-elf, with new Dobby and I جنى المنزل said the sense creature. am a house goblin.

Then dad generalizatio ثم حضر Then Dad New 23 25 came and told n والدي came home and coinage us of the وأخبرنا said you'd got letter the بالرسالة التي on official Ministry sent أرسلتها لك warning for

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for you using الوزارة using magic in magic with الستعمالك front of .the public السحر مع .Muggles العامة

And of Deletion وطبعا هي Of course, it Derived 44 49 course it's تستعمل فقط was only in the from old only used in في عالم wizarding Norse the Wizards السحرة، وال world that he knutr world and ﯾمكن التعامل had money, meaning can not be بها في 'you couldn’t 'knot dealt with in محالت ,use Galleons .public shops .العامة Sickles and Knuts in Muggle shops. And of Deletion وطبعا هي Of course, it Exciting 44 49 course it's تستعمل فقط was only in the word only used in في عالم wizarding with new the Wizards السحرة، وال world that he sense world and ﯾمكن التعامل ,had money can not be بها في you couldn’t dealt with in محالت ,use Galleons .public shops .العامة Sickles and Knuts in Muggle shops. And of Deletion وطبعا هي Of course, it Exciting 44 49 course it's تستعمل فقط was only in the word only used in في عالم wizarding with new the wizards السحرة، وال world that he sense world and ﯾمكن التعامل ,had money can not be بها في you couldn’t dealt with in محالت ,use Galleons .public shops .العامة Sickles and Knuts in Muggle shops. Ron said Functional قال رون He's never New 44 49 suddenly: he equivalence فجأة: إنه لم travelled by coinage hasn't ﯾسافر ,Floo powder travelled by بالبودرة said Ron Flying الطائرة من .suddenly powder قبل before. mandrake Transliterati قالﺖ ماندرﯾك Mandrake , or Derived 85 96 said or on او Mandragora , is from ,mandragora ماندراجورا a powerful

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It has big ،لها قوة :restorative , Latin powers that كبرى في said Hermione Medieval restore things إعادة األشياء to its original إلى أﺻلها state. Mandrake Transliterati قالﺖ ماندرﯾك Mandrake , or Borrowin 85 96 said, or on او Mandragora , is g ,Mandragora ماندراجورا، a powerful it has a big لها قوة كبرى restorative , from powers to في إعادة said Hermione Latin return things األشياء إلى mandrag: to their أﺻلها ora original states. You have lots Transliterati لدﯾكم الكثير There is a large New 87 98 of pots to on من االواني supply of pots coinage .replant in لتعيدوا الزرع here – compost And be بها. in the sacks careful of the واحترسوا من – over there Venomous الفينوماوس and be careful Tentacula as تنتاكوال ألن of the it has sharp لها أسنانا Venomous .teeth حاده Tentacula, it's teething As to Ron, Descriptive أما رون فقد Ron saw New 88 99 his biggest equivalence كانﺖ مشكلته having far coinage problem was أكبر. عصاه .worse problem his shattered المحطمة لم He had patched wand. It تعمل على up his wand didn't work at االطالق، with some all, and his ومحاولته borrowed attempt to لصقها بورق Spellotape stick it with الﺻق sticky paper. He raised his Transliterati ورفع أكمامه He rolled up New 95 107 sleeves, and on وأمسك his sleeves, coinage held his عصا، وقال brandished his wand, and وهو ﯾشير wand and said as he بها: بيسكي ,bellowed pointed with بيكسي Peskipiksi it: Peskipiksi بيسترنومي Pesternomi Pesternomi

Malfoy called Combinatio مالفوى لقد Said Ron New 108 121 her a dirty n لقبها بذات hoarsely, coinage Mixed-blood الدم الخليط emerging over الملوث ,the table top looking pale 258

and sweaty. Functional Malfoy called equivalence her Mudbloods + addition

Harry held Functional مد هاري ﯾده Harry picked New 119 133 out his hand, equivalence وأمسك up the coinage and caught بالمظروف envelope and the envelope وقراء: تعاوﯾذ read Kwikspell :and read سرﯾعة. درس correspondenc .Quick spells خصوﺻي e course in A special بالمراسلة. beginners lesson for للمبتدئين في magic beginners in السحر magic. It must be a Functional ال بد أن لعنه It was New 133 149 curse that equivalence قتلتها. ربما definitely a coinage .killed her تكون لعنة curse that .Maybe it's االنسالخ. لقد -killed her Metamorpho رأﯾﺖ مثلها probably the sis curse. I've كثير Transmogrifia n Torture. I've seen a lot like seen it used it. many times And I don't Transliterati وأنا ال أعرف I don't even Existing 143 151 even know on حتى معنى know what a word what that سكوﯾب هذا Squib is with new sense Squib means. All we need Transliterati كل ما نحتاجه No, is not , said Multiple 150 168 is the on هو وﺻفه Hermione. All Polyjuice البولى جوﯾس we'd need Derived would be some from recipe. Polyjuice Greek: Potion poly+ existing word: juice

I gathered all Combinatio واستجمعﺖ I then screwed Multiple 152 171 my strength. n كل قوتي. up my process And read the وقرأت عليه remaining Homorphusy تعوﯾذة strength and Derived from spell on him. Transliterati الهومورفوس performed the ي :immensely Latin morph on + complex Generalisati Homorphus + Derived on Charm from

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Greek: Home

Hermione Transliterati قالﺖ هيرمون Well, as the New 156 175 said happily: on بسعادة: ﯾجب Fluxweed has coinage we have to أن نقطف got to be pick the الفلوكسوﯾد picked at full Fluxweed عند اكتمال moon and the when the القمر. أما lacewings have .moon is full أجنحة الذباب got to be As for the fly فيجب أن stewed for wings, they تغلى لمدة twenty –one have to be 21ﯾوما days boiled for 21 days. And that was Transliterati وهكذا كان So was taking New 164 184 the taste of on طعم السكيل the Skele- Gro, coinage -the Skele – جرو. شعر it burned Gro. He felt بفمه ﯾحترق. Harry's mouth his mouth وحلقه أﯾضا and throat and throat burning as well. Snape وﺻاح سناب Both of them Derived 178 201 shouted: Transliterati اكسبليارموس swung their Expelliarmus on ى، وظهرت wand up and from And a , أشعه قرمزﯾة :over their Latin Scarlett flash تطاﯾرت shoulder. expellere appeared كالشرر :Snape cried Expelliarmus! flying around There was a like sparks. dazzling flash of scarlet light

He pointed Transliterati ووجه عصاه Harry pointed Multiple 179 202 his wand on إلى مالفوى his wand process towards وﺻاح: straight at Derived Malfoy and رﯾكيتيوسمبرا Malfoy and word :shouted ه، واندفعﺖ shouted, from ,Rictusempra شرارة :Rictusempra! Latin And silver فضيه، A jet of silver Rictu sparks darted لتضرب light hit +borrowi out, to hit مالفوى في Malfoy in the ng from Malfoy in his معدته :stomach Latin Sempra stomach.

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He pointed أشار بعصاه Malfoy pointed Derived 179 203 his wand to Transliterati إلى رجلي his wand at word Harry's legs on هاري وقال: Harry's knee, from :and said تارانتا ليجرا :chocked Italy Tarantallegra, Tarantalleger a, and وبدأت ساقا and next Tarantell Harry’s legs هاري second Harry's a started to تتحركان legs had begun move with بخطوات to jerk around dancing steps راقصه out of his control

:Snape cried وﺻاح Snap took Derived 179 203 stop.. Stop.. Transliterati سناب: كفى charge Finite word Finite on ..كفى .. Incantatem, he from Incantatem فيناﯾﺖ انكان :shouted Latin تاتيرم Finio and incantatio nem Malfoy raised ورفع مالفوى Malfoy raised Derived 180 204 his wand Transliterati عصاه his wand word quickly and on بسرعه وقال: quickly and from :said سيربن :bellowed, Latin .Serpensorita سورﯾتا !Serpensortia Serpent and ortus Ron pushed Descriptive ودفعه رون Then Ron New 182 206 him to a إلى مقعد pushed Harry coinage comfortable equivalence مرﯾح وقال: into an :seat and said أنﺖ تتحدث armchair and you are باللغة said, you're a talking in a الثعبانية.لماذا .Parselmouth snake لم تخبرنا Why didn’t .language بذلك؟ ?you tell us Why didn't you tell us that? She hit the Transliterati وﺿربﺖ She tapped the Derived 210 246 diary with her on المفكرة diary three word wand a few بعصاها عدة times and said times and مرات وقالﺖ: Aparecium From :said أبارﯾسيوم :Latin appareo Aparecium.

Harry held Transliterati وأمسك هاري Harry took out Derived 238 287 his magical on بعصاه his wand , word

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wand and السحرﯾة murmured from .said: Lumos وقال: :Lumos !and a Latin And light الموس. tiny light appeared at وظهر ﺿوء appeard at the lumen .its edge خافﺖ في .end of it طرفها Aragog said: Transliterati قال أراجوج: The thing that Multiple 244 294 the creature on المخلوق الذي lives in the process that lives in ﯾعيش في castle, said the room. He الغرفة. أنه Aragog. Is an Derived is a very old مخلوق قدﯾم ancient word .creature جدا. حتى creature we from Even the نحن العناكب :spider fear Latin spiders are نخاف منه + above all aranea scared of it أكثر من أي others borrowin more than أحد أخر g: gog anything. He raised Transliterati ورفع عصا He raised Ron's Derived 262 320 Ron’s wand on رون فوق Spellotaped word over his head رأسه وﺻاح: wand high over from :and shouted أوبليفييﺖ :his head and Latin yelled , Obliviate. Obliviate Oblivisci

The Phoenix Functional كانﺖ العنقاء Fawkes was New 278 341 was waiting equivalence في waiting for coinage for the. And انتظارهما. them, hovering lead them وقادتهما عبر in the Chamber across the .الطرﯾق entrance way.

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Appendix 3:Table of idioms in Harry Potter and the Order of the

Phoeni

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Translation The hottest Paraphrase اقترب أشد The hottest day Figurative 3 1 day of أﯾام الصيف of the summer so summer was حرارة من far was Drawing coming to نهاﯾته وسط to a close and a its end in حالة من drowsy silence the middle السكون lay over the of a sleepy الناعس large silence state.

Harry heard سمع هاري The opening Variant of 4 3 the musical Paraphrasin التتر notes of music existing for the g الموسيقى that heralded the idiom begging of لبداﯾة نشرة seven o'clock the seven أخبار news reached o'clock السابعة، Harry's ears and news, and فشعر his Stomach felt his بأمعائه turned over intestines تتقلص shrinking Original idiom: turn your stomach Before he Paraphrase قبل أن Before he could Figurative 6 4 comes out ﯾخرج draw himself up completely بالكامل من to full height, the from the حوض top of his head flower الزهور، collided with the basin, his اﺻطدمﺖ Dursleys' open head رأسه بنافذة window bumped into الدورسلى 'Dursleys المفتوحة open window Harry felt Literal شعر هاري Harry felt as Figurative 6 4 his head translation كأن رأسه though his head split into انقسم إلى had been split in

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.two halves نصفين. أخذ two. Eyes He begin to ﯾترنح streaming, he swaying ودموعه swayed, trying with trapped محبوسة. to focus on the tears. He حاول street to spot the tried to التركيز source of the concentrate ليعرف noise to know the مصدر source of الجلبة the noise. Uncle Literal سأله الخال What the devil Figurative 6 5 Vernon translation فرنون do you mean by asked with a بصوت it, boy? Asked hoarse أجش Uncle Vernon in trembling مرتجف من a croaky voice voice of الغضب: that trembled anger: what ماذا تعنى with fury the devil do بحق ,you mean الشيطان ﯾا ?boy ولد؟ He has to Literal عليه أن He would have Figurative 8 6 face his aunt translation ﯾواجه خالته to face his aunt and uncle وزوجها فيما and uncle later later and بعد وﯾدفع and Pay the price pay the ثمن وقاحته، , for his rudeness price of his لكنه لم but he did not ,rudeness ﯾكترث care very much but he didn't كثيرا بهذا just at the care very في تلك moment much about اللحظة it at that moment. He had Paraphrase تداهمه He had Figurative 10 9 tiring أحالم متعبة unsettling dreams عن دهاليز dreams about about وممرات long dark passageway مظلمة corridors, all s and dark وطوﯾله، finishing in dead and long جميعها ends and locked ,corridors تنتهي بحائط ,door all of them مسدود أو ending in a أبواب closed wall .مغلقة and closed doors

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He will not Paraphrase لن ﯾحب He wouldn’t Figurative 12 10 like being الخذالن امام want to lose face let down in عصابته ، in front of the front of his لكنه سيخاف gang, but he'd be gang, he من استفزاز terrified of will be هاري. provoking scared of سكون Harry….. it provoking مشهدا مسليا would be really Harry, it أن ﯾرى fun to watch will be a fun ددلى في Dudley's scene to see مثل هذا dilemma Dudley in المأزق such dilemma The voices Paraphrase تالشﺖ The voice of Figurative 12 11 of Dudley’s أﺻوات Dudleys gang gang افراد died away, they members عصابة were out of faded. They ددلى. كانوا sight, heading had gone قد خرجوا along Magnolia out of his عن نطاق Road ,eyesight رؤﯾته، heading to متجهين إلى Magnolia طرﯾق .Road .ماجنوليا How in فكيف باهلل How on earth Figurative 20 19 god's name عليك اقدر was I supposed can I help Replacemen على to help you fight you fight De t مساعدتك ?off Dementors ?mentors في قتال He left you You have الدﯾمنتورات completely left me with ؟ لقد تركني without cover no cover بال أﯾة when I'd warned and I have تغطيه وقد him warned him حذرته من from. The magic Paraphrase سيقوم عالم We might as Variant of 21 20 world will السحر ولن well be hanged existing stand up and ﯾقعد بسبب for a Dragon as idiom not sit down ما حدث an egg because of وربما what ﯾشنقوننا Original idiom: happened we might as well and maybe be hanged for a they will sheep as a lamb. hang us.

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Because of Paraphrase بسبب أوامر Dumbledore's Semi- 21 20 Dumbledore دمبلدور. order. I was to Figurative s orders, I' كان على keep an eye on had to watch مراقبتك you but not say you without دون أن anything, you telling you أخبرك .were too young ,anything بشيء، فأنﺖ because you ﺻغير جدا are very young. it’s has her Replacemen لدﯾها The Ministry Semi- 22 21 ways of t أساليبها في have their own Figurative finding كشف ways of situations of حاالت detecting practicing ممارسة ,underage magic magic by السحر من they'll know wizards جانب already, you who are السحرة mark my words under legal تحﺖ السن age, and I القانونية، assure you وأوكد لك that they أنهم عرفوا knew what بما حدث had بالفعل. ثق happened بكالمي exactly, believe my words. No benefit Combinatio ال فائدة من It’s no good Variant of 23 22 of crying n البكاء على Crying over spilt existing over the التركيبة potion, idiom +spilled Addition السحرﯾة magical Paraphrase المسكوبة1 formula1 (هوامش) : Original idiom cry over spilt Footnotes: ال فائدة من - milk No benefit البكاء على of crying اللبن over spilled المسكوب milk.

As the cat Combinatio فالقطه But the cats Variant of 23 22 +has fallen n Addition وقعﺖ وسط among the pixies existing amongst the Paraphrase العفارﯾﺖ now2 idiom .Demons .بالفعل 2

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:Footnotes هوامش: :Original idiom سبق السيف the cat's among" the sword العزل ".the pigeons already came before the isolation I expect Paraphrase أتوقع أن I expect Figurative 23 22 someone ﯾتصل بك someone will be will call you أحد ما قرﯾبا in touch with .very soon جدا you soon enough

His mind Paraphrase اخذ عقله His mind was Figurative 27 27 started to ﯾفكر racing……he think بسرعه. could run for it .quickly ﯾمكنه and risk being Maybe he الهروب captured by the can escape والمخاطرة ,Ministry and risk باالعتقال being من جانب arrested by الوزارة the Ministry. But he knew Paraphrase لكنه كان But he knew Mr Semi- 27 27 Mr Weasely ﯾعلم أن السيد Weasley had his Figurative knows وﯾسلى best interests at what's best ﯾعرف heart….and after for him مصلحته all, Dumbledore interest and وحرﯾص had sorted out is careful عليه. وبعد much worse that .about it كل شيء this before And after فدمبلدور ,everything حل Dumbledore مشكالت s has had to أعقد من هذه solve more بكثير فيما complex سبق problems than that. Harry said Paraphrase قال هاري You cant give a Figurative 32 32 angrily: we بغيظ: ال Dementor The can not beat تستطيع ,old one – two them with التغلب said Harry saying fast عليهم through بكلمات clenched teeth

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consecutive سرﯾعة words متتالية

Harry stood Replacemen وقف هاري Harry stood Figurative 36 36 frozen in his t متجمدا في rooted to the place, the مكانه. spot. The letters Ministry ورسائل from the letters and الوزارة، Ministry Mr Mr Weasely والسيد Weasley and and Sirius وﯾسلى Sirius were all piled in his وسيرﯾاس crushed in his .left hand مكومة في left hand .ﯾده اليسرى

Angry at Paraphrase غاﺿبا Furious at the Semi- 41 41 them all, for منهم جميعا، whole lot of Figurative leaving him لتركهم إﯾاه them Leaving with raging تضطرم him to stew in confusion in الحيرة في his mess, and ,his chest ﺻدره وبال with a lethargy and without مباالة تامة so he could lie any care تدفعه on his bed for an pushing him الستلقاء .hour at a time to lay down على فراشه on his bed لساعه دون for an hour أن ﯾنهض without getting up. His heart تقافز قلبه His heart shot Variant of 42 43 jumped Combinatio بين upwards into his existing between his n ﺿلوعه. throat. There idiom ribs. There هناك were people were people Replacemen أشخاص standing in the standing in t+ Addition واقفون في shadowy hall the soon الصالة below .below باألسفل

Original idiom : heart in his mouth

Moody Paraphrase ﺻاح We ought to Figurative 53 53 shouted: we مودي: علينا double back for should turn االلتفاف a bit, just to around and والسير make sure were walk بالعكس not being oppositely لبعض for some الوقﺖ

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time to لنضمن أنه !followed ensure no ال ﯾتبعنا أحد Moody shouthed one is following us.

The Paraphrase بدا على The wizards Figurative 56 57 Wizards السحرة من behind Harry all behind خلف هاري made noises of Harry سيما interest and seemed to االهتمام، excitement and pay وشرعوا في began filing past particular السير من him towards the ,attention خلفه نحو door through and began الباب الذي which Mrs to walk جاءت منه Weasley had just toward the السيدة come door behind وﯾسلي him that Ms Weasley came from.

He said to Paraphrase قال رون Don’t be thick , Figurative 60 60 Ron with وعلى وجهه ,said Ron irritation on عالمات looking highly :his face االنزعاج: ال disconcerted don't be a تكن أحمق fool Who saved Paraphrase من أنقذ Who saved the Semi- 60 61 the حجر philosopher's Figurative philosoph الفيلسوف؟ stone? Who got stone? Who من حل ?did of riddle solved the طالسم Who saved both talismans االلغاز؟ your skins from ?puzzles ومن انقذكما .the Dementors who rescued من you from الدﯾمنتورات the Dementors? Fred said, Paraphrase قال فرﯾد You don’t want Figurative 62 63 also مبتسما هو to bottle up your :smiling االخر: ال , anger like that don't تخنق Harry, let it all strangle غضبك ﯾا ,out , said Fred your anger هاري ﺻح .also beaming Harry, shout واﺻرخ كما شئﺖ

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and cry out as you want.

George Combinatio قال جورج: Time is Variant of 63 64 +said: Time n Addition الوقﺖ Galleons, little existing is like a Paraphrase كالعصا brother, said idiom magic wand السحرﯾة ﯾا Fred my younger أخى .brother1 الصغير :Footnote (الهوامش) :original idiom time is money means time ﯾقصد الوقﺖ is like a sword, but كالسيف the proverb لكن المثل was تحول converted to ليصير هكذا become like في عالم this in the السحرة wizarding world George said Paraphrase قال جورج I think we are Figurative 64 65 with an ونظرة Well shot of him unusual قبيحة غير ,said George ugly look on معتادة على with an :his face وجهه: uncharacteristic Clearly he is واﺿح انه لم ally ugly look on no longer ﯾعد منا his face with us

I'm not Paraphrase أنا ال أتحدث I 'm not talking Semi- 67 68 talking عن مقاالت about big Figurative about big كبيرة. كانوا articles. They .articles ﯾكتبون عنك ,just slip you in They were كمزحه like you're a writing عابرة standing joke about you as a passing joke We thought Paraphrase حسبنا أنهم We thought they Figurative 68 69 ,they will do سيفعلون. would, It would this will كان هذا tie in so well prove your سيثبﺖ with tis image of image as a ﺻورتك you as some reckless boy كفتى متهور stupid show- off and lover of محب fame للشهرة

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He did not Paraphrase لم ﯾنظر نحو He did not look Figurative 82 83 look السيدة .at Mrs Weasley towards Ms وﯾسلى تأثر He had been Weasely, he كثيرا بما touched by what was very قالته عن she had said affected by كونه كابنها about his being as good as son what she said about being her son. They heard Paraphrase سمعوا They could hear Semi- 82 84 her shouting ﺻياحها her raging and Figurative and her واحتجاجها storming at her overwhelmi العارم طوال mother all the ng protest الطرﯾق way up the all the way وهى تصعد stairs, and when as she السلم، she reached the climbed the وﺻلﺖ hall Mrs Black's stairs. She الصالة ear – splitting got to the أﺿيف shrieks were hall, Mr ﺻراخ السيد added to the din blacks بالك الذي shouting ﯾصم األذن that was ear الى الصخب deafening .الجاري was added to the clamor. Mr Weasely Replacemen قال السيد Ah, well, you've Figurative 84 86 said with a t وﯾسلى Put your finger exhausted بابتسامة ,on the problem smile: You مرهقة: said Mr Weasley have put وﺿعﺖ ﯾدك with a wry your hand على .smile on the المشكلة. Dumbledore problem دمبلدور Dumbledor. Sirius said: Paraphrase قال Tonks and Semi- 85 87 Tonks and سيرﯾاس: Arthur would Figurative Arthur تونكس lose their jobs at could lose وارثر قد the Ministry if their jobs at ﯾفقدان They started the ministry وظيفتهما shooting their if they start بالوزارة ان بداء في 271

to talk about التحدث عن mouths off said the matter األمر .Sirius

they said he Paraphrase قالوا إنه قد They reported Figurative 85 87 has resigned عزل من that he'd been from his منصبه voted out the position as كرئيس Chairmanship of the لالتحاد the International president of الكونفدرالى Confederation of the United الدولى Wizards because Internationa للسحرة، he's getting old l بسبب سنة and Losing his Confederate الكبير grip ,of Wizards وفقدانه because of القدرة على ,his old age التحكم في and the loss تصرفاته of the ability to control his actions Before Paraphrase قبل ان Before Semi- 100 103 Voldemort ﯾظهر Voldemort Figurative appears as فولدمورت showed his true ,what he is على حقيقته، colours, who they see that ﯾرونه ﯾفعل thought he had he is doing الصواب. ثم the right idea the right خافوا about thing, then وترددوا things…they got they got عندما رأوا cold feet when scared and ما كان ﯾفعله they saw what he hesitated ليحصل was prepared to when they على المزﯾد do to get power say what he من القوة was doing to والسلطة get more power and control? Before Paraphrase قبل ان Figurative 100 103 Voldemort ﯾظهر appears as فولدمورت Before ,what he is على حقيقته، Voldemort show they see that ﯾرونه ﯾفعل ,his true colours he is doing الصواب. ثم who thought he the right خافوا had the right thing, then وترددوا idea about they got عندما رأوا things…they got scared and ما كان ﯾفعله cold feet when

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hesitated ليحصل they saw what he when they على المزﯾد was prepared to say what he من القوة do to get power was doing to والسلطة get more power and control? Harry felt as Literal شعر هاري Harry felt as Variant of 103 106 if his translation وكان معدته though His existing stomach had قد غاﺻﺖ stomach had idiom sunk under تحﺖ البساط sunk through the the dusty المترب. لم dusty carpet. He rug. He ﯾفكر في had not thought hadn’t المحاكمة about the thought منذ عشاء hearing once about the اللية since dinner the trial since الماﺿية previous evening. last night’s dinner.

Original idiom: somebody heart sink

A number of Paraphrase نظر إليه Several witches Semi- 114 119 witches and عدد من and wizards figurative wizards الساحرات were looking at looked at والسحرة ,him curiously him بفضول. he stared at his curiousl. He حدق في feet to avoid stared at his قدميه لتفادى catching feet to avoid نظرات anyone's eye looks from االخرﯾن others.

On the Deletion مساء الثانى On the evening Semi- 128 132 evening of من of the second of figurative the second أغسطس، August, gabbled ,of August عندما Mrs Figg at once when she سمعﺖ جلبة as though she , heard the قادمة من had learned what loud noise الزقاق She was saying coming الواقع بين by heart, when I from the ماجنوليا heard a alleyway كرﯾسنﺖ, disturbance which is ووسترﯾا down the located .ووك alleyway

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between between Mangnolia Mangnolia Crescent and Crescent Wisteria Walk and Wisteria Walk. Fudge said Paraphrase قال فادج Serious Figurative 132 136 with his بأعلى miscarriage, my loudest ﺻوته: hat! Said Fudge voice: do أتقول ظلما at the top of his you say بينا؟ هل voice. Have you unjustly سألﺖ نفسك ever bothered to ?between us أبدا عن كم tot up the Have you الحكاﯾات -Number of cock ever asked الخرافية and bull stories yourself السخيفة التي this boy has about how اخترعها هذا come out with many silly الولد fairy tales that this boy has made up? Harry said Combinatio قال هاري So you think he's Semi- 141 146 angrily: n بعصبيه: touched in the Figurative then you can إذن فأنﺖ head? Said see his head Paraphrase ترﯾن أن Harry heatedly is + Addition عقله ?possessed ممسوس؟

But Harry Paraphrase لكن هاري Thought Harry Semi- 142 147 was careful كان حرﯾصا was careful not Figurative not to على اال to say any of this mention ﯾذكر أﯾا من within earshot of anything هذا بالقرب Sirius near Sirius من سيرﯾاس

Harry’s خفق قلب Harry's heart Figurative 155 161 heart was Combinatio هاري بقوة. turned over. His beating n كان كل من mother and .strongly أبيه وأمه father were His father Paraphrase ﯾبتسمان beaming up at and mother + Addition نحوه him, sitting on either side of a were small smiling towards him.

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Moody said Paraphrase قال مودي Keep your head Figurative 163 168 as he too وهو ﯾصافح down and your shook هاري هو eyes peeled, said Harry's األخر: أجل Moody, shaking ,hand: yes حافظ على Harry's hand Take care of نفسك وابق too. And don’t yourself and عينيك forget , all of keep your مفتوحتين. you- careful .eyes open وال تنسوا what you put in And don't جميعا writing you all الحرص forget to فيما تكتبونه take care of في الرسائل what you write in your letters. Moody said Paraphrase قال مودي Keep your head Semi- 163 168 as he too وهو ﯾصافح down and your Figurative shook هاري هو eyes peeled, said Harry's األخر: أجل Moody, shaking ,hand: yes حافظ على Harry's hand Take care of نفسك وابق too. And don’t yourself and عينيك forget , all of keep your مفتوحتين. you- careful .eyes open وال تنسوا what you put in And don't جميعا writing you all الحرص forget to فيما تكتبونه take care of في الرسائل what you write in your letters. Harry knew Paraphrase كان هاري Harry knew that Figurative 166 172 Neville's ﯾعرف أن Neville's favourite مادة نيفيل favourite subject subject was المفضلة هي was Herbology .Herbology علم but for the life of But he never األعشاب، him could not understood لكنه لم ﯾفهم see what he what he ابدا ما الذي would want with found ﯾجده مثيرا this stunted little interesting وخطيرا في plant and نبات ﺻغير dangerous about small plants.

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He would Paraphrase كان ليود أن He would have Semi- 167 173 have wanted تراه تشو liked Cho to Figurative Cho to see جالسا وسط discover him him sat in ﺻحبة من sitting with a the middle الطالبة group of very of cool المتأنقين cool people students ﯾضحكون laughing their laughter at a على مزحة heads off at a joke he had ألقاها joke he had just told. told.

For heaven's Literal بحق السماء For heaven's Figurative 169 174 sake Ron. translation ﯾارون sake, Ron

Malloy said Paraphrase قال مالفوى I seem to have Figurative 173 179 sarcastically بسخرﯾه: ,touched a nerve it seems : ﯾبدوا انني ,said Malfoy that I have طرقﺖ ,smirking. Well broached an موﺿوعا just watch important حساسا ,yourself, Potter sensitive المهم، because I'll be topic احترس ﯾا dogging your Anyway, be بوتر، ألنني footsteps in case careful سأراقبك you step out of Potter كالكلب line because I البوليسى will be وإن ارتكبﺖ watching خطأ you like a سأعاقبك police dog and if you make a mistake I will punish you. On Paraphrase وعلى مائدة Meanwhile, at Figurative 190 197 Huffepuff هافلباف كان the Hufflepuff ارنى table Ernie table, Ernie ماكميالن Macmillan was Macmillan من القليلين one of the few was of the الذﯾن لم still staring at few whose تنزل Professor eyes did not عيونهم عن Umbridge, But go down األستاذة -he was glassy from أمبرﯾدج eyed professor وهي تتكلم، 276

Umbridge لكن نظرته as she كانﺖ spoke. But زجاجية his look was خالية من glassy and التعبير empty of expressions. And they Paraphrase وال ﯾعرفان They don’t Figurative 196 203 don't know أن ناظرنا قد know our that our عزل من Headmaster's Head has الوﯾزنجامو been sacked been ت ومن from the removed االتحاد Wizengamot and from the الكونفدرالى the International Wizengamo الدولى Confederation of t and from للسحرة ألن Wizards because the United عقله طار he's losing his marbles Internationa l Confederati on for wizards, because his mind flew. Hermione Paraphrase قالﺖ No, said Figurative 199 207 :said quietly هيرميون Hermione no, I told her بهدوء: ال calmly. I told her to shut up قلﺖ لها to keep her big and keep her اﺻمتي fat mouth shut vile mouth وأبق فمك ,about you .closed الحقير actually. And it Please don't مغلقا. would be quite attack us ورجاء ال nice if you like that تهاجمنا stopped jumping Harry. If هكذا هاري. down our you didn't فإن كنﺖ ال ,throats, Harry know, Ron تعرف فأنا because in case and I are on ورون الى you haven’t .your side جانبك noticed, Ron and I are on your side.

Fred said as Paraphrase قال فرﯾد You'll be singing Semi- 202 210 he was :وهو ﯾأكل a different tune Figurative soon enough, eating: You will soon سرعان ما Hermione, said change your ستغيرﯾن Fred, Thickly tune لحنك هذا buttering a

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.Hermione ﯾاهيرميون. crumpet, You're As you are فأنﺖ في starting your in the بداﯾة ﺻفك fifth year begging of الخامس the fifth year. Fred said Combinatio قال فرﯾد So you've got Figurative 202 210 with a n بنبرة your exams satisfied الرﺿى عن ,coming up with life Paraphrase الحياة: ?haven't you tone: + Addition بمعنى أن They'll be meaning the االمتحانات keeping your exams are قرﯾبة، أليس noses so hard to close, Don't كذلك؟ that grindstone you? And وستطحنون they will be you will be من الدروس rubbed raw, said grinded والحصص Fred with from the والمذاكرة .satisfaction ,lessons حتى classes and االنهيار studying until you collapse Ron said in Paraphrase قال رون Well, it'd be cool Figurative 204 212 :a low voice بصوت ,to be an Auror maybe خفيض: -said in an Off working as ربما العمل hand voice fighter كمقاتل against للسحر black magic األسود is a good job وظيفة جيدة :Ron said قال رون: We do try, said Figurative 205 213 but we are Combinatio لكننا نحاول. Ron. We just trying. But n لكن ليس haven’t got your we don't لدﯾنا عقول brain or your have brains أو ذاكرة memory or your, + or memory Deletion مثل عقلك أو -concentration like your addition ذاكراتك. you're just brain and إنك أشطر cleverer than we .memories منا. أفال are- Is it nice to You are ترﯾدﯾن ?rub it in cleaver than مساعدتنا us. Dont قليال؟ you want to to help us a bit?

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This means Paraphrase هذا ﯾعنى It means they're Figurative 206 214 they are not أنهم ليسوا ,not real fans .loyal fans مشجعين they are just They tied مخلصين، jumping on the themselves فقد ربطوا bandwagon to the team أنفسهم when they بالفرﯾق began to عندما بدأ في .win المكسب His heart Replacemen هوى قلبه His heart sank, Figurative 209 217 fell between t بين he had not added his ribs. As ﺿلوعه، syrup of he hadn't فهو لم hellebore, but added the ﯾضف had proceeded hellebor شراب straight to the syrup, and الكندس، fourth line of the added what وأﺿاف instructions after was written المكتوب allowing his in the fourth بالسطر potion to simmer line of the الرابع من for seven instructions التعليمات minutes without دون أن leaving the ﯾترك الخليط mixture on على النار the fire for سبع دقائق seven بال تقليب minutes without mixing. Hermione Paraphrase قالﺖ I knew it is, Figurative 225 233 :said tiredly هيرميون Harry, so will I know متعبه: you please Stop Harry. Can أعرف ﯾا biting my head you stop هاري. هال off? Said attacking كففﺖ عن Hermione ?me like this مهاجمتي .wearily هكذا؟

For the Paraphrase ليصبح To cap it all Figurative 240 249 situation to الموقف أكثر Angelina become سوءا Johnson tracked ,more worse حاﺻرته him down at Angelina انجيلينا dinner again and Johnson جونسون on learning that , cornered على العشاء، he would not be him at وعندما able to attend dinner, and عرفﺖ أنه Friday's Keeper when she لن ﯾحضر .tryouts knew that he اختبارات

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wouldn't be ﯾوم الجمعة attending لحارس the goal .المرمى keeper tryouts on Friday. We spent Combinatio قضيا ﯾوم They spent the Variant of 262 273 the whole of n Literal األحد بأكمله whole of Sunday existing +Sunday in translation في حجرة in the common idiom the students Addition الطلبة، room, Buried in ,room مدفونين their book while buried تحﺖ أكوام the room around under piles الكتب، , the filled up ,of books والحجرة من then emptied the room حولهما around them تمتلئ ثم filling and .تفرغ : Original idiom has his nose in a them book emptying. I must على I must admit that Figurative 264 275 confess that Combinatio االعتراف I have always I was afraid n بأنني كنﺖ been afraid that you would Paraphrase أخاف you would take follow Fred + Addition اتباعك what we might and طرﯾق فرﯾد call the 'Fred and George's وجورج ,George' route stray path الضال، بدال rather than instead of من إتباع following in my following هدﯾى footsteps my والسير على guidance خطاى and walking on my footsteps But if you Paraphrase لكن إن Look at Daily Figurative 265 276 read the قرأت جرﯾدة prophet daily الداﯾلى tomorrow you prophet بروفيﺖ will get a good newspaper غدا، idea of the way ,tomorrow فستعرف the wind is you will عما أتحدث، blowing- and see know what و ستعرف if you can spot I'm talking اتجاه الرﯾاح yours truly about. You ، وترى will know بنفسك إن the direction كنﺖ تقف ,of the wind موقفا and you will

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see yourself ﺻحيحا أو if you are .ال standing in the right position or not Maybe this Paraphrase ربما ﯾجعلها Perhaps that will Figurative 265 277 will make هذا ترى open their eyes her see the الحقيقة to the kind of truth and وﯾكشف لها petty criminals reveal to her ما استغلق with whom they what has عليها، are currently been closed وتعرف rubbing to her and حقيقة shoulders she can المجرمين know the الذﯾن truth about تساندهم the criminals who she helps Angelina ستجن Angelina will do Figurative 278 289 will go mad انجلينا، إن her nut if you if she لم تجدك miss any more doesn't find Paraphrase معنا في Quidditch you with us تمرﯾن practices at the next الكوﯾتش Quidditch القادم practice. Potter, hold Paraphrase بوتر تماسك Potter, you must Figurative 284 295 .on boy ﯾا ولد، تحكم get a grip on Control في نفسك. yourself! You .your self ستعرض are heading for You will نفسك !serious trouble expose لمشكلة Another five yourself to a خطيرة. points from dangerous خصم خمس !Gryffindor .problem نقاط أخرى Another من five points جرﯾفندور taken away from Gryffindor. Ron said Paraphrase قال رون I knew, mate, Figurative 285 296 sympathetic بتعاطف said Ron ally as he وهو ﯾلقى ,sympathetically put eggs on بالبيض في tipping bacon on harry’s طبق هاري: ,to Harry's plate

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plate: I أعرف ﯾا she's bang out of know my ﺻاحبي. order friend. You انﺖ تعرف know she is أنها غير unbalanced متزنة McGonagall Paraphrase سيجن جنون McGonagall Figurative 290 301 will go mad مكجونجال would go nuts if .if she knew إن عرفﺖ she knew

Harry Paraphrase ابتسم هاري Harry was Figurative 292 303 smiled. It واﺿح أنهما ,grinning now was clear ﯾوقعان به sure the pair of they were في مقلب ما them were Pulling his leg making him fall in a trick

Hermione Paraphrase قالﺖ Well, said Figurative 296 308 said as هيرميون ,Hermione worry took وقد تملكها looking a mite hold of her القلق ثانية: .anxius again :again في الواقع، ,Well.. now actually, I أعنى، don't fly off the ,mean أرجوك ﯾا ,handle again please هاري ال Harry, please Harry don't نثور ثانية get angry again. Harry said Paraphrase قال هاري If you've come Figurative 304 316 with his وأعصابه to hear exactly inflamed الملتهبة what it looks like nerves these دوما هذه when Voldemort days getting األﯾام أخذة murders stressed: If في التوتر: someone I can't you have إن كنﺖ قد help you, Harry come to حضرت ,said. His temper hear what a لتسمع بم always so close person feels ﯾشعر المرء to the surface as وفولدمورت these days, was Voldemort ﯾقتله فلن .rising again is killing أقدر على him then I مساعدتك won't be able help you.

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She walked Paraphrase سارت الى She want up to Figurative 310 323 to the منضدة the counter and vendors البائع handed over counter and وناولته fifteen Sickles gave him خمس عشر ,and two Knuts fifteen سيكل with Ron still Sickles and وعملتي نات breathing down ,two knits ورون خلفها her neck Ron was so قرﯾب حتى close behind أنها تشعر her, so she بأنفاسه على felt his رقبتها breath on her neck Listen Literal اسمع ﯾا Listen , Semi- 316 329 Harry. I will translation هاري. Harry…I am Figurative tell you this سأقول لك saying this for for the last هذا للمرة the last time. Please األخيرة. من ,time….please don’t lose فضلك ال تثر Please don’t lose your temper في حصة your temper in the أمبرﯾدج، with Umbridge Umbridges وإال لن again or she ,class تسمح لك might not let us otherwise باللعب ثانية play any more she won't let you play again. Then Paraphrase فحدجته Lavender shot Variant of 325 339 Lavender الفندر him a disgusted existing gave him a بنظرة look idiom look of احتقار contempt Shot dirty look: to look at someone in an angry way Harry who Paraphrase قرر هاري Harry, who was Figurative 328 341 was writing الذي كان making very his recipes ﯾكتب مقال little progress essay الوﺻفات أن with his Potions decided to ﯾكف عن essay, decided to stop writing الكتابة الليلة give it up for the night for the night.

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Hopefully عساه لم You don’t think Figurative 335 349 he hasn't literal ﯾتحول إلى he has become turned into a translation شخص … sort of .… reckless مستهتر، منذ … reckless person since أن تم حبسه Since he's been he was في جرﯾمولد cooped up in locked up in بليس؟ أال Grimmauld Grimmauld ترى أنه Place? You Place? Don't ﯾعيش من don’t think he's you see he is خاللنا kind of .… living through us living through us.

He is Paraphrase فهو محبط I think he's Figurative 335 349 frustrated at منقلة حيلته. really frustrated how little he وربما ﯾود at how little he .can do أن ﯾدفعنا can do where he Maybe he للتهور is ….so I think he 's keen to kind wants to of …. egg us on push us to be reckless

I the matter Paraphrase فاألمر هام. This is really Figurative 343 359 .is important وال أرﯾد له important…I And I do not الفشل، لذا don’t want to want him to فأنا بحاجة blow it, it'll need fail, that is إلى خطة . proper planning why I am in جيدة. اسمع، Listen, can you need of a هل ﯾمكنك just tell me .good plan إخباري أﯾن exactly where Listen, can حجرة this Room of you tell me االحتياجات Requirement is where this هذه room of requirement s is? Harry Combinatio هز هاري Just in passing, Figurative 344 359 + shrugged n Literal كتفيه قائال: , said Harry his addition ذكر عابر. shrugging shoulders saying: mentioned in passing. Ron closed Paraphrase أغلق رون Ron had Figurative 345 360 his eyes عينيه بقوة screwed up his firmly محاوال eyes in trying to التركيز، ,concentration .concentrate وأخذت Hermione was Hermione هيرميون whispering 284

took to تهمس something under whispering بأشياء her breath unclear .مبهمة things. He gazed Literal حدق للحظه He gazed for a Figurative 347 362 for a translation في moment into the moment الزجاجة، -cracked Foe into the حيث كانﺖ Glass,, shadowy glass, where هناك أشياء figures were there were غرﯾبة moving around strange تحرك inside it, though things داخلها، لكنه none was moving لم ﯾتعرف recognisable. He inside, but على أي turned his back he didn't منها، فأ دار on it recognise ظهره لها any of it so turned his back to it They all Paraphrase رفع الجميع Everybody put Semi- 347 362 raised their أﯾدﯾهم، حتى their hand , even Figurative hands, even زكارﯾاس ,Zacharias Smith Zacharias سميث وان though he did it ,Smith كان قد – very half although he رفعها بتردد heartedly did lift it hesitantly George said Paraphrase قال جورج Sorry, Harry , Semi- 349 364 ,quickly: I بسرعة: said George Figurative sorry Harry أسف ﯾا hastily, When I couldn't هاري. لم Harry Caught resist أقدر على his eye. Couldn’t ,temptation مقاومة resist after he االغراء بعد knew that أن عرف أن Harry had هاري قد seen him راه He said: Paraphrase قال: لم ﯾكن That wasn’t bad, Semi- 350 365 your أداؤكم سيئا. said Harry, but Figurative performanc لكنكم there's definite e was not تقدرون على room for bad. But تحسينه حدق .improvement you can فيه Zacharias Smith .improve it زكارﯾاس .glared at him Zacharias سميث وهو .Let's try again Smith ﯾنصﺖ الى started at him as he

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listened to قوله: دعونا :him say نحاول ثانية let's try again. Cho said as Paraphrase قالﺖ تشوو Well, they've Figurative 350 365 she raised هي ترفع forbidden me to her head رأسها fet on the wrong :proudly بكبرﯾاء: side of They حذراني من ,Umbridge, too warned me إغضاب ,said Cho of angering أمبرﯾدج أنا drawing herself Umbridge االخر up proudly too.

She did not Paraphrase لم تكمل She broke off, Figurative 350 366 complete كالمها، وبدا looking rather what she عليها confused, and an ,was saying االرتباك، ثم awkward silence and she ساد ﺻمﺖ fell between seemed .ثقيل بينهما them confused, them a heavy silence was between them. It is obvious Literal فمن الواﺿح Evidently she Figurative 350 366 that she was translation أنها كانﺖ had been eavesdroppi تتنصﺖ على eavesdropping ng on their حوارهما on his discussion أثناء محاولة conversation whilst Finch فينش- while Justine Fletchley فلتشلى اعادة Finch- Fletchley tried to عباءته إلى attempted to return his وﺿعها بعد disentangle cloak to its غطﺖ رأسه himself from the robes that had place after it flown up over had covered his head his head.

Ron said as Paraphrase قال رون Fat chance, said Semi- 355 370 he وهو ﯾفحص Ron, who was Figurative examined عملته examining his his fake الزائفة own fake currency بعيون ملؤها Galleon with a with eyes الحسرة: هذا slightly full of ﺻعب فأنا mournful air,I regret: this ليس عندي haven’t got any 286

is hard as I جاليون real Galleons to don't have a واحد حقيقي .confuse it with single real ألخلطه بهذا Galleons to فأنفقه بدال mix with منه this one to spend instead of it. He when Combinatio عندما أفاق When Harry Variant of 357 372 Harry woke n هاري من awoke he looked existing up from Paraphrase نومه نظر round at Ron's idiom sleeping, he + Addition إلى فراش bed and saw him looked at رون فراه sitting bolt Rons bed جالسا upright his arms and saw متجمدا around his him sitting منتصب knees, staring frozen with الظهر، fixedly into a straight وذراعاه space back, his على ركبتيه، arms on his محدقا بثبات ,knees في الفراغ starting fixedly into space. Harry said Replacemen قال هاري Well, said Figurative 358 373 as he has t وقد تعافى ,Harry recovered بسرعة من recovering quickly المفاجأة غير quickly from from the السارة: وال this unpleasant unpleasant ﯾهمك بعض surprise, a few :surprise الصدات more accidents ,don’t worry بطرﯾق like that and the some hits الخطأ مثل game's in the bag like that by هذه ?isn’t it , mistake and وستصبح the game المباراة في will be in جيبنا، أليس ,our pocket كذلك؟ isn't it? Harry said Replacemen قال لها Crabbe and Semi- 360 375 assuring her t هاري مؤكدا Goyle are in the Figurative :impression انطباعها: ,same mould Crabbe and كراب Harry assured Goyle are وجوﯾل من her from the نفس العجين same dough

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Harry felt Paraphrase ﯾشعر هاري Harry swerved, Figurative 362 377 very angry بالغضب his insides when he الشدﯾد لما boiling at what heard, and سمعه، he had just knew Lee وعرف أن heard, he knew was trying لى ﯾحاول Lee was Trying to cover up التغطية على to drown out the the words الكلمات words of the song

Don't you Paraphrase اال ترى أنهم Can't see how Figurative 367 382 see they are مقرفون؟ you stand the ?disgusting لكن ال اعتقد stink, But I But I do not أنك سترى suppose when think you'll هذا وانﺖ you have been see this as تربية dragged up by you have a العامة، حتى Muggles, even public رائحة 'the Weasleys .upbringing وﯾسلى -hovel smells ok Even بالمقارنة Weasely’s بهم رائعة smell is great compared to them. Professor Paraphrase انفتحﺖ عينا Professor Semi- 369 385 McConagall األستاذة McConagall's Figurative s eyes' مكجونجال ,eyes flew open opened to على but ,their end أخرهما، ,unfortunately and she said وقالﺖ في she said, with an similarly محاوله attempt at a trying to مماثلة reciprocal smile smile لالبتسام that made her look as though she had lockjaw Original idiom: open eyes Umbridge Paraphrase قالﺖ Yes, Mr Potter, I Figurative 370 386 said with a أمبرﯾدج think a lifelong widening وابتسامتها ban ought to do smile as she تتسع وهى the trick said watched تراقبه Umbridge, her him try to ﯾحاول smile widening absorb what استيعاب ما still further as : she said تقوله أجل ﯾا she watched him yes, Mr سيد بوتر، struggle to

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Potter. I see أرى أن comprehend banning you حظركما من what she had from اللعب مدى said playing for الحياة هو ما life is what تستحقانه you deserve When he Replacemen عندما رأى When he saw Figurative 372 387 say Harry t هاري و Harry and and هيرميون Hermione, He ,Hermione تجمد في stopped dead in he froze in مكانه his tracks place.

They passed Paraphrase مروا عبر They crept Variant of 374 389 through the القاعة across the existing .front hall األمامية، Entrance Hall idiom And into the وإلى الظالم and out into the icy dark الثلجي silent, snowy silence الصامﺖ grounds. With a .outside بالخارج. great leap of his And with an وبإحساس heart, Harry saw overwhelmi غامر little golden ng sense of بالسرور squares of light ,pleasure رأى هاري ahead and Harry saw الضياء ﯾشع smoke coiling lights من النوافذ up from Hagrid's shining والدخان chimney from the ﯾتصاعد من windows مدخنة كوخ and the هاجرﯾد smoke Original idiom: raising up leap for joy from the chimmny of Hagrid's hut. Wants an Paraphrase ترﯾد حجة Be looking fer a Figurative 379 394 reason to للقبض reason ter run us arrest us علينا in And we Paraphrase وكنا نعرف We knew the Figurative 379 394 knew the أن الوزارة Ministry'd be Ministry ترﯾد حجة lookin' fer a wants a للقيض reason ter run us reason to علينا. لكننا in. But we .catch us تمكنا من managed ter But we تضليل من give the berk tailin us the slip managed to 289

mislead ﯾراقبنا في -round abou Dee who was دى – جون John watching us in Dee – John Hagrid said Combinatio قال هاجرﯾد Oh Yeah, It went Figurative 381 397 as he turned n وهو ﯾقلب down a storm the piece of قطعة اللحم once they +meat over to Deletion على جانبها understood what put the cold addition االخر االبرد it was, said side on his وﯾضعها Hagrid, turning :eye again على عينه his dragon steak yes. They've ثانية: أجل over to press the gone لقد مروا cooler to his through the )بعواظف( swollen eye circumstanc من قبل es before وﯾعرفون and they أهميتها. know its importance.

Although it Combinatio مع أن Yeh'd think , Figurative 382 398 is assumed n المفترض seein' as how that this مع اقتراب their whole race +kind of Deletion هذا )الجنز( ,is abou' finished creatures is addition من الكائنات they'd lay off near to be من each other extinct, they االنقراض are أن ﯾتعاونوا. supposed to cooperate. We hadn’t Paraphrase لم نكد Well, We hadn' 382 398 negotiated نتفاوض مع bargained on a with the الزعزوع new Gurg two Figurative Zaazoo for ليومين حتى days after we 'd two days مات. made friendly and then he وشعرنا أن contact with the died. We جولجوماث firs' one, we had felt that لن ﯾكون 'a funny feelin Golgomath )حرﯾظا( Golgomath won’t be على ) wouldn' be so eager to االزتماع ( keen ter listen to listen to us إلينا و لكن

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carefully كان علينا us , bu' we had but we had التجربة. ter try to try.

We had to Combinatio كان علينا We had ter leg it Semi- 383 398 +have a truce n Deletion مهادنتهم، an' we knew Figurative with them, addition وعرفنا أننا there was no and we لن نقدر على way we was knew we دخول going ter be able wouldn’t be مخيمهم مرة ter march inter able to enter أخرى the camp agin their camp again. Combinatio قال Hold yer Variant of 384 399 +n Addition هاجرﯾد: Hippogriffs, I existing Hagrid said: Replacemen )لزانك( haven' finished idiom 1 your tongue t 1 هيبوجرﯾف !me story yet Hippogriff Transliterati ﯾاهيرميون، said Hagrid Hermione. on انتظرى. فأنا ,indignantly Wait I لم أنته من ,who haven’t )قظتى( بعد considering he finished my . تكلم had not wanted .story yet باستنكار، to tell them He spoke وباعتبار أنه anything in the with لم ﯾرغب في .first place ,disapproval الكالم في considering .البداﯾة :Original idiom hold your horses that he didn’t want to talk from the :الهوامش .beginning ﯾقصد لسانك :Footnote حصانك لكنه استبدل Means your الحصان tongue is بالهيبوجري ,your horse ف نظرا but he لولعه replaced the بالمخلوقات horse with السحرﯾة the الخطيرة Hippogriffs due to his passion for dangerous magical creatures

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Hagrid said: Paraphrase قال هاجرﯾد Well, it wasn' Figurative 384 400 the giants : لم ﯾكن the giants who were not the العمالقة هم ,worried us most ones من ﯾقلقوننا. said Hagrid. We .worrying us كنا )أكزر( were more We were تركيزا على 'concerned abou more أكلة الموت. .the Death Eaters focused on أمرنا Dumbledore had the Death دمبلدور told us before we .Eaters قبل خروجنا wen' not ter Dumbledore باال نكشف ) tangle with em ordered us أنفزنا ( لهم . before we

left to not expose (ourselves) to them What? Oh. Combinatio ماذا؟ What ? oh…oh , Semi – 385 400 Yes, yes, on n أه....أجل، yeah, we did. Figurative the third Paraphrase أجل، في Yeah, on the night after + Addition الليلة third night after Karkus )الزالزه( Karkus was died, we left بعد موت killed we crept the cave we كاركوز outta the cave usually hid خرجنا من we'd bin hidin' in in, our eyes الكهف الذى an headed back circling in اعتدنا على down inter the all االختباء فيه، gully, Keeping directions وعيوننا our eyes skinned searching تدور في كل for the Death for death االتجاهات Eaters .eaters )بحزا( عن أكلة الموت

Some of Literal وبعض Other, like Figurative 393 409 those who translation الباقين مثل Parvati and – remained بارفاتى ,Lavender like Parvati والفندر - exchanged and تبادلوا gloomy looks – Lavender النظرات and shook their exchanged المتجهمة heads. Harry grim looks وهزوا knew that many and shook رءوسهم. of them .their heads كان هاري preferred But Harry ﯾعرف أن Pofessor knew that الكثيرﯾن many منهم

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preferred ﯾفضلون Grubbly- Plank's Professon حصص lesson Grubbly األستاذة ’Planks جروبلى .lessons بالنك Hagrid said Paraphrase قال هاجرﯾد Mind yer own Figurative 394 410 :angrily بغضب: ال business! Said This does شأن لك .Hagrid, angrily not concern بهذا. واالن، Now, if yeh've you. And إن كنتم قد 'finished askin now, if you انتهيتم من ,stupid questions have األسئلة !follow me finished الغبية، your stupid ورائي questions, follow me Harry Paraphrase مال هاري Harry , who had Figurative 400 417 leaned إلى واجب not had the heart towards his تارﯾخ to tell her that History of السحر أكثر، Dobby was Magic فهو لم ﯾجرؤ taking ,homework على قول أن everything she as he did not دوبي هو made, bent dare say that الذى ﯾأخذ lower over his Dobby was كل ما History of taking all .تصنعه Magic essay that she was making. Harry Paraphrase منع هاري Harry bit back Figurative 402 419 prevented نفسه من the retort himself اإلجابة from عليها answering her Harry did Paraphrase لم ﯾجبه Harry didn’t Semi- 405 423 not answer هاري. كان answer, He was Figurative him. He was في حالة in a state of in a state of ﺻدمة. shock. Half of shock. Half نصفه ﯾرﯾد him wanted to of him إخبار رون tell Ron and wanted to وهيرميون Hermione what tell بما وقع منذ had just Hermione قليل، لكن happened, but and Ron نصفه االخر the other half what had ﯾرﯾد كتمان wanted to take just السر لنفسه the secret with him to the grave happened, but his other

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half wanted الى أن ﯾصل to conceal لقبره the secret to himself till he got to his grave He didn’t Replacemen لم ﯾعرف Harry didn’t Semi- 405 423 know how t كيف ﯾبدأ في quite know how Figurative to start إخبارهما، to set about ,telling them هذا إن كان , telling them that is if he ﯾعرف مدى and still want's knew how رغيته في sure whether he much does إخبارهما wanted to. Just he want to أﺻال. as he had tell them وعندما قرر decided not to .anyway أخيرا أال ,say anything When he ﯾقول لهما Hermione took finally أي شيء matters out of decided not امسكﺖ his hands to tell them هيرميون ,anything بالخيوط من Hermione ﯾده caught the strings from his hand Ron asked Paraphrase سأل رون Who're you Semi- 408 426 :Hermione هرميون: writing the novel Figurative ,anyway المهم .. لمن to, anyway? Ron who are توجهين هذه ,asked Hermione presenting الرواﯾة؟ trying to read the this novel محاوال bite of to? Trying قراءة جزء parchment now to read part من الورقة trailing on the of the paper التي وﺻلﺖ floor. Hermione that reached إلى hitched it up out .the floor األرض، of sight Hermione فحجبتها blocked it هيرميون from his عن ناظرﯾه eyes Sirius said Paraphrase قال سيرﯾاس The more the Semi- 425 444 very بصدق merrier! Said Figurative :honestly شدﯾد: كلما Sirius with such The more بقيتم هنا obvious you stay أكثر زادت sincerity that here the فرحتي Mrs Weasley more فابتسمﺖ له , beamed at him happier I السيدة threw on an

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am. Ms وﯾسلى ولفﺖ apron and began Weasely مئزرا حول to help with smiled at وسطها breakfast him and لتساعده في wrapped an تحضير apron اإلفطار around her middle to help him make breakfast. He said as Paraphrase قال وهو Hello! He called, Figurative 431 451 he threw the ﯾلقى throwing the newspaper بالجرﯾدة الى .Prophet aside :to his side جواره: أهال ,Bill just left .welcome ... غادر بيل Molly had get Bill left a منذ قليل ﯾا ,back to work short while مولى، عليه but he says he'll .ago Molly العودة الى drop in on you He had to العمل، لكنه later return to ﯾقول انه work. But سيمر على he said he فيما بعد will come by me later Mr Weasely Paraphrase قال السيد Anyway, said Figurative 433 453 said in a وﯾسلى Mr Weasley, in a raised بصوت raised voice, this :voice مرتفع: time Willy's anyway, this المهم، هذه been caught time they المرة قبضوا selling biting caught على وﯾلى doorknobs to Willy وهو ﯾبيع Muggles and I selling للعامة don’t think he'll biting door مقابض be able to worm knobs to the أبواب his way out public and I تعض، و ال dont think أعتقد أنه he is going سيقدر على to be able to الخروج get out بالبراءة هذه innocently المرة this time He doesn’t Combinatio ليس عنده He had no Figurative 347 457 have a n الخيار: alternative: he choice: he Paraphrase سيعود الى was going to will go back + Addition برﯾفﺖ have to return to to Privet دراﯾف. Privet Drive, cut

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Drive. Cut ﯾقطع عالقته himself off from off his بعالم other wizard relationship السحرة entirely with the نهائيا world of magicians forever. We are the Combinatio نحن فرقة We Slytherins Semi- 438 457 brave n سليذرﯾن are brave, yes, Figurative Slytherin Paraphrase شجعان، .but not stupid team, and + Addition ولسنا ,For instance we are not أغبياء. على ,given the choice stupid. For سبيل المثال We will always example, if لو كان لنا choose to save we have a االختيار our own neck choice, we فنحن ننقذ will save أنفسنا قبل ourselves أن نفكر في before we التهور think of recklessness Did it not Paraphrase ألم ﯾخطر Has it not Semi- 439 458 occur to you على بالك ﯾا occurred to you, Figurative my poor ﺻغيري –my poor puffed young one المسكين أنه up popiniay, that that maybe ربما ﯾكون there might be the لدى الناظر an excellent headmaster سبب مقنع reason why the had a good لحجب Headmaster of reason to بعض Hogwart is not keep some تفاﺻيل confiding every of the خطته عنك؟ tiny detail of his details of his ألم تتوقف ?plans to you plan from ﯾوما لتتأمل Have you never you? Did بينما تشعر paused, while you not stop بالظالم هكذا – feeling hard done – by one day to hope – whilst you feel the unfair like this?

Ginny asked Paraphrase سألته جينى: Well, can you Semi- 442 462 him: do you هل تتذكر remember Figurative remember كل ما تفعله؟ everything you all that you هل هناك have been do? Are فترات في doing? Ginny

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there ذاكرتك ال asked. Are there periods in تعرف ما big blank your فعلته periods where memories خاللها؟ فكر you don’t know that you هاري مليا what you've don’t know وقال: ال ?been up to Harry racked his what you brains, No, he did during said them? Harry thought carefully and said: no. Look Literal انظر ﯾا And look, Figurative 453 473 Broderick. translation برودرﯾك، ,Broderick They have لقد أرسلوا you've been sent sent you a إليك نبتة، a pot plant and a plant, and a وتقوﯾم حائط lovely calendar wall عليه with a different calendar هيبوجرﯾف fancy Hippogriff with a toy لعبة، شكله ,for each month Hippogriff ﯾتغير كل They'll brighten that changes شهر، … things up every ستبهج ?won't they .month أﯾامك. أليس Your days كذلك؟ will brighten up won’t they? Harry Paraphrase دار هاري Harry head spun Figurative 453 473 turned على عقبيه round. The around on بسرعه. curtains had his heels انكشفﺖ been drawn back .quickly الستائر عند from the two The طرف beds at the end curtains at الجناح البعيد of the ward and the end of ليظهر من two visitors the far wing خلفهما were walking behind the سرﯾران back down the beds وزائران aisle between revealed ﯾمران بين the beds two visitors األسرة passing بطول between the الجناح beds along the wing. Harry did Deletion لم ﯾدرك Harry did not Figurative 458 478 not quickly هاري ما immediately know what قالته register what she

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she had بسرعه. فقد had said, one of said, as one كانﺖ إحدى his castles was of his طوابيه engaged in a castles was مشتبكة في violent tussle engaged in a ﺻراع with a pawn of violent fight عنيف مع Ron's and he with an فيل من أفيال was egging it on elephant رون. enthusiastically from one of Ron’s elephants. Then you Paraphrase إذن ستجد Then you will Figurative 474 495 will find نفسك فرﯾسه find yourself yourself سهلة لسيد easy prey for the easy prey الظالم. Dark Lord! Said for the Dark الحمقى ,Snape savagely Lord. Fools الذﯾن Fools who wear who put ﯾضعون their hearts their hearts قلوبهم بفخر proudly on their proudly on على أﯾدﯾهم، sleeves, who their hands ال ﯾمكنهم cannot control cant control التحكم في their emotions their مشاعرهم feelings. He began to Literal لكنه بدأ Seemed to have Semi- 487 510 lose his translation ﯾفقد أعصابه lost his nerve Figurative nerves as هو االخر. He was oddly well. He ﺻار مشتتا distracted and became ومتقلبا أثناء jumpy during distracted الحصص، lesson , Losing and volatile وﯾفقد مسار the thread of during الحدﯾث what he was lessons, and وﯾنسى ما saying to the losing track كان ﯾقوله class of .منذ لحظات conversatio n and forgetting what he was saying moments ago. He began to Paraphrase لكنه بدأ ﯾفقد He too seemed Semi- 487 510 lose his أعصابه هو to have lost his Figurative nerves as االخر. ﺻار nerve well. He مشتتا became ومتقلبا أثناء He was oddly distracted الحصص، distracted and jumpy during

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and volatile وﯾفقد مسار lessons, losing during الحدﯾث the thread of lessons, and وﯾنسى ما what he was losing track كان ﯾقوله saying to the of منذ class conversatio لحظات. n and forgetting what he was saying moments ago. She said to Paraphrase قالﺖ لهم If she catches Figurative 487 510 them بوﺿوح: إن yeh, It'll be all of clearly: if he ) أمزكتكم ( our necks on the ,catches you )زوف( line, he told you will )تظبحون( them flatly, and become in في خطر with no desire to danger. And وحرﺻا do anything that because منهم على might jeopardy they were محافظته his job further eager for على وظيفته they abstained him to keep فلم ﯾنزلوا from walking his job, they إليه بعد down to his hut never went حلول الظالم in the evening down to him أبدا after it was dark. Harry Paraphrase كان هاري Harry would Semi- 488 511 would have ليفعل أي have given a Figurative done شيء حتى great deal to be anything to تكون إجادته making as much become لفن progress at proficient at األوكلومين Occlumency as the art of سى مثل Neville was Occlumenc إجادة نيفيل making during y like للتعاوﯾذ the DA meeting Neville proficiency for spell. She said in a Paraphrase قالﺖ He asked me Figurative 495 518 :calm voice بصوت ,out, you know roger asked هادئ: طلب she said in a me to go out منى روجر quiet voice. A with him الخروج معه couple of weeks two weeks منذ ago, Roger. I ago, but I أسبوعي، turned him down refused

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لكنني رفضﺖ

Then he said Literal ثم قال Then Hagrid Semi- 497 520 to Hagrid translation لهاجرﯾد said abruptly, In Figurative suddenly: in فجأة: في ,the same boat the same )نفذ( القارب 'yeh an me, aren boat me and أنا وانﺖ ﯾا ?we, Arry you Harry هاري. ?aren’t we )أليز( كذلك؟

Hermione Paraphrase قالﺖ We don't need Figurative 500 524 :said angrily هيرميون another story we don’t بغضب: about how need نحن لسنا Harry's lost his another بحاجه إلى marbles said story about قصة أخرى Hermione harry losing عن فقدان angrily ,his mind هاري عقله، we already لدﯾنا الكثير have many منها بالفعل of them. Hermione Paraphrase قالﺖ Fire away, then, Figurative 526 said quietly هرميون said Hermione as she بهدوء وهي serenely, fishing 502 picked a تلتقط ثمرة a cherry out cheery from كرز من قاع from the bottom the bottom كوبها: ابدئى of her glass :of her cup إذن ﯾا رﯾتا start then Rita Fred said Combinatio قال فرﯾد I haven’t even Figurative 508 532 looking at n ناظرا إلى got the heart to Ron: I do رون: ليس take the mickey not have Paraphrase عندي حتى out of him, said even + Addition العزم الكافي Fred , looking enough للسخرﯾة منه over at Ron’s determinati وتوبيخه. .crumpled figure on to لكن عندما ... Mind you' ridicule him دخل فيه when he missed and rebuke الهدف the fourteenth him. But .الرابع عشر when the fourteenth goal went into it.

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Ron said Paraphrase قال رون This one's from a Figurative 511 535 looking at ناظرا إلى bloke who the letter in رسالة في thinks You're off :his hand ﯾده: هذه من your rocker, said This is one واحد Ron , glancing from a who )جردل( .down his letter Jardal) who) ﯾراك Ah well sees you مجنونا mad. Fred said as Paraphrase قال فرﯾد This one's in two Figurative 511 535 he joined الذى انضم minds, said the letter إلى حفل Fred, who had opening فض joined in the with الرسائل letter opening :enthusiasm بحماس: هذه .with enthusiasm This الرسالة Say you don’t message is مرتابة. come across as a .doubting ﯾقول كاتبها mad person. But The writer إنك ال تبدو he really doesn’t says you مجنونا، لكنه want to believe don’t appear ال ﯾرﯾد -You-Know to be crazy تصدﯾق أن Who’s back so but he الذى تعرفه he doesn’t know doesn’t قد عاد، وال what to think want to ﯾعرف ماذا now believe that ﯾصدق –you know who- is back and doesn’t know what to believe. He did not Paraphrase لم ﯾرغب في He did not want figurative 517 542 want to أن ﯾبدو في to look as though appear to be حال غرﯾبة anything odd in a strange بعد أن كف had just state after سيماس عن ,happened Seamus had االعتقاد بأنه seeing as stopped مجنون Seamus had only just stopped thinking he thinking Harry was crazy. Was a nutter Harry did Deletion لم ﯾجد Harry did not Variant of 522 547 not have هاري الوقﺖ have time to existing enough time الكافي Gather himself idiom to try to لمحاولة together and empty his تفرﯾغ ذهنه attempt to clear mind before قبل أن his mind before Snape cried ﯾصيح سناب

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Snape cried, Legilimens Original Idiom: pull oneself together

That feel Paraphrase الذي تشعر feel is not Figurative 525 551 that his أن أداءه ليس performing to performanc كما تتطلب the standards e is not up to معاﯾير required by the the Ministry الوزارة. Ministry of .standards وأنا قد Magic. I have And I have قررت أن decided that decided that األستاذة Professor Professor ترﯾالوني Trelawney is Trelawney ليسﺖ على .not up to scratch is not up to المستوى I have dismissed the required المطلوب، her level and ولهذا that’s why I فصلتها fired her When Paraphrase عندما تال When he'd Figurative 532 558 Firenze’s على مسامع passed on messag was هاجرﯾد Firenze's recited to كلمات message,Hagrid Hagrid’s فاﯾرنز حدق gazed at him for ears, he فيه للحظة a moment stared at من بين through his him for a عينيه puffy, blackened moment in الضيقتين، eyes, apparently between وقد أﺻابه .taken aback narrow eyes الذهول. ثم Then he seemed and was اخذ ﯾتماسك to pull himself together stunned. Then he got a hold on And if you Paraphrase وإن سألتني If you ask me, Figurative 532 559 ask my رأﯾي سأقول She's on a roll. If opinion, I لك إنها لن you're doing would tell تتوقف anything you you that she عندها. إن ,shouldn't be wont stop at فعلﺖ شيئا ال you'll be her. If you ﯾجب عليك do فعله. something you

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shouldn’t be doing.

Fudge said Paraphrase قال فادج وقد Oho! said Figurative 540 567 as he started أخذ ﯾتقافز Fudge, bouncing to hop on his على أقدامه up and down on feet as he sat وهو جالس the balls of his .again: aha ثانيه: أها. ,feet again. Yes Yes. Let's أجل. دعونا do let's hear he hear the نسمع أخر -last cock-and latest story قصة مؤالفة bull story that has إلخراج designed to been made بوتر من هذا Designed to pull up to get المأزق Potter out of trouble Potter out of this trouble

The surprise Paraphrase ثارت رﯾبة As sudden Semi- 543 569 arose مفاجأة في suspicion, Figurative suspicions عقل هاري connected to in Harry’s عندما ربط Kingsley's mind when بين همسة whisper and the he made the كنجسلي thing he had felt connection والشيء ,shoot past him between الناعم الذي Sprang into Kingsleys المسه منذ Harry's mind whisper and لحظة the soft thing that he touched moments earlier. Dumbledore Combinatio قال دمبلدور Instead you get Variant of 544 571 said n Literal مبتسما: بدال to arrest me , existing smiling: translation من هذا، said idiom + instead of قبضﺖ ,Dumbledore that, you transliterati على، كأنك smiling . It's like caught me, on فقدت نات Losing a Knut as if you lost لتجد and finding a a Knut to جاليون، ?Galleon , isn't it find a أليس كذلك؟ Galleon, Original idiom: didn’t you? losing a quid and finding a fiver’

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Dumbledore Paraphrase قال دمبلدور Ah, said Figurative 545 572 :said gently برفق: Dumbledore ,oh. Yes أه..أجل أجل ,gently, yes. Yes yes. It's time . حان وقﺖ I thought we for these هذه might hit that silly details التفاﺻيل little snag التافهة

Its Paraphrase أنها ألعاب Weasleys' Figurative 557 585 Weasely’s وﯾسلى -Wildfire Whiz .fireworks النارﯾة، لكن bangs. Only But the المشكلة أننا thing is , we used problem is قد أحرقنا ,our whole stock we burned كل مخزوننا we're going to all our stock منها وسنبدأ have to Start of them and ثانية من ال again from we will شيء scratch now begin again from nothing. His heart Paraphrase خفق قلبه Excitement Figurative 563 592 beat بشده، كأنه exploded in the strongly as ﯾرى نفسه Pit of his if he saw لكن مع خطأ stomach: it was himself but ما as though he was looking at with some himself but with mistake. deliberate mistakes

He heard Paraphrase سمع Well, I thought Figurative 565 594 Sirius say: I سيرﯾاس that paper, Piece think the ﯾقول أعتقد of cake, he exam was أن االمتحان ,heard Sirius say very easy. I كان سهال I'll be surprised won’t be جدا. لن if I don't get surprised if أندهش لو Outstanding' on' you got a حصلﺖ على it at least high result درجة عالية .in it فيه Sirius said: Literal قال Reading Figurative 570 599 From what I translation سيرﯾاس: between the read من قراءتي lines, I'd say she between the لما بين thinks you're a lines, I see السطور that she sees أرى أنها

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you as a تراك ,bit conceited little مغرورا mate, said Sirius conceited قليال ﯾا .my friend ﺻاحبي. Hermione Literal قالﺖ Don't be so Semi- 577 607 said as she is translation هرميون ridiculous, Said Figurative setting وهي تستقيم ,Hermione ,straight في جلستها Straightening up looking at وتنظر إليه and looking at him like as كأنها ال him as though if she تصدق She could not couldn’t عينها، believe her eyes believe her التكن eyes: don’t .سخيفا be silly He nodded Paraphrase أومأ He gave Figurative 577 607 to Hermione لهرميون Hermione a a nod that إﯾماءة توحى sanctimonious singled بالتقوى little nod. She manners واألدب. looked rather .and piety بدت مندهشة taken aback by She seemed من مراعاته this surprised he لمشاعر thoughtfulness considered االخرﯾن the feelings of others Your father Paraphrase أباك Your father and Semi- 589 618 and Sirius وسيرﯾاس Sirius were the Figurative were the كانا أمهر best in school at two best at اثنين في whatever they Hoggarts in هوجرتس did- everyone anything في أي شيء thought they .they did ﯾفعالنه. were the Height Everyone والجميع of cool- if they saw them as ﯾرونهما sometimes got a very skilled شدﯾدي bit carried away and elegant المهارة even if they واالناقة وإن were بالغا في extreme in تصرفاتهما their behavior. Have I ever Paraphrase هل سبق أن Did I ever tell Figurative 589 619 asked to طالبتكما you to lay off stop بالعدول عن Snap? He Said annoying مضاﯾقة Did I ever have Snape? and سناب؟ the guts to tell the courage وأتتني you I thought

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came to me الشجاعة you were Out of one day to ﯾوما ألن ?order tell you both أقول لكما that you are إنكما breaking the تخالفان rules and النظام regulations والقواعد Have I ever Paraphrase هل سبق أن Did I ever tell Figurative 589 619 asked to طالبتكما you to lay off stop بالعدول عن Snap? He Said annoying مضاﯾقة Did I ever have Snape? and سناب؟ the guts to tell the courage وأتتني you I thought came to me الشجاعة you were Out of one day to ﯾوما ألن ?order tell you both أقول لكما that you are إنكما breaking the تخالفان rules and النظام regulations والقواعد I mean he Paraphrase أعنى أنه لم I mean, he never Figurative 589 619 has never ﯾفوت أﯾة lost an missed a فرﺻة قط، opportunity to ,chance yet إلﺻابة curse James so to hit James جيمس you couldn't with a spell بتعوﯾذة أو really expect ,or another بأخرى، فلم James to take so why تتوقع من ,that lying down don’t you جيمس أال ?could you expect ﯾعامله James to بالمثل؟ treat him similarly Approval to Paraphrase تصرﯾح Approval for Figurative 591 621 .hit الضرب .. Whipping Approval to تصرﯾح Approval for… ,hit. Finally الضرب... Whipping ..I can I will hit أخيرا، do it at them. They سأﺿربهم last…They've deserve this ،انهم had it coming to from years ﯾستحقون them for years ago هذا ومنذ سنوات Ron Paraphrase احتج رون Ron snorted Figurative 598 628 protested بصوت disbelievingly with a heard مسموع: and Hermione voice, as كدليل على evidence of عدم تصدﯾقه

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him not ما قالته، threw him a very believing فرمقته dirty look what she هيرمون had said, so بنظرة Hermione غضب gave him a look of anger Did you see Literal هل رأﯾﺖ Did you see the Figurative 618 650 Chang’s translation نظرة تشانج look on Chang's look when عندما face when Ginny she Ginny أمسكﺖ got the Snitch held the جينى right out from snitch from بالسنيتش ?under her nose under her من تحﺖ nose? From انفها under her nose He finally Paraphrase تنهد أخيرا Well, he sihed, Figurative 619 651 sighed and وقال: حسنا، Hagrid hasn't ,said: well هاجرﯾد لم ,been sacked yet Hagrid ﯾطرد بعد، has he? He's hasn’t been أليس كذلك؟ hung on this .fired yet لقد نجا حتى long, maybe Maybe he هذه اللحظة، he'll hang on till can stay ربما ﯾقدر the end of term until the end على البقاء and we won't of the حتى نهاﯾة have to go near ,school term الفصل .Grawp at all and maybe الدراسي، we wont وربما لن have to go to نضطر .Grawp للذهاب الى جراوب This Paraphrase أبعدت هذه The information Figurative 621 654 information المعلومات took the edge off took away الرغبة في Harry and Ron's his desire to الحصول desire for brain get على stimulants stimulants منشطات from Harry عن عقل and Ron’s هاري .minds ورون As soon as Paraphrase حالما انتهى Once breakfast Figurative 624 657 breakfast اإلفطار، was over, The ,ended تجمع طلبة fifth- and students of الصفين seventh years the fifth and الخامس milled around in

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fourth والسابع في the Entrance classes got القاعة Hall while other together in االمامية students went the front بينما ذهب off to lessons hall, whilst التالميذ the other االخرون students الى فصولهم went to their classrooms. At least, the Paraphrase على األقل، At least he Semi- 627 659 pig has تمكن من managed to Figurative completely إخفاء Vanish the disappeared الخنزﯾر whole of his whilst كله، بينما Viguana,Where Hannah فقدت هانا as poor Hannah Abbott lost ابوت Abbott lost her her temper أعصابها head completely completely تماما على .at the next table at the next المائدة .table المجاورة اليه How are Paraphrase كيف تحاول Trying to sneak Semi- 634 667 you trying التسلل هكذا up on Hagrid In Figurative to sneak like والقبض the dead of night this and على هاجرﯾد catch ليال Hagrid at night and he said Paraphrase وقال لنفسه Thinking that he Figurative 636 669 to himself إنه سيعود له would go back to that we إن بقى عنده it if he had time would وقﺖ، ثم at the end. He return to تقدم الى had a stab at him if he السؤال question five ,had time الخامس How was the) then he )كيف تم Statue of advanced to انتهاك قانون Secrecy the fifth السرﯾة سنة breached in question 1749، وما and what 1749 how was) اإلجراءات meaures the secrecy التي اتخذت introduced to law ended in لمنع prevent a and 1749 تكراره؟ ?tecurrence what measures were taken to stop it repeating?

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Harry Paraphrase ﺻاح Well, spit out Figurative 643 676 :shouted هاري: إذن، what you've got then tell us اذكري ما to say, because what you تعنينه، ألننا we're wasting .mean نضيع وقتنا time here! Harry Because we هنا shouted are wasting time here. Now, we Paraphrase واالن، نحن Now, we need to Figurative 645 679 need to keep بحاجة ال keep students the students بقاء الطلبة right away her away from بعيدا عم oggice we force her office as مكتبها ونحن entry , or some we go into ندخله، وإال Slytherin's it, or one of فقد ﯾسارع bound to go and the أحد طلبة Tip her off Slytherin سيلذرﯾن students بإخبارها will go to tell her quickly. Ginny, Paraphrase جيني، لونا، Ginny, Luna, if Semi- 646 680 Luna, you ستبدأن في you can start Figurative will start to إبعاد الناس moving people move عن الممر. put of the people away هاري وأنا corridor…Harry from this سنرتدى and I will get the .corridor العباءة Cloak on and Harry and I وننتظر أن Wait until the will wear ﯾصبح الجو coast is clear the cloak أمانا and wait for it to be a safe atmosphere. Snape said Paraphrase قال سناب Certainly, said Semi- 652 686 as he pursed وهو ﯾزم Snap, his lip Figurative his lips: of شفتيه: curling. It takes course. It قطعا. إنه -a full moon takes one ﯾأخذ دورة ,cycle to mature moon cycle قمرﯾة واحدة so I should have only until فقط حتى it ready for you it’s matured ﯾنضج، فلن in around a moth so you wont تنتظري wait more أكثر من than a شهر month.

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His scar Paraphrase أخذت ندبته His scar was Figurative 657 692 started to تؤلمه وهواء throbbing in the hurt when المساء soft evening air the soft الناعم but it had not yet evening air ﯾداعبها، -burned white .teased it لكنها لم hot, as he know But it didn’t تصل الى it would if reach the درجة األلم Voldemort had level of الحارق بعد، moved in for the burning وكان ﯾعرف kill ,pain yet أنها ستصل and he knew الى هذا that it would الحد، عندما reach that ﯾقدم stage when فولدمورت Voldemort على القتل started to kills Then we Paraphrase إذن فقد So we were to do Semi- 661 696 have done a أسدﯾنا لهما your Dirty work, Figurative dirty service خدمة قذرة، were we, human for them أليس كذلك girl? We were to haven’t we أﯾتها الفتاة act as your ?human girl البشرﯾة؟ servants, drive We have لقد تصرفنا away your behaved وكأننا خدم enemies like like we are لك، وأبعدنا obedient servants to عنك عدوك ?hounds you, and مثل الكالب moved your .المطيعة enemies away like obedient dogs. Ron cam out Paraphrase خرج رون Ron came into Semi- 664 699 from من بين sight with Figurative between the األشجار، Ginny, Neville trees and ومن خلفه and Luna behind him جيني ونيفيل hurrying along Ginny and ولونا behind him. All Neville and جمعيهم of them looked a Luna all ﯾبدون في little the worse seem to be حالة ﯾرثى for wear in tatters لها

That you Paraphrase التي ال تراها Those ones you Figurative 666 701 don’t see اال عندما can't see unless you've Watched except when

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you see the ترى someone snuff ?dead الموتى؟ ?it

He moved Paraphrase حرك قدميه He moved his Figurative 686 723 his feet ببطء إلى foot slowly slowly to الجانبين، ,sideways ,the sides بحثا عن feeling around looking for أقدام غيرة for someone other than من رفاقه. else's. Do not his friend's قال مالفوى: play games with feet. Malfoy ال تالعبنا ﯾا us Potter, said said: Don't بوتر Malfoy play with us Potter Death eaters Paraphrase كان أكل The Death Eater Semi- 690 726 were at the الموت في in front, Harry Figurative front, and االمام و ,hot on his heels harry on his هاري في and Neville heels, and عقبيه، Bringing up the Neville at ونيفل في rear plainly the back. He خلف وقد horrorstruck by was scared أفزعه ما what he had by what he فعله done had done.

Death eaters Paraphrase كان أكل The Death Eater Semi- 690 726 were at the الموت في in front, Harry Figurative front, and االمام و ,hot on his heels harry after هاري في and Neville him, and عقبيه، bringing up the Neville at ونيفل في rear plainly the back. He الخلف وقد horrorstruck by was scared أفزعه ما what he had by what he فعله done had done.

He was Paraphrase لقد أجبر He was forced to Figurative 726 766 forced to على خدمة do Sirius's serve Sirius سيرﯾاس، bidding because because ألن سيرﯾاس Sirius was the Sirius was كان أخر last of the family the last أعضاء to which he was member of العائلة التي enslaved the family to أﺻبح عبدا become a لها slave to her.

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It was our Paraphrase ومن حسن My – our one Semi- 734 776 ,good luck حظنا، أن stroke of good Figurative that من تنصﺖ fortune was that whoever علينا قد تم the eavesdropper listened to التعرف was detected us was عليه قبل أن only a short way found out تكتمل تالوة into the before النبوءة prophecy and prophecy وألقى thrown from the recitation بالخارج building was completed and threw it out. It seemed بدا من It seemed Figurative 735 777 impossible Combinatio المستحيل أن impossible that that there n هناك there could be are people أشخاﺻا في people in the in the world Literal العالم world who still +who want to translation ﯾرغبون في ,desired food eat and Addition تناول ,who laughed laugh and الطعام، who neither don’t care وﯾضحكون، knew nor cared about Sirius وال ﯾهتمون that Sirius Black Black’s بمقتل was gone for death. Sirius سيرﯾاس ever. Sirius who has بالك seemed a million become at a .سيرﯾاس miles away distance of الذى ﺻار millions of على مسافة miles مالﯾين االميال The banquet Paraphrase ستبدأ المأدبة The feast is Figurative 748 790 will start in بعد قليل كما ,about to start a bit as you تعرف، ,you know know, it ﯾبدوا أنك لن You're cutting it seems that تصل في very fine you will not . الميعاد arrive on time Because Paraphrase ألن قبعة Because the Figurative 757 799 Moody’s مودي bowler hat gave hat gave أعطته him entirely him the االنطباع mistaken wrong الخاطئ أن impression that impression مرتدﯾها he was Dealing that its قرﯾب منه with a kindred wearer was بشكل او spirit, he

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close to him بأخر، فقد addressed by one way وجه كالمه himself to .or another الى مودي Moody He pointed the words towards Moody.

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Appendix 4: Table of neologisms in Harry Potter and the Order of the Phoenix

number number

ST Page

Strategy

ST Type TT Page

TT Back

Neologism

Translatio

translation He kept Combinatio تابع إنصاته He kept New 5 3 listening to n للنشرة فربما listening, just coinage ,the news ﯾسمع خبرا in case there maybe he ﺻغيرا ال was some + would hear a Addition ﯾعرف دالالته small small news, generalizati العامةclue,Not 1 recognised which the on for what it public1 would really was by not know its the Muggles connotations. (هوامش)

تعنى االنسان :Footnote العادي الذي ال means an ﯾعرف شيئا عن ordinary عالم السحر person who والسحرة doesn't know anything about the magical world or wizards. 16 Harry Derived 17 His hands Transliterati muttered word started to on wipe the floor أخذت ﯾداه frantic- cally, from like the feet of تمسحان :his hands Latin .a spider األرض مثل flying over lumen Where is the قدمي عنكبوت. the ground ?wand أﯾن العصا؟ .like spiders ?Where !أﯾن؟ لوموس – Where's wand-come Lumos. on-lumos And what in Transliterati وما هي بحق And what the Derived 29 29 hells right are on الجحيم هذه ruddy hell are word these الدﯾمنتورات Dementors? from Latin: Dementors. dēmens

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We have to Combinatio علينا سؤاله عن We ought to Multipl 44 44 ask him about n شيء ال ﯾعرفه ask him e something سوى بوتر something process which only الحقيقي. إال إذا , only the real the true Potter Transliterati كنﺖ قد potter would borrowi + knows. on أحضرت معك know. Unless ng from Unless you Addition بعضا من anyone Latin: v have brought الفيرﯾتاثيرامbrought any eritas + 1 Veritaserum? existing some Veritatherum (الهوامش) :word serum Veritaserum 1 with you? واﺿح من Footnote: it's االسم انه clear from its مسحوق او name that سائل سحري ما Veritatherum ﯾتحقق من is a powder or الشخصية فهو magical مكون من liquid which مقطعين بمعنى checks the عقار التثبيﺖ personality as it consists two parts which mean a verification drug She said as Transliterati قالﺖ وهى تنظر I 'm a Multipl 48 48 she was on ثانية الى Metamorphm e looking again انعكاسها في agus, she process to her المرآه، ثم وهى , said, looking reflection in تدﯾر رأسها back at her borrowi ,the mirror لترى شعرها reflection and ng from then as she من كل :turning her Greek turned her الجوانب: أنا head so that meta head to see ميتامورفماجو she could see and her hair from س بمعنى أننى her hair from morph all the sides: I قادرة على تغير all direction. +"magu am شكلي بإراداتي "It means I can s change my borrowi Metamorphm appearance at ng from agus which will Latin means I can change my appearance by my own will.

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She got the Descriptive وحصلﺖ على I got top Derived 48 48 highest marks أعلى الدرجات marks in word in the equivalence في دورات Concealment from invisibility االختفاء والتنكر and Disguise Latin and disguise أثناء التدرﯾب during Auror :aurora courses whilst على قتال training training to kill السحر األسود without any black magic دون أي دراسة study at all without او استذكار studying or revision. It’s better to Transliterati واألفضل أن That could do New 49 49 do some on نقوم ببعض with a bit of coinage ,cleaning too التنظيف أﯾضا .cleaning, too and pointed وأشارت She pointed her magical بعصاها her wand at wand towards السحرﯾة نحو Hedwig's Hedwig’s قفص هدوﯾج .cage :cage saying قائلة: Scourgify .Scourgify سكورجيفاى Is your stick Combinatio هل ال تزال Ah Multipl 49 49 still in your n عصاك في well…wand e pockets and Transliterati جيبك still in your process + your bottom on ومؤخرتك jeans? Both derived is ok? Then Addition سليمة؟ إذن هيا buttocks still from .let's go بنا.لوكوموتور :on? Ok, let's Latin Locomotor ترانكgo. Loco + 1 Locomotor Motor trunk1. trunk +

(هوامش ) existing word: Footnote: أو "لتطيري ﯾا trunk .Or fly bag حقيبة" بالرغم although most من ان معظم of the spells التعاوﯾذ تلقى are recited in بلغة شبيهة a language بالالتينية فان similar to بعضها Latin, some باإلنجليزﯾة لكن are in لتوحيد لغة القاء English, but التعاوﯾذ لن to unify the نذكر أﯾا منها language of بالعربية spells, we won't mention them in Arabic.

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Moody said Functional قال مودى Disillusionm Existin 50 50 raising his equivalence رافعا عصاه: ent Charm, g word :wand تعوﯾذة االخفاء said Moody, with invisibility ﯾقول لوبين: إن raising his new spell. Lupin معك عباءة wand. Lupin sense says you have إخفاء لكنها لن says you've got the تستقر عليك got an invisibility ونحن طائرون. Invisibility cloak but it هذه التعوﯾذة Cloak, but it will not stay ستخفيك جيدا won't stay on while we're on you while flying, this'll we are flying. disguise you This spell will better. hide you well. The door is Functional فالباب محمى The door 's Derived 63 64 protected by a equivalence بتعوﯾذة مانعه. been word prevention ولكي أتأكد imperturbed. from spell. And to ألقيﺖ I've been Latin flicking :impert be sure, I بعض Dungbombs urbatus 2 threw some .Dungbomb2 الدانجبومب at it from the top of the stairs and they just soar away from it The door is Combinatio فالباب محمى The door 's New 63 64 protected by a n بتعوﯾذة مانعه. been coinage prevention ولكي أتأكد .imperturbed spell. And to ألقيﺖ I've been flicking be sure, I Transliterati threw some بعض Dungbombs +on الدانجبومب 2 at it from the Dungbomb2. Addition ( هوامش ) top of the stairs and they just soar Dungbombs Footnotes: Dungbombs او قنابل الروث away from it or Dung وهي العاب bombs which نارﯾه سحرﯾه are magical كرﯾهة الرائحة fireworks من عالم هاري with a foul بوتر smell from Harry Potter's world. Bill took out Transliterati شهر بيل عصاه Bill took out Borrow 73 74 his magical on السحرﯾة وغمغم his wand , ing stick and اﯾفانسكو muttered, from Evanesco! Latin: muttered

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Evanesco and فاختفﺖ لفافات And the Evanes the rolled الورق scrolls co vanished papers vanished. Combinatio ألن وزارة Because the Derived 75 75 n السحر مازالﺖ Ministry of word Because the تالحقني، Magic's still from Ministry of ومؤكد أن :after me, and Latin magic is still Transliterati فولدمورت قد Voldemort ,following me عرف أننى will know all animal + and on + Addition انيماجوسabout me 1 being an magus Voldemort knows for (الهوامش ) Animagus by now. sure that I'm .Animagus1 االنيماجوس هو الساحر القادر على التحول الى حيوان معين :Footnote باستخدام السحر Animagus or وهي مهاره ,transformer ﯾصعب على is a wizard الكثيرﯾن التمكن who can منها transform into a specific animal using magic, which is a skill that most cant control. Annoying Combinatio تصدر عنه It keeps Existin 77 78 noises n أﺻوات rattling and g word coming out مزعجة. ربما shaking. Of with .from it ﯾكون عوcourse, it new ،1 Maybe it's a Functional ولكن األفضل could just be sense Auw, but it's أن نطلب من a Boggart, but equivalence better to we + Addition ألستور إلقاء I thought we ask Alastor to نظرة عليه قبل ought to ask take a look at أن نخرجه Alastor to have a look at it before we .take it out (الهوامش) it before we let it out سبب اختيار لفظ العو الن :Footnotes في الخيال The cause of الغربي الشعبي choosing هو كائن Auw term is كابوسي ﯾختبئ that Boggart في الدوالب in western واألطفال نيام

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public myth is وﯾخرج في a nightmare الظالم ﯾأكل creature who الطفل الذي hides in ﯾعصى امه وهو cupboards ﯾذكرنا بفكرة whilst )اﺻمﺖ واال children are جاءك العو( في sleep and خيالنا الشعبي comes out in the dark, to eat the child that disobeys his mother. He reminds us with the idea of (be quiet or the Auw will come to you) in our Arabic myth. Annoying Transliterati تصدر عنه It keeps Borrow 77 78 noises on أﺻوات rattling and ing coming from مزعجة. ربما shaking. Of it. Maybe it's ﯾكون عوcourse, it from ،1 a Auw, but it's ولكن األفضل could just be ancient best we ask أن نطلب من :a Boggart, but Greek Alastor to ألستور إلقاء I thought we Alastor take a look at نظرة عليه قبل ought to ask it before we أن نخرجه Alastor to have a look at take it out. it before we let it out Mrs Weasely Combinatio أﺿافﺖ السيدة The curtains Existin 77 78 added : and n وﯾسلى: in there are g word the curtains in والستائر بتلك full of Doxys, with that room are الحجرة مليئة too, Mrs new full of Descriptive بالعفارﯾﺖ Weasley went sense jumping النطاطة2.لم ال on. I thought equivalence demons2 Why + Addition نحاول التخلص we might try don't we try to منها غدا؟ and tackle them get rid of them (الهوامش) .tomorrow ?tomorrow او Doxys Footnotes: or لفظ النطاطة Doxys the لتفرﯾقها عن term jumping العفارﯾﺖ is used to العادﯾة وهي

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distinguish كائنات سحرﯾه them from شقيه normal demons which are magical naughty creatures. If Ginny is Generalisati إن لم تكن جيني If Ginny's not New 88 90 not sitting on جالسة منتظرة lying awake coinage waiting for عودة هيرميون، waiting for Hermione, to لتخبرها بكل ما Hermione to tell her قيل باألسفل ، tell her everything فقالوا عنى إنني everything that had been دودة أرض they said downstairs said then I'm a downstairs, Flobberworm they will say that I am an earth worm. Harry said: he Transliterati قال هاري: He's got the Borrow 90 92 has the on عنده تعوﯾذة Cruciatus ing Cruciatus الكروكياتوس Curse for from curse that المسببة لأللم. causing pain, Latin .causes pain فهو ليس بحاجة said Harry, he :cruciat He doesn't لسالح أكثر doesn’t need us need any كفاءة منها ليؤلم anything other weapon الناس more efficient than that more efficient that that to hurt people. You have Combinatio لم تتلق أبدا You've never New 90 92 never n واحدة من been on the coinage received a تعاوﯾذ البات- receiving end single Bat - Transliterati بوجى التي of one of her + Bogey spell on تطلقها من Bat – bogey that she fired Addition عصاها Hexes, have you? from her wand? There are Combinatio هناك عفارﯾﺖ There are New 91 93 more jumping n نطاطة أكثر مما loads more coinage demons than I تصورت، Doxys than imagined, and ووجدت عشا she thought she found a Functional قدﯾما لعو and she's old nest for a equivalence أخطبوطيfound a nest 2 dead octopus + Addition ميﺖ تحﺖ of dead .األرﯾكة

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Auw2 under (الهوامش) Puffskeins under the sofa the sofa. وهي كائنات :Footnote سحرﯾه عباره عن كرات فرو They are خاملة تتحرك magical عندما تجوع creatures فتخرج منها consisting of اهداب تجول sleepy fur بالمنزل حتى balls that تصل لألنوف move when األطفال وتدخل they are منها الى الجسد hungry, so وتفعل أشياء frill comes غير ساره out of it to بالمرة wander around the house till they reach the noses of children and enter through it into the body, and do not nice things Mr Weasely قال السيد Oh, it's a Multipl 136 141 said as they وﯾسلى وهما simple e were getting Functional ﯾصعدان السلم: enough anti- process up the stairs: equivalence المسألة بسيطة، jinx, said Mr the matter is سأستخدم تعوﯾذه Weasley as he borrowi simple, I will مضادة للتقيؤ mounted the ng stairs from use an Anti Latin: Vomiting anti+ spell. existing word: jinx She said as Transliterati قالﺖ باكية وهى R-r- New 156 162 she cried, on تشير بعصاها Riddikulus! coinage pointing her السحرﯾة Mrs Weasley magical wand المستقرة فب ﯾد ,sobbed in a trembling مرتجفة الى pointing her hand to Rons جسد رون: shaking wand body: r r ر..ر.. at Ron's body Riddikulus رﯾدﯾكولوس

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Luna Transliterati نظرت لونا Luna New 167 172 Lovegood on لوفجود إليهما Lovegood's coinage looked again من فوق مجلتها popping eyes at them from المقلوبة ثانية، appeared over above her لترى ماذا the top of her upside down سيفعل نيفيل. upside-down magazine to رفع magazine see what الميمبولوس again, to Neville would ميمبليتوني إلى watch what do. He raised عينيه، ولسانه Neville was the Mimbulus بين أسنانه، . doing nimbletonia اختار نقطة ما، Neville held ,to his eyes وخز النبات the Mimbulus his tongue بطرف رﯾشته mimbletonia up to his eyes, between his his tongue teeth, he between his picked a spot teeth, chose and pricked his spot, and the plant with gave the plant the edge of a sharp prod his feather. with the tip of his quill. He muttered Combinatio غمغم مخاطبا Harry Multipl 262 273 talking to Ron n رون وهما muttered to e as they ﯾزﯾحان مقال Ron, as they process moved األستاذة finally laid borrowi professor Transliterati مكجونجال aside ng from +long on الطوﯾل عن :Professor Latin McGonagoll's addition تعوﯾذة McGonagall's conjuru article from االستحضار long essay on s the انانيماتوس the +Deriv Inanimatus كونجوروس Inanimatus ed word Conjurus from Conjurus Spell Latin: Retrieval inanim spell. us The Anti Jinx إن تعاوﯾذ Counter jinx 283 294 spell is النحس المضادة is just a name nothing more Functional ليسﺖ أكثر من people give Existin than a name equivalence اسم ﯾطلقه their jinxes g word people give to الناس على when they with jinx spells تعاوﯾذ النحس want to make new that they التي ﯾؤدونها them sound sence perform when عندما ﯾرﯾدون more they want أن ﯾقبلها acceptable others to االخرون accept it.

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Luna said Transliterati قالﺖ لونا Yes, he's got Derived 307 319 reverently: on بوقار: أجل an army of word yes, he has an عنده جيش من Heliopaths, from army of الهليوباس said Luna Helios solemnly Greek. Heliopas. + path Greek Visibility was Combinatio والرؤﯾة If we could Existin 336 351 weak, even n ﺿعيفة، حتى just keep the g word with the مع تعوﯾذة rain off our with Imervius إمبرفياس أخذ faces it would new spell, the light Transliterati النور ﯾتراجع، really help sense + started to on والمطر ﯾنهمر visibility – all retreat, rain Addition كأنه ستائر من ,together was pouring الماء تضرب – come on like it was األرض القوﯾة !Impervius curtains of water hitting the strong ground. He couldn't Combinatio لم ﯾتمكن من He was Derived 336 351 see the n رؤﯾة كرة having from Bludger ball بالدجر تقترب enough German coming near منه بعد دقيقة : difficulty him after a Transliterati من التمرﯾن seeing the on bludgeo + minute of on فكاد ﯾقع من Bludger with n practice so he Addition فوق مقشته which they were nearly fell off practicing, a his broom minute into the practice it almost unseated him And a group Transliterati ومجموعة من A set of New 346 361 of shelves on on األرفف على shelves at the coinage the far side of الجانب البعيد far end of the the room للحجرة تحمل room carried holding tools أدوات مثل a range of such as السنيكوسكوب instruments such as Sneakoscope Sneakoscope s, Which he put Combinatio التي ﯾدسها في Which he New 351 366 into the food n الطعام لكل من secretly feeds coinage of anyone ﯾعارﺿه. ثم to anybody who opposes هناك ما ﯾستعين who .him به من كائنات disagrees with him.

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Then there Transliterati االومجوبوالر And then +are some on سال شكيلتر there's his Umgubular creatures Addition slashkilter whom he use from the Umgubular slashkilter.

And he وﯾتذكر كيف Rememberin Multipl 353 368 remembered أتقن نيفيل أداء g how Neville e how Neville Functional تعوﯾذة اإلعاقة had process perfected equivalence بعد ثالثة successfully Disability اجتماعات من disarmed Borrow spell after المجهود Hermione, ing three المضنى How Colin from Creevey had Latin: meetings with mastered the Impedi painstaking Impediment ment + effort. Jinx after three Existin meetings' g word: hard effort, jinx Terry Boot Functional قال تيري بوت: You can do a Existin 354 369 said: can you equivalence هل تقدرﯾن على Protean g word perform a أداء تعوﯾذة Charm? Said with Changing التقلب؟ Terry Boot new sense spell?

Harry asked: Functional سأله هاري: Give the what New 380 395 whom do you equivalence تعطون هداﯾا gift? Asked coinage ?give gifts to لمن؟ .Harry ?The Zaazoo الزعزوع. أه.. Oh. It means وهى تعنى Oh, the Gurg the leader الزعيم means the – chief. I hit the two Transliterati ﺿربﺖ Hit the two Derived 383 398 giants on العمالقين holdin' me word holding) me) )الممزكين( بى right in the from ,in their eyes في أعينهما :eyes with Latin my spell تعوﯾذتي كونجو Conjunctiviti conjunc Conjunctiviti نكتيفيتوز s Curses an' tiv s, so they )فأزقطونى( they dropped (dropped me) على الفور me straightaway straight away.

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And you let Combinatio وتجعلها تراك And it would New 391 406 her see you as n مثال وانﺖ really be coinage you are تعلمنا العناﯾة better if she teaching us بحيوان saw you how to look Transliterati البورلوك، teaching us + after a on وكيفية التفرقة how to look Porlkock Addition بين النارل ,after animal, and والقنافذ ,Porlkocks how to tell he how to tell the difference difference between between Knarls and Knarl and Hedgehogs hedgehogs. And you let Transliterati وتجعلها تراك And it would New 391 406 her see you as on مثال وانﺖ really be coinage you are تعلمنا العناﯾة better if she teaching us بحيوان saw you how to look البورلوك، teaching us after a وكيفية التفرقة how to look Porlkock بين النارل ,after animal, and والقنافذ ,Porlkocks how to tell he how to tell the difference difference between between Knarls and Knarl and Hedgehogs hedgehogs. As No one Transliterati إنه ال أحد في He kept Borrow 392 409 with healthy on حالته العقلية saying ing mind السليمة ﯾحب nobody in from condition دراسة النارل :their right Latin likes to Study بدال من mind would Chimae Knarl instead الشيماﯾراس rather study ra Knarls than of the Chimaeras Chimaeras. He raised his Transliterati رفع عصاه He raised his Derived 418 436 magical wand on السحرﯾة wand and word :and muttered وغمغم: murmured, from Portus. The بورتوس : Portus! For a Latin kettle ارتجفﺖ الغالﯾة moment the porta trembled for a للحظات، kettle ,few moments وتوجهﺖ بنور ,trembled and pointed a أزرق غرﯾب glowing with an odd blue strange blue light light. Fred asked Transliterati سأله فرﯾد How're we New 419 438 him on مرتجفا: وكيف going? Asked coinage Fred, looking trembling: and how will

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we go? By سنذهب ؟ shaken. Floo ?Floo Powder ببودرة الفلو؟ ?Powder

The network Generalizati فالشبكة تحﺖ The Network Multipl 419 438 is being on المراقبة. is being e watched. You ستذهبون عن watched . process will go طرﯾق هذه You will be Derived through this البوابة taking a words Portkey from door French: porter+ existing word : key Sirius said Deletion قال سيرﯾاس That's right, Multipl 422 441 encouragingl مشجعا: هكذا said Sirius e y: like this دعونا. دعونا encouragingl process let's. Let's نشرب شيئا y, come on, New let's all…. Let coinage drink us all have a : something. drink while Butterb we're waiting. eer + Accio Borrow Butterbeer ing from Latin: accio

The expel the Descriptive مخترع تعوﯾذة Entrail – Derived 431 451 intestines out equivalence طرد األمعاء expelling of the body خارج الجسد curse From Latin: spell. intralia You don't Transliterati لسﺖ مصابا I have not got New 450 470 have the on بالسباترجروﯾﺖ Spattergroit! coinage Spattergroit.

494 Did you mean Existin 473 Snape asked Combinatio to produce a g word him coldly: n did you use سأله سناب Stinging with the Stinging Literal ببرود: هل Hex? Asked new + spell? translation استعملﺖ تعوﯾذة Snape coolly. sense Generalizati اللسع؟ on

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Not only Transliterati ليس ألن حكاﯾته Not least New 503 527 because his on ستظهر إلى because his coinage story will جوار الهراء story would appear next to المكتوب عن be appearing the rubbish السنوركاك فقط alongside utter rubbish written about about the Snorkack Crumple – only Horned Snorkacks They turned Combinatio التفتوا الى They looked New 514 539 to Harry as he n هاري وهو round at coinage examined the ﯾفحص Harry as he shelves, Literal الرفوف، بحثا browsed the +looking for a translation عن كتاب shelves for book he Addition ﯾحتاجه للتدرﯾب the book he needed to على تعوﯾذة needed on practice the االختفاء الجزئي Partial Vanishment Partial Vanishing spell. Finally they Combinatio بدأوا أخير في They had Derived 533 559 started n عمل تعوﯾذة finally started word making the Transliterati البتروناس التي work on from + Patronus spell on كان الجميع :Patrounuses, Latin that everyone Addition حرﯾصين على which Patronu was keen on تعلمها everybody s had been very learning, keen to practice Stay in your Transliterati ابقوا في Please remain Borrow 564 593 seats please. on مقاعدكم من seated while I ing Whilst I فضلكم، بينما collect your from gather your أجمع أوراقكم، :parchment! Latin ,papers اكيو. طار ما Accio. Over a accio Accio. Over a ﯾزﯾد على مائة hundred rolls hundred ورقة في الهواء of parchment zoomed into papers few the air threw the air. As he was Transliterati وهو ﯾخلص Disentanglin Derived 569 598 getting rid of on عباءته من تحته g himself word his cloak هب واقفا، from his from from under ورفع عصاه، :robes he got Latin him لكن سيرﯾاس quickly to his petra ,underneath قال: بترﯾفيكوس feet, wand up, and he stood up توتالوس وسقط but Sirius totus and raised his سناب وطرح ,said Pertrificus wand, but

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:Sirius said أرﺿا ثانية وهو Totalus, and Pertrificus متجمد كاللوح Snape keeled over again, Totals, and rigid as a Snape fell to board the ground again, frozen as a board. It even Combinatio حتى أنه أﺻبح It became the Existin 595 625 became n من عادة new fashion g word normal for the التالميذ حماﯾة for students with students to Literal أنفسهم بتعوﯾذة to perform new + protect translation فقاعة هواء Bubble- Head sense themselves Addition الرأس قبل Charms on with a Head مغادرة الفصول themselves before air Bubble leaving spell before lessons leaving the classroom. But even the Descriptive لكن حتى But not even Existin 595 626 vomiting equivalence مستخدمي the user of the g word sweet users حلوى التقيؤ لم Snackboxes with were not ﯾكونوا أندادا could new rivals to Mr لسيد الفوﺿى complete sense messy Peeves بيفيس الذى with that who was the أخلص كل master of sincerest of اإلخالص ,chaos all sincerity to لوﺻية فرﯾد Peeves, who Fred's last األخيرة seemed to have taken words. Fred's parting words deeply to heart Hermione Transliterati قالﺖ هيرميون Reparo, said Borrow 596 627 said quickly on بسرعة وهى Hermione ing as she تصلح فنجان quickly, from mended Ron's رون بتلوﯾحه :mending Latin cup with a من عصاها: Ron's cup reparo wave of her رﯾبارو with a wave of her wand. wand: Reparo. He forgot the Functional نسى تعرﯾف He forgot the Existin 627 659 definition of equivalence تعوﯾذة التغيير definition of g word Changing أثناء االمتحان Switching with spell during في الصباح spell during new the exam the التالي، لكن his written sense ,next morning اختباره العملي paper next but his كان أسوأ بكثير morning but thought his practical test

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practical was much could have worse. been a lot worse Harry raised Transliterati رفع هاري Harry raised Multipl 627 659 his magical on عصاه his wand, e wand, and السحرﯾة، ونظر looked process looked مباشرة إلى directly at Borrow directly at أمبرﯾدج Umbridge ing Umbridge وتخيلها وهى and imagined from imaging her تطرد من :her being Latin being kicked المدرسة: sacked. expecto out of the إكسبكتو + . Expecto ,school باترونام patronum derived from Expecto Mediev patronum. al Latin patronu s It's showing Transliterati هو إظهار Then New 629 661 the ability to on القدرة على demonstrate coinage deal التعامل بصورة correct appropriately مالئمة مع handling of a with the البوتروكل , Bowtruckle ,Bowtruckle وإطعام feed and and feeding وتنظيف clean out a and cleaning سرطان ناري Fire Crab a fire crab من دون without without التعرض sustaining getting لحروق خطيرة serious burns dangerous burns. He jumped Functional فقفز أكثر من Leaping Existin 633 665 more than equivalence مرة على repeatedly at g word once at the السحرة من the wizards with Wizards حوله حتى surrounding new around him أﺻابته إحدى him until a sense until he got تعاوﯾذ التجمد، Stunning hit with a فسقط على spell caught Freezing االرض him and he fell to the spell, and fell ground to the ground. Only if he can Transliterati فقط إن قدر If he could Derived 637 670 perform on على أداء only perform word legilimency الليجيليمينسي Legilimency from and opened a وفتح نافذة في and open a Latin: l window into عقلها ليرى window in eger her mind to مافعله الترول، the back of

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see what the ليفسد العالقه her head and trolls had بين بوناكورد see what it done, to ruin و لخشنشتاﯾن was about trolls that had the caused the relationship breach between the between Bonaccord Pierre and Bonaccord Liechtenstein and Liechtenstein Harry saw a Transliterati رأى هاري ﯾدا Harry saw a Borrow 638 671 hand with a on بأﺻابع بيضاء long fingered ing white long طوﯾلة تمسك white hand from fingers بعصا سحرﯾة :clutching a Latin holding a من عند طرف wand rise at magical wand ذراعه. سمع the end of his Crucio from the edge الصوت العالي …own arm of his arm, he البارد ﯾقول: heard the heard a loud كروسيو high, cold voice say, cold voice Crucio say: Crucio. Hermione Transliterati ﺻاحﺖ Be quite! Derived 660 694 shouted: shut on هيرميون: Shouted word up, but the اﺻمتي. لكن Hermione, from sword came سبق السيف :but it was too Latin before the العزل. ﺻوبﺖ late: incarcer isolation أمبرﯾج عصاها Umbridge us Umbridge نحو ماجورﯾان pointed her pointed her وﺻرخﺖ: wand at wand towards إنكاركرﯾوس Magorian and screamed, Magorian and Incarcerous screamed: Incarcerous. He said Transliterati قال باقتضاب: Ok, fine it's New 667 702 curtly: ok, on حسنا، اختاروا your chocice, coinage choose what ما شئتم. لكن إن ,he said curtly you want. But لم تجدوا المزﯾد but unless we if you don't من، can find more find more الثيستراالت فلن Thestrals Threstrals تقدروا على you're not going to be you won't be able able to Luna said Generalizati قالﺖ لونا Aquavirius Multipl 674 710 enthusiastical on بحماس: إنها Maggots! e ly: they are دﯾدان فيروسية Said Luna process virus sea بحرﯾة. قال أبى , .excitedly worms. My إن وزارة Dad said the

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dad said that السحر تربيها Ministry were new the ministry بصفة غير breeding coinage of magic were قانونية + Derived raising them Word illegally. aqua and virus + existing word: Maggot . Hermione Transliterati قالﺖ هيرميون Wait! Said Derived 675 711 said sharply: on بحدة: انتظرى Hermione word wait, as Luna و لونا تهم بفتح sharply, as from started to الباب المجاور :Luna made to Latin open the door لحجرة المخاخ. close the door flagro next to the ثم قالﺖ: of the brain .brain room فالجرات room behind them. Them said Flagrate Flagrate, The words Transliterati ما كادت The words Multipl 684 720 were hardly on الكلمات تخرج were hardly e out of his من فمه حتى out of his process mouth when ﺻرخﺖ mouth when Borrow the death الساحرة أكلة the female ing eater witch الموت: اكيو Death Eater from :shouted بروف :shrieked Accio proph Latin: Accio proph. accio+ new coinage proph Harry was Transliterati كان هاري Harry was Borrow 684 721 ready for her, on متأهبا لها، just ready for ing :and shouted ﺻاح: بروتيجو her: he from Protego قبل أن تنتهى :shouted Latin before she من تالوة Protego" protego" could finish تعوﯾذتها before she had finished reciting her her spell spell. Five cries Transliterati انبعثﺖ خمس Five different Borrow 688 724 came from on ﺻيحات من voice behind ing behind him in خلفه في نفس bellowed, from one breathe واحد قائله: :Reducto! Latin :saying رﯾداكتو Five curses reducto Reducto. And فانطلقﺖ خمس flew in five five spells

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came from تعاوﯾذ من different five different خمسة اتجاهات directions directions

A hand held Transliterati أمسكته ﯾد من A hand Existin 688 725 him at his on كتفه، وسمع caught him g word shoulder, and هيرميون by the with he heard تصيح: shoulder, he new Hermione ستوبيفاى heard sense :shout فتركته اليد على Hermione Stupefy, and الفور ,shout Stupefy! The the hand left hand released him him at once immediately Hermione Transliterati شهقﺖ هيرميون Derived 688 725 gasped and on قائلة: Colloportus! Word :said كولوبورتس. Gasped from .Colloportus فأغلق الباب :Hermione Latin The door shut نفسه بتعوﯾذتها and the door colligo itself with her بصوت مرتفع sealed itself spell with a غرﯾب with an odd squelching strange loud noise noise, They nearly Transliterati كادوا أن ﯾصلوا They were Derived 689 726 got there on عندما سمع almost there when Harry هاري ﺻوت when Harry from heard a strong ارتطام قوﯾا heard Hawaii and heavy وثقيال عند لباب :something an banging noise الذى سحرته large and aloha at the door هيرميون قال heavy collide that ﺻوت خشن: with the door Hermione had ابتعدوا Hermione .just spelled .الوهومورا had charmed shut Stand The voice aside! said a said roughly: rough voice. move away, Alohomora Alohomora. Reaching his Transliterati وﺻول عصاه Pointing his Derived 690 726 wand towards on نحو الزوج wand wildly from the fighting المتصارع :at the Latin pair and ﺻائحا: اكسبيل struggling :shouted أرموس pair, he cried: Expelo Expelliarmus and Expelliarmus. arma Hermione Combinatio ﺻاحﺖ Accio wand! Multipl 690 727 shouted: n هيرميون اكيو Cried e .Accio wand1 واند1. طارت Hermione. process Harry’s wand عصا هارى من Harry's wand Borrow

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flew from the الركن المظلم flew from a ing dark corner Transliterati التي كانﺖ فيه dark corner from +she was in to on إلى ﯾدها، فألقتها into her hand Latin her hand, Addition .إليه + and she threw Accio it to him Existin Then she g word: threw it to .him :الهوامش wand بمعنى العصا :wand Footnote: wand means wand. With a cry of Transliterati وبصرخة With a cry of 692 728 triumph, they on ظافرة، ﺻاح triumph, both Existin :both shouted كل منهما: yelled: g word .Impedimenta امبيدﯾمنتيا Impedimenta with new sense Hermione Transliterati ﺻاحﺖ Silencio! Borrow 692 729 cried: on هيرميون: Cried ing Silencio. And ساﯾلينسيو. Hermione from the mans فاختفى ﺻوت :and the man's Latin voice الرجل voice was extinguished silencio disappeared.

Honestly Combinatio بصراحة ﯾا Honest, Mutiple 697 734 Harry, are n هاري، هل هذه Harry, they're Borrow ?these brains أدمغة؟ اكيو brains –looking .Accio brain1 برﯾنAccio brain from 1 Latin: Transliterati : الهوامش accio + on+ Footnote: Addition بمعنى مخ Existin g word: Brain brain means brain brain. Harry shouted Transliterati ﺻاح هاري Diffindo, Borrow 697 735 as he tried to on محاوال ابعاد yelled Harry, ing get the cilia األهداب عن trying to from away from رون: ودﯾفيند ال :sever the Latin :Ron كنها لم تبتعد feelers wrapping diffindo Diffindo, but themselves they didn't tightly around move away. Ron before his eyes, but they would not break

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Dolohov, Literal دولوهوف الذى One was Existin 698 736 who had freed Translation تحرر من bleeding g word the Body التعوﯾذة المقيدة badly, with ,Binding spell للجسم أخذ ﯾنظر Dolohov, new looked at الى هاري freed of the sense ,Harry angry شزرا وعصاه Body- Bind and his wand مصوبة إلى Curse, was pointed وجهه مباشرة leering, his wand directly at his pointing face. straight at Harry 's face He shouted: Transliterati ﺻاح : Tarantalleger Derived 701 738 Tarantalleger on تارانتاليجرا a, he shouted, word a, pointing his مصوبا عصاه his wand from wand نحو نيفيل الذى :pointing at Italy towards أخذت قدماه Neville, Tarante ,Neville ترقصان رقصة whose legs lla is whose feet محمومة went immediately started into a kind of dancing frenzied tap- feverishly. dance But he Transliterati لكنه ﺻاح: But he Derived 706 745 shouted: on وﯾنجاردﯾام shouted, word Wingardium ليفيوسا، Wingardium from leviosa, so فطارت مبتعدة :Leviosa, and Latin she flew away عنه في الهواء ,they flew off wing him up into arduus from him in the air. and the air. levo

You haven't Combinatio لم تستعمل Never used an Existin 708 746 used an n التعوﯾذة غير Unforgivable g word Unforgivable المغفور لها من Curse before, with spell before, Literal قبل ﯾافتى. أليس have you, new + have you translation كذلك؟ boy? sense boy? Addition He said Transliterati قال بهدوء: ليس I have Derived 710 748 quietly: I on عندي المزﯾد nothing more word don't have ألقوله لك ﯾا to say to you, from any more to بوتر، لقد Potter, he said Aramai tell you أزعجتني quietly. You c: avada Pottor, you كثيرا.. كثيرا have irked me kedavra have bothered جدا..افادا , too often, for me a lot, too كيدافرا too long

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Avad ,ugh, Avada Kedavra kedavra.

Arrange your Transliterati رتب درسك I arranged Derived 722 763 Occlumency on لالوكلومينسي Occlumency Word lesson with مع األستاذ lesson with from professor سناب Professor Latin: o Snape ccluder Snape, e,

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Appendix 5: Table of idioms in Harry Potter and the Deathly Hallows

Type

number number

ST Page

TT page

Strategy

TT Back

ST Idioms

translation

Translation His looks Paraphra وانتقلﺖ نظرته إلى His gaze Semi- 6 4 moved top, se أعلى، إلى الجسد الذي had Figurati to the body ﯾدور ببطء فوقهم، وبدا wandered ve that was أنه ﯾفكر بعمق upwards, to the body spinning revolving slowly about slowly them. He overhead, seemed He seemed thinking to be lost in deeply thought I neglected, Literal لقد كنﺖ مهمال، I have been Semi- 7 5 and luck and translatio واعترﺿني الحظ careless, Figurati coincidences n والمصادفات اللذان and so have ve stopped me ﯾدمران أفضل الخطط been that destroy الموﺿوعة thwarted by luck and the best laid chance, plans those wreckers of all but the best laid plans We will Paraphra سنقضي على اآلفات and in your 11 9 eliminate the se التي تؤذﯾنا سواء في family, so Figurati pests that عائلتك أو في العالم، in the ve harm us حتى ال ﯾبقى سوى ذوى world. Cut either they .الدم النقي away the canker that are in your infects us family or in until only the world so those of the that only true blood pure bloods remain. remain. Maybe they Paraphra ربما سيحرقونها في Burn them Semi- 14 12 will burn it se ظالم الليل in the dead Figurati in the وكأنهم ﯾتخلصون من of night, ve darkness of دليل على جرﯾمة شنعاء ,probably as if they the night like were the they were evidence of getting rid of

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same an evidence dreadful of a terrible crime. crime. When I got Paraphra عندما أتتني الشجاعة When I Semi- 15 14 the courage se لكي أسأله، أكد لي أنه plucked up Figurati ,to ask him ﯾعرف أن والده مذنب courage to ve ask him, he he assured assured me me that he that he knew his know his father was father to be guilty. guilty She looked Paraphra فقد نظرت اليه نظرة She gave 34 32 at him with a se غرﯾبة مضطربة، ثم him an Figurati strange and بدت على وشك الكالم، odd,Tremul ve troubled لكنها هزت رأسها أخيرا ous look look, the she وأسرعﺖ خارجة لتلحق and seemed to be بزوجها وابنها Seemed teeter on on the edge the edge of of talking speech , but but shook then, with a her head and little jerk of hurried out her head, to join her she bustled husband and out of the son. room after her husband and son Kingsley Paraphra قال كنجسلي: ﯾمكنه أن He can get Figurati 37 35 said: He can se ﯾستغني عنى لليلة along ve give me up واحده، فأنﺖ أكثر أهمية without me for one for one night, said night. You Kingsley. are more You're important. more important Alljust in Paraphra تحسبا لألمر، لذلك فقد So, we've 39 37 case, we se قمنا ال عطا ء دسته من given a Figurati gave a المنازل المختلفة كل dozen ve dozen الحماﯾة التي نستطيع different different توفيرها لها houses every houses all protection the we can protection throw at that we can them provide to her

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Let's stop Replace فلنتوقف عن المناقشة، let's have 40 38 discussing ment الوقﺖ ﯾجرى no more Figurati argument.T ve this. Time is ime's running wearing on

Mr Wesley Paraphra سقط السيد وﯾزلي على Mr Semi- 59 58 fell to his se ركبتيه بجوار جورج، Weasley Figurati knees next وألول مرة منذ قابلة dropped to ve to George هاري بدا على فرﯾد انه his knees and for the ال ﯾجد ما ﯾقوله beside George. first time For the first since Harry time since had met Harry had him, it known him seemed that Fred Fred did not seemed to find what to be lost for say words And she Paraphra وقالﺖ: هاري، لقد Harry, he's Variant 68 67 said: Harry, se استولى على الوزارة taking over of he has taken والصحف ونصف the existing over the المجتمع السحري! Ministry idiom Ministry and نتركه داخل رأسك أﯾضا and the newspapers the and half the newspapers wizarding and half of world! the magical Don’t let society. him inside Keep him in your head your head too. Original idiom: get sth into your head

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Ron said: of Paraphra قال رون: بطبع ال course they 69 69 course they se ﯾدركون، فليس لدﯾهم don't said Figurati .don't know فكره عن االمر Ron. ve haven't got They have a clue no got any idea. We hope it Paraphra نأمل أنها ستكون قوﯾة We hope Variant 72 71 will be se بما ﯾكفى لتبعده عن they'll be of strong المكان وتخرس لسانه strong existing enough idiom enough to both to keep him keep him away from out and to the place and bind his silence his tongue tongue

original idiom: bit one's tongue Ron asked:” Paraphra سأل رون: هل هناك Isn't there 82 82 is there se طرﯾقة إلعادة تجميع any way of Figurati another way روحك مرة أخرى؟ putting ve yourself to Get your back soul back together? together? Ron asked

84 Ginny 83 Jenny put Paraphra her heart se وﺿعﺖ جيني قلبها في poured her Figurati into this هذه المفكرة، وجعلﺖ heart out ve diary and نفسها بذلك ﺿعيفة بشكل into the made herself ال ﯾصدق diary, she made unbelievably herself weak by incredibly doing that. vulnerable To be Paraphra بكل ﺻراحة، ال أظن انه I think 92 92 honest, I se ستكون هناك فرﺻة ألى dating Figurati don’t think مواعدات opportuniti ve es are going there will be to be pretty any other thin on the appointment ground to opportunitie be honest. s.

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And she Combina وهمسﺖ: هذه هي There's the 92 92 whispered: tion الكلمات الفضية التي silver Figurati these are the Literal كنﺖ أنتظر سماعها lining I've ve been silver words translatio looking for I have been n+ , she waiting to Paraphra whispered hear. se You really Paraphra ان لك ذوقا مميزا فعال You've 94 94 really got Figurati have a se an eye for ve special taste that sort of thing Original have an eye for Then he Paraphra ثم نظر فوق كتفيه He looked Variant 95 96 looked over se وخفض ﺻوته، وقال: over his of his shoulder أتمنى أن ﯾسرع أبي shoulder existing and lowered وﯾأتي هنا and idiom dropped his his voice and voice. said: I wish Wish Da my dad would up would hurry and get up and come here here”

After a Paraphra وبعد ثانية، ظهر السيد A second 96 96 second, Mr se وﯾزلي من العدم عند later, Mr Figurati Weasley البوابة Weasley ve Had appeared appeared from out of out of thin nowhere at air at the the gate. gate Fred said: Literal قال فرﯾد: ولكن قبل أن But before Semi- 112 113 but before he translatio ﯾفقد عقله، كان حياة he went Figurati lost his n وروح الحفالت loopy Life ve and soul of mind, he had the party been the life said Fred and soul of the parties Harry said Paraphra قال هاري: وقد شعر and she's 119 120 suddenly se بالغيظ فجأة: نعم، إنها seeing Figurati angry: yes, it مرتبطة بأحدهم وهو من someone. ve is connected النوع الغيور. رجل Jealous to one of .ﺿخم type. Big them and he من األفضل اال تتصادم bloke. You is the jealous معه wouldn't want to type. A huge

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cross him man. It is original better to not cross collide with someone him

The larger of Paraphra أشار اليها االﺿخم من The larger 131 132 the two se االثنين العمال لتبتعد of the two Figurati workmen, ve workers who was gestured for blond and her to move quite huge, away. now that Harry came to look at him, Waved her away. He joined Combina انضم إليهم وهو ﺻغير He joined 147 150 them and he tion جدا في السن ثم غير up when he Figurati was young Deletion راﯾه was really ve + then he وحاول تركهم، لهذا young and changed his Generaliz قتلوه Then got cold feet mind and ation and tried to tried to leave leave - so them, that's they killed why they him killed him. Then he Paraphra ثم فتح عينيه وﺻرخ then his Variant 151 154 opened his se ﺻرخة قوﯾة eyes flew of open and he existing eyes and uttered idiom screamed a Blood- strong shriek curdling scream Original idiom: curdle blood :Ron said قال رون: لقد فعلﺖ Overkill, Figurati 157 161 You've done Deletion الصواب ﯾا ﺻدﯾقي بينما mate, said ve the right نظر القزم الى القالدة Ron, as the elf took one thing, my look at the friend as the locket dwarf looked at the necklace.

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Ron asked: Literal سأل رون: هل تظنون D' you Semi- 158 162 do you think translatio أنه دخل إلى هنا وربطﺖ reckon he's Figurati he came in n لعنة مودى لسانه؟ been in ve here and here and had his Moody’s tongue tied curse tied his by Mody's tongue? curse? Asked Ron They Paraphra قاموا بتعذﯾب Tried to 162 166 tortured the se سكرﯾمجور ليعرفوا torture your Figurati Scrimgeour مكانك قبل أن ﯾقتلوه، لو whereabout ve to know كان هذا ﺻحيحا، فانه s out of where you امتنع عن الغدر بك Scrimgeour before they are before killed him, they killed if it's true, him. If that he didn’t was true, give you then He away refrained from betraying you Voice oft is Literal إن فولدمورت ﯾلعب Yes, 164 168 playing his translatio لعبته بذكاء شدﯾد. إنه Voldemort Figurati game very n ﯾعرف أن إعالنه عن is playing a ve cleverly. He نفسه ﯾمكن أن ﯾؤدي الى very clever knows that إثارة التمرد العام، بينما .game announcing بقاؤه خلف الستار أوجد Declaring himself حالة نﺖ االرتباك وعدم himself might lead to اليقين والخوف might have provoked a general open rebellion, rebellion: whereas remaining staying masked has behind the created curtain was confusion , the best way uncertainty to cause and fear confusion and uncertainty and fear. It is also Paraphra كما أنها وسيلة أخرى And it's 165 169 another way se الستئصال مواليد also Figurati to eradicate العامة، الن الطالب another ve newborns of ﯾجب أن ﯾقدموا ما ﯾفيد way of the public بمكانة دمائهم weeding out because Mugglebor students

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ns, because should be students present what must be is beneficial given by their Blood blood status. Status She is before Paraphra فهي قبل كل شيء عضو She was , 166 171 anything, a se في الجماعة، وهاري after all, a Figurati member of ﯾعلم جيدا، أنها من member of ve the group المرجح ان ترغب في ان the Order and Harry تكون في خضم االحداث and , as far as Harry knows well, knew, Was she is likely likely to be to want to be in the Thick in the midst of the of events action Harry, I'm Paraphra أنا متأكد ﯾا هاري أن Harry, I'm 167 171 sure James se جيمس ما كان ليرﯾدني sure James Figurati wouldn't ان اظل معك would have ve Wanted me have wanted to stick me to stay with you with you. Harry said: I Paraphra قال هاري: أعتقد أنك I think 168 173 think you are se تشعر ببعض التهور. أو you're Figurati feeling a ربما تتوهم انك تستطيع feeling a bit ve little bit الحلول مكان سيرﯾوس of a daredevil, reckless, or Harry said . maybe you You fancy are stepping imagining into Sirius's that you can shoes take Sirius’s place I thought Paraphra وفكرت أن عددا قليال The tiny 172 176 that a small se جدا من الناس هم من number of Figurati number of ﯾعرفون أﺻال بوجود people who ve people أرﯾانا، كما انه ﯾمكن hencforth actually االعتماد على شقيقتيها knew of know about في ان ﯾحافظوا على Ariana's Arian. As if سرها existence Could be he can counted depend on upon to her sister to keep the keep her secret secret

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Harry said: Paraphra قال هاري: االمر ليس It's not 173 178 it's also not se بخصوص الكئوس about the Figurati only about أﯾضا، رغم أنك goblets ve ,the cups اقتربﺖ، هل أغلقﺖ فمك ,either although you واستمعﺖ ألي although you're have got getting closer, can warmer you please said Harry. shut your 'shut up and mouth and listen listen to me? With the Paraphra ومع قدوم المساء، أتﺖ As evening 176 181 coming of se معه هبة غير متوقعة من drew in, Figurati ,the evening المطر البارد ألول مرة bringing ve an منذ أسابيع with it an unexpected unexpected gust of gust of cold chilly rain rain came for the first for the first time in time in a weeks week.

Harry Paraphra وتخيل هاري القطار in his Semi- 179 183 imagined the se البخاري البنفسجي الذى mind's eye, Figurati purple steam تبعه هو ورون من الجو Harry ve train that في إحدى الممرات seemed to see the followed scarlet him and Ron steam from the air engine as in one of the he and Ron corridors. had once followd it by air They are Combina انهم ﯾتعبوننا والسالم، Blooming Variant 190 194 following us tion هه؟ بإجبارنا جميعا على pain in the of and peace, Deletion الذهاب إلى العمل بهذه bum, this, existing + huh? By الطرﯾقة eh? Forcing idiom us all to get forcing us all addition to work this to go to work way! like this?

original idiom: pain in the butt

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They looked Paraphra ونظروا خلفهم: والتوت they looked Variant 192 196 behind them: se معدة هاري كان واحد around: of and Harry’s من أكلى الموت الذﯾن Harry's existing stomach شهدوا موت دمبلدور stomach idiom twisted.He ﯾخطو متجها اليهم turned over. One was one of of the the death Death eaters Eaters who headed who had had witnessed witnessed Dumbledor Dumbledore' e's death s death, it was was towards striding them towards them

Original idiom: turn your stomach Hehe gave Paraphra وألقى نظرة أخيرة عامة He gave the Figurati 201 204 the whole se على المكتب بأكمله، office one ve office a وشعر بقلبه ﯾقفز last sweeping general look look, and and felt his His heart heart jump skipped a beat When Percy Literal عندما خطا بيرسى as Percy Variant 202 206 Weasleyey translatio وﯾزلى داخال المصعد، Weasley of strode into n انفة مدفون داخل بعض strode into existing the lift, his األوراق التي كان ﯾقوم the life, His idiom nose was بقراءتها nose buried in some buried in papers he some papers was he was reading reading

Original idiom: have nose in a book Well, I have Paraphra حسنا، لقد غيرت رأﯾي Well, I've Semi- 208 213 had a Figurati changed my se change of ve mind. heart

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The Paraphra وتراجع سحرة الوزارة The 211 216 magicians se وقد بدا على بعضهم ministry Figurati the of االرتباك، بينما الباقي wizards ve ministry .خائف وممتعض , hung back some retreated, looking some confused , appeared other confused scared and whilst the resentful. rest were scared and resentful. Harry Paraphra كرر هاري: احترام ؟ Respect? Variant 217 222 repeated: se ولكن هرميون رمته Harry of respect? But بنظرة تحذﯾر repeated , existing but idiom Hermione Hermine threw him a Shot him a warning warning look. look

original idiom : shot dirty look It seemed Paraphra وبدا كما لو كان ﯾندفع It was as 220 226 like he was se نحو هذه النقطة منذ though he Figurati rushing to أسابيع، او شهور، او had been ve this point for ربما سنوات، وعندما hurtling weeks or وﺻل إليهما، توقف فجأة towards maybe لم ﯾعد امامه ما ﯾفعله بعد this point years, and ذلك ,for weeks months, when he got maybe to it, he even years, stopped but now he suddenly . had come There was to an abrupt nothing for halt, Run him to do out of road after that. 226 Sick 221 Terrible Literal images Figurati images come translatio to his mind n وتراءت له ﺻور فظيعة swarmed ve that he also حاول دفعها بعيدا أﯾضا، into harry's tried to push فلم ﯾكن في ﯾده ما ﯾمكن head and he away, but أن ﯾفعله لكرﯾاتشر tried to push these there was away too , nothing in for there his ability was that he nothing he

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could do could do for for Kreacher. Kreacher

All I have Combina كل ما أكلته منذ نزفﺖ all I've had Semi- 227 232 had Since I tion وكنﺖ في منتصف Since I bled figurativ bled and I Paraphra الطرﯾق الى الموت هو half to e +was in the se بعض عيش الغراب death is a couple of middle of Addition toadstools the way to death is some mushrooms Hermione Paraphra واقترحﺖ هرميون We could Semi- 231 236 suggested se بنصف اقتناع: ﯾمكن أن try digging figurativ half نحاول الحفر في in the e :convinced االساسات؟ foundation s? maybe we Hermione can try suggested digging in half- the heartedly foundations Another Paraphra قال ﺻوت أخر: نعم Yeah, said 235 240 voice said: se وحدق هاري و رون و another Figurati .yes هرميون في بعضهم voice , and ve ,Hermione البعض بصمﺖ وترقب Harry , Ron and Harry and Hermione Ron stared at stared at each other each other expectantly ,Silent but in silence. besides themselves with excitement

And Harry Replace وشعر هاري فجأة وكأن An electric 236 242 felt an ment تيارا كهربائيا ﯾسرى في current Figurati electric جسمه الذي تجمد في seemed to ve current go مكانه course though though his Harry, body Jangling suddenly his every that froze nerve as he him in his stood place rooted to the spot 347

Derek said: Paraphra قال دﯾرك: من الصعب Semi- 238 244 it's hard to se مساعدة الصبي الذي figurativ help the boy اختفى من على وجه Hard to e that األرض help a boy who's disappeared vanished from the off the face face of the of the earth, earth said Dirk

Harry said: Paraphra قال هاري: حسنا، من Well, 243 249 well, it's se الواﺿح أن لدﯾك أنﺖ you've Figurati clear that مشكلة، هال افصحﺖ obviously ve you have a عنها اذا سمحﺖ؟ got a problem, problem. said Harry. Can you tell Spit it out me about it will you?, please? will you? Here thought Paraphra كنا نظن أنك تعرف ما We thought 247 254 you knew se تفعله. وستأنف حزم you knew Figurati what you األمتعة وهو ﯾشعر بعقده what you ve .were doing مؤلمه داخل معدته were doing! And He resumed he resumed packing the packing bags feeling with a hard a painful knot in the knot inside pit of his his stomach stomach Harry Literal وفتح هاري عينيه، heart Variant 255 262 opened his translatio وهو ﯾشعر ان قلبه ﯾدق beating in of eyes, feeling n في حنجرته. كانا ﯾقفان his throat, existing his heart ﯾدا في ﯾد في ممر مغطى Harry idiom beating in بالثلج تحﺖ سماء زرقاء opend his .his throat مظلمة eyes. They were They were standing standing hand in hand by hand in a hand in a ice snow lane covered under a pathway dark sky. under a dark blue sky. Original idiom: heart is in their mouth

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He did not Paraphra لم ﯾشأ السماح لغضبه He did not Figurati 286 293 want to let se بان ﯾصب عليها، ولكنه want to let ve his anger وجد ﺻعوبة في إبقاء his anger pour on her ﺻوته ثابتا spill out at her, but it but he found was hard to it difficult to keep his keep his voice voice steady. steady He stood up Paraphra فوقف وأخذ ﯾمشى حول He stood up 286 294 and took to se المكان محاوال تهدئة and around Figurati walking نفسه Trying to ve, work some around the of it off place trying to calm himself down He knew Combina عرف أنه سيجازف He know, 290 298 that he tion بحياته من اجلها، وأنها He would Figurati would risk Deletion أتﺖ من أجله ومن أجله have staked ve + his life for وحده his life on it, that she her, and that addition had come she had for him , come for and him him and him alone alone.

She stopped Literal توقفﺖ وحولﺖ رأسها She turned Variant 290 299 and turned translatio الجميل نحوه مرة her of her beautiful n أخرى، وحال أن ﯾتكلم beautiful existing head والسؤال ﯾحرق داخله، head idiom towards him ولكن ما أن فتح شفتيه towards again, and he ليقوله حتى اختفﺖ him once more, and tried to he broke speak with into a run,a the question question burning burning in inside him, him, but as but as soon he opened as he opened his lips to his lips to ask it, she speak it she vanished disappeared.

Original idiom: burning question

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He felt his Paraphra وشعر بقلبه ﯾقفز الى heart Figurati 291 299 heart se فمه، وسقط على ركبتيه skipped ve jumping to عند حافة البركة ووجه into his his mouth العصا لتغرق قاع البركة mouth, he and fell to بأكبر قدر ممكن من dropped to his knees at الضوء his knees at the pool's the edge of edge and the pool angled the pointed the wand so as wand to to flood the drown the bottom of bottom of the pool the pool with with as the biggest much light amount of as possible light as he could. my mind Paraphra ولكنه جعلني أشعر بكل I can't 296 305 returns se شيء أسوأ. ال أستطيع explain it , Figurati safely again توﺿيح ذلك، ولكنى and then I'd ve عندما كنﺖ أخلعه كان take it off عقلي ﯾعود سليما مرة and I'd get أخرى my head on straight again

He looked Paraphra ونظر حوله في الظالم He looked 300 309 around him se وكأنه ﯾتمنى أن تأتى around at Figurati in the dark as كلمة سيئة بما ﯾكفى the ve if he wished وتنقض عليه وتطالب به ,darkness As if that a bad hoping a word came bad enough with what is word enough and Would pounced on swoop him and down upon demanded it him and claim him Hermione Paraphra ﺻاحﺖ هرميون Oh, I don’t Semi- 302 311 cried out se بسخرﯾة فظيعة: أه، ال ال know! Figurati with terrible أعرف! شغل عقلك ﯾا Yelled ve ,sarcasm: oh رون لن ﯾستغرق هذا ,Harmione no I don't منك سوى ثانيتين فقط with awful sacasm. know. Use Rack your your brain brains, Ron. It Ron, that shouldn’t should only take you take a more than

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couple of two seconds seconds only.

Harry Replace وقاطعها هاري: الذي Hermione, 302 311 interrupted ment اعتقد ان تلك ﺿربة interjected Figurati her: who تحﺖ الحزام هرميون لقد Harry, ve thought it أنقذ. Who considered was a hit this a low below the blow, he belt just saved Hermione me has been saved But she had Paraphra ولكنها كانﺖ قد وﺻلﺖ But she had Semi- 302 311 reached a se الى مستوى من السخط reached a Figurati level of جعلها غير قادرة على level of ve indignation الكالم فاستغل رون indignation that made الفرﺻة that rendered her unable to her talk so Ron temporarily took speechless, advantage of Ron seized the his opportunity opportunity And before Paraphra وقبل كل شيء عودة And above Variant 307 316 everything, se رون، سعيد جدا، أﺻبح all , Ron's of Ron’s من الصعب عليه للغاﯾة return, existing return. Very الحفاظ على وجهه Made idiom happy. It مشدودا بال ابتسام Harry so happy that became very it was quite difficult for difficult to him to keep maintain a his face straight tight face without a smile Original idiom: keep straight face

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said Harry Deletion قال هاري: أوه ، نعم، Oh, yeah. 308 317 .Oh, yeah: حسنا ، أنها مجرد عادة Well, it's Figurati Well, it's just سيئة. ولكنى ال أجد أي just a bad ve ,a bad habit مشكلة أبدأ في دعوته ف habit We've slipped But I haven’t into, said got a Harry , But problem to I haven’t calling him got a F. problem calling him V

Original slip into He did not Paraphra لم ﯾنطق بالرد السرﯾع He bit back 310 319 say the quick se الذي قفز الى شفتيه بأنها The report Figurati response ﯾمكن أن تأخذ عصا that sprang ve which البرقوق األسود، ما :to his lips jumped to دامﺖ ترى أنه ليس هناك that she his lips that فرق وﯾأخذ هو عصاها could take the she would blackthorn take the wand if she blackthorn thought it wand as she made no could see difference, that there and he was no would have difference her instead and he could take her wand. A kind of Literal نوع من الصفعة في وجه A bit of a 309 319 slap in the translatio كل من فكر أن هذا slap in the Figurati face of n الرجل عظيم جدا. face for ve everyone everyone who who thought thought he that this man was such a was very good bloke great. Hermione Combina قالﺖ هرميون بلهجة من Maybe .. 313 322 said with the tion ﯾبحث عن قشة ليتمسك maybe it's Figurati tone of Paraphra بها: ربما. ربما ﯾكون something ve + someone se شيء تحتاج الى أن you need to who was Addition تبحث عنه بنفسك find out for yourself , looking for said straw to hold Hermione, : maybe, With a faint maybe it is air of something

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clutching at you need to straws look for yourself”

He is a Paraphra إنه منافق عجوز فظيع، Awful old 318 328 terrible old se ﯾقول للجميع أن hypocrite , Figurati ,hypocrite ﯾساعدوك ﯾحاول telling ve tells التهرب من ذلك هو نفسه everyone else to help everyone to you and help but Trying to tries to worm out escape from of it it himself himself Do you Paraphra هل تتذكر ذلك الشاب Witness Figurati 321 330 remember se المعتوه في زفاف أخيك that ve knuckle that idiot headed young man young man at your at your brothers brother's wedding? wedding And they fell Paraphra وسقطوا مثل الصخور، They fell Figurati 335 344 like rocks, se وهاري مازال ممسكا like ve with Harry بيدها بكل ما ﯾستطيع من ,boulders still holding قوة Harry still holding on her hand to her hand with all of for dear life his strength

Look for the Paraphra ابحث عن Find and 343 353 Hurcruxes se الهوركروكسات destroy Figurati and destroy ودمرها! إن هذا الرمز Horcruxes! ve them. This ال ﯾعنى شيئا، انس That symbol does مقدسات الموت، ليس symbol not mean لدﯾنا وقﺖ ألي شيء قد doesn’t anything. It's ﯾصرفنا عن هدفنا mean anything, the deathly forget the Hallows. We Deathly don't have Hallows,W no time for e can't anything afford to could get distract us sidetracked from our goal

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The village Paraphra أن قرﯾة فال جلى العليا Upper 346 356 of Upper se قرﯾة سحرﯾة، ربما أراد Flagley is a Figurati Flagley is أن ﯾعيش هناك. فلنذهب wizarding ve .magical ونتجول فيها village, he might've to Maybe he live there. want to live Let's go there. Let's and have a go and poke wander around around Ron was Paraphra كان رون ﯾجرب كلمات Ron 347 356 trying se سر مختلفة، وﯾغمغم continued Figurati different بكلمات عشوائية بصوت to try to hit ve secret words منخفض on the correct and muttered password, random Muttering words in a strings of low voice random words under his breath

You have Literal لقد أوﺿحﺖ األمر Excellently Semi- 349 359 clarified the translatio بصورة رائعة ﯾا روﯾال، put, Royal, Figurati matter n سأﺻوت لك لتكون and You ve beatify وزﯾرا للسحر اذا قدر لنا have got Royal, I will الخروج من هذه my vote for vote for you الفوﺿى minister for Magic if to be a ever we get minister of out of his magic if are mess able to get out of this mess Then Harry Paraphra ثم تلقى هاري ﺿربة في Harry Figurati 355 364 received a se حجابه الحاجز، جعلته received a ve blow to his ﯾنثني متألما بشدة blow to the diaphragm diaphragm, that Made making him him double bend over in over in pain pain You are Paraphra فأنﺖ قرﯾب لخائني الدم So you're 355 365 close to se حتى لو لم تكن من ذوي related to Figurati blood الدم الموحل. وأخيرا، blood ve traitors even ﺻدﯾقتك الصغيرة traitors if you are not الجميلة وجعل التلذذ في even if you .a mud blood ﺻوته جلد هاري ﯾقشعر re not a' Mudblood. And finally,

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And lastly, your little your pretty pretty friend. friend The pleasure …The in his voice relish in give Harry's His voice skin goose made bumps Harry's flesh crawl But he Paraphra ولكنه كافح بكل قوته But he Semi- 358 368 fought with se ﺿد سحب أفكار struggled Figurati all his فولدمورت: لم ﯾشعر with all his ve strength ﯾوما قط بأهمية بقائه في strength against عقله الخاص في مثل against the pulling هذه اللحظة pull of Voldemort' Voldemorts s thought: it thoughts: he had never never felt the been so importance Important of him to remain in staying in his own his own right mind mind in such a moment 389 Loss and 379 loss and fear Paraphra fear had Figurati took over, se and he felt as لقد قضﺖ عليه الخسارة snuffed it ve if had been والخوف. وشعر وكأنه out: he felt slapped till قد ﺻفع حتى ﯾفيق مرة as though he woke up أخرى he had slapped again. awake again He looked Paraphra ونظر عبر المحيط He looked 382 393 across the se وشعر بأنه أقرب من أي out over the Figurati ocean and وقﺖ مضى الى فهم ocean and ve felt he was مضمون كل شيء ,felt closer this dawn, closer than than ever ever to before, understandin Closer to g the content the heart of of it all everything Harry Paraphra تردد هاري كان ﯾعرف Harry 383 394 hesitated. He se ان هناك الكثير المعلق hesitated. Figurati knew that على قراره. لم ﯾبق He knew ve there was a الكثير من الوقﺖ that hung on his lot decision. depending There was on his

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hardly any decision. time left There was not much time left.

Whilst he Literal بينما ﯾحاول أن ﯾقرر While he Semi- 385 395 tried to translatio أفضل طرﯾقة لعرض tried to Figurati decide the n طلبه، قطع جرﯾفوك decide on ve best way to الصمﺖ the best way to ask his approach question, his request, Grefork the Goblin broke the broke the silence. silence Yes, if you Paraphra نعم، إن كنﺖ قد انتزعتها Yes, if you Figurati 391 402 have taken it se منه، فمن المحتمل ان won it , It is ve from him, it تنفذ امورك، وربما more likely is likely to ستفعل ذلك أفضل من أي to do your carry out عصا أخرى ,bidding and do it your needs, well than and maybe it another will do it wand better than any other wand. Harry Paraphra ولمح هاري بيل وفلور Harry Semi- 395 406 glimpsed se ولونا و دﯾن ﯾجلسون caught a figurativ ,Bill, Fleur حول مائدة في المطبخ glimpse of e Bill, Fleur, Luna and Luna and Dean sitting Dean around the sitting at kitchen the table in table. the kitchen Harry said as Paraphra قال هاري وبيل ﯾفتح Right, said Semi- 410 422 Bill opened se الباب: هذا ﺻحيح، نعم. Harry, as figurativ :the door شكرا لك. سأﺿع هذا في Bill opened e that is“ اعتباري ,the door yeah. correct, yes. Thanks. I'll Thank you. I bear that in will take that mind into my consideratio n

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But he now Paraphra ولكنه االن ﯾعاني هزات Now he 413 425 suffers se من القلق والشكوك was Figurati tremors from الملحة، ال ﯾستطيع experiencin ve worry and التخلص من خوفه من jolts of constant فشل خططهم ,anxiety nagging doubt, he doubts: He cannot get could not rid of his shake off fear of his the fear plan failing. As she was Paraphra وبينما تقول ذلك، بداء Even as she 440 452 saying that, se ﯾشعر ببرد غير طبيعي said it , He Figurati he began to ﯾنتشر في الشارع. felt the ve feel an وامتصﺖ األﺿواء من unnatural unnatural .المكان الذى ﯾحيط بهم cold begin to steal cold over the spreading in street . light the street, was sucked and the from the lights were environme sucked out nt right up of the place to the stars, surrounding them. And he Combina وأﺿاف: أنه ﯾظن ان Thought Variant 446 458 added: That tion الشمس تشرق من فم the sun of he thinks Deletion اخي. حسنا، ليس وحده، shone out existing + the sun الكثير من الناس ظنوا of my idiom shines from addition .ذلك brother's every my bothers orifice, he mouth. Well, did. Well, it's not only so did him, lots of plenty of people people. thought that.

Original idiom: think the sun shines out of somebody's backside I know my Replace إني أعرف أخي بوتر لقد I know my Semi – 445 458 brother ment تعلم الكتمان على ﯾد brother, figurativ Potter. He والدتنا Potter. He e learned learned secrecy at secrecy from our our mother’s hand.

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mother's knee

Ron said: It Literal قال رون: لم ﯾكن االمر It hasn’t 459 473 has not been translatio نزهة تماما ﯾا ﺻدﯾقي exactly Figurati been a ve a picnic at all n picnic, my friend. mate, said Ron

But he came Paraphra لكنه قد خرج عن But he, 491 506 out of the se الطرﯾق القوﯾم في اثناء Harry, had Figurati right path وجوده في المدرسة- ها strayed off ve while he was هو أخيرا، سر عرفه هو the beaten .at school و فولدمورت ولم ﯾكشفه track in his Here he is at .دمبلدور أبدأ time at school- last, a secret here at last that he and was a secret Voldemort he and knew and Voldemort Dumbledor knew that never found Dumbledor out. e had never discovered Then he Paraphra ثم التفﺖ بعيدا وهو ال He turned 519 536 turned away, se ﯾشعر بأي حزن أو away, there Figurati not feeling أسف. لقد حان الوقﺖ was no ve any sadness ليغادر الكوخ وﯾتولى sadness in .or regret المسئولية مع العصا التي him, no The time had ستفعل كل ما ﯾرﯾده منها .remember come to االن It was time to leave this leave the hut shack and and take take responsibilit charge, y, with the with a wand that wand that will do would now everything do his full he wants bidding. from it now.

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How much Paraphra كم ﯾتمنى لو انه ﯾستطيع He wished 532 540 does he se اقتالع قلبه وكل شيء he could rip Figurati wished that ﯾصرخ بداخله out his ve heart, his he can take innards, out his heart, everything and that was everything screaming was inside him screaming inside him. I prefer to Literal أفضل عدم وﺿع كل I prefer not Variant 541 559 not put all translatio اسراري في سلة واحدة، to Put all of of my secrets in n خاﺻة ليس في سلة my secrets existing ,one basket تقضى الكثير من الوقﺖ in one idiom especially in متعلقة في ذراع لورك ,basket a basket that فولدمورت particularly not a basket spends a lot that spends of time so much attached to time Voldemorts dangling on arm. the arm of Lord Voldemort

Original idiom: put all your eggs in one basket The boy who Combina الصبي الذي نجا the boy 583 603 survived by tion بالمصادفة، أو الن who has Figurati accident or Paraphra دمبلدور كان ﯾحركه survived by ve +stbecause se بالخيوط كالدمى؟ ,accident and Dumbledor Addition because was moving Dumbledoe him by was Pulling strings like the strings puppets

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Appendix 6: Table of neologisms in Harry Potter and the Deathly Hallows

number number

ST Page

Strategy

ST Type TT Page

TT Back

Neologism Neologism

translation I succeeded Functional لقد نجحﺖ I have- with Derived 6 4 difficulty equivalence بصعوبة وبعد difficulty , and from and after a مجهود كبير after great effort- the big effort in في وﺿع :succeeded in Latin placing the تعوﯾذة التحكم placing an imperio control spell على بيوس Imperius Curse sus on Pius ثيكنس upon Pius Thicknesse Thicknesse

Since she Descriptive منذ أن Since she New 10 8 married the equivalence تزوجﺖ ذا married the coinage muddy الدم الموحل .Mudblood blood She wants us Generalisati ترﯾدنا جميعا she would have New 12 10 all to marry on أن نتزوج من us all mate with coinage from the العامة او، , Muggles … or public or بدون شك، ,no doubt without المستذئبين .werewolves doubt, werewolves. 10 Snape looked Derived 12 And Snape Transliterati looked at her on ونظر إليها back at her, quite Word without سناب دون أن impassive, as she from ,moving ﯾتحرك، بينما turned slowly Aramai when she التفﺖ هي :away from him c turned away مبتعدة عنه من again. Avada abracad from him جدﯾد Kdavra The abra .again أفادا كادا فرا flash of green Adava وأﺿاء شعاع light illuminated kedavra أخضر كل every corner of And a green ركن في .the room light الغرفة lightened every corner of the room A broken جهاز انذار cracked and New 14 12 Magical Descriptive سحري worn-out coinage warning equivalence مكسور حال sneakoscope device لونه

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changed its colour

Because Generalisati ألن أي As anybody who New 15 14 anyone who on شخص عرف knew Albus coinage knew Albus ألباس سوف would attest, He will see ﯾشهد بأنه لم never revealed testify that ﯾظهر ﯾوما the remotest he did not أدنى عداء anti-muggle show the للعامة slightest hostility to the public 26 Death Eaters, Derived 29 Transliterati Death on اكلو الموت و Dementors , word ,Eaters الدﯾمنتورات maybe even from , Dementors وربما حتى :Inferi, which Latin maybe even االنفيرا وهي means dead dēmens Inferi, which تعنى أجساما , bodies means dead ميته سحرها enchanted by a bodies أحد سحرة Dark wizard which have الظالم been spelled by one of the dark wizard 26 Death Eaters, Borrow 29 Transliterati Death on اكلو الموت و Dementors , ing ,Eaters الدﯾمنتورات maybe even from ,Dementors وربما حتى :Inferi, which Latin maybe even االنفيرا وهي means dead Inferius Inferi, which تعنى أجساما bodies is a means dead ميته سحرها enchanted by a tampere bodies أحد سحرة Dark wizard d form which have الظالم of the Lati been spelled n word, by one of the Inferi dark wizards You will be سيكون You'll be able to 39 37 able to use a Descriptive بأماكنك use a Portkey. Multipl transporting equivalence استخدام أداة e device انتقال process Derived word from French: porter + existing word: key

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39 before pouring a Multipl 41 Before he Descriptive pours the equivalence قبل أن ﯾسكب little polyjuice e invisible وﺻفة التخفي potion into each process recipe in في كل منها on Existin g word: each of them Juice+ derived word from Greek: poly

Bill said: I Transliterati قال بيل: سأخذ I'm taking Fleur New 43 41 will take on فلور معي on a Thestral coinage Fleur with فوق ثيسترال، said Bill. She's me on a فهي ال تحب not that fond of Thestral as المكانس brooms she doesn’t like brooms. Harry cried Transliterati ﺻاح He cried, Existin 46 44 Stupefy and on هاري stupefy, and a g word a red beam ستوبيفاي red bolt of light with launched وانطلق شعاع shot from his new from the أحمر من own wand sense edge of his طرف عصاه wand No Hagrid Transliterati ال ﯾا هاجرﯾد Hagrid! No! let Borrow 47 45 let me do it on أتركني انا me Reparo, ing Reparo أقوم بذلك From رﯾباروا :Latin reparo

Harry Transliterati وجه هاري He pointed his Multipl 47 45 pointed his on عصاه الى wand at the e wand العربة الجانبية sidecar and process towards the وﺻاح shouted Derived nearby وﯾنجاردﯾوم + wingardium word vehicle and ليفيوسا leviosa existing word : shouted Wingar Wingardium dium Leviosa based on English to wing and Latin ending

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-ium. Leviosa derives from Latin levo He pointed Transliterati وأشار الى He pointed at the Existin 47 45 to the middle on وسط middle of the g word of the األشخاص oncoming with oncoming القادمين figures and sense people and وﺻاح، اﯾمبد yelled yelled ﯾمنتا impendimenta impendimen ta Harry Transliterati ﺻاح هاري Expelliarmus Derived 48 46 yelled. on اكسبيليار Harry yelled. word Expelliarmu موس هذا هو، That's him , it's from s هذا هو، أنه :him , it's the real Latin , That's him الحقيقي one Expelo and it's him, it's arma the real one He pointed Transliterati أشار بعصاه Pointed his wand Borrow 48 46 with his on الى العربة at the falling ing wand to the التي تسقط، sidecar and from falling وﺻاح :yelled confringo Latin vehicle, and كونفرﯾنجو confrin shouted go Confringo his head Combinatio لقد وقع غطاء He lost his hood Multipl 58 57 cover fell n رأسه أثناء during the chase. e during the Transliterati المطاردة، لقد Sectumsempra Derived + chase. The on كانﺖ تعوﯾذة was always a word Sectumsemp addition سيكتو speciality of from ra spell was مسيمبرا دائما :Snape's Latin always تخصص semper Snape's سناب + borrowi speciality ng from the Latin: sectum starting his Transliterati البداء في he ought to set New 69 68 mission to on مهمته للبحث out on his coinage search for عن mission to find Horcruxes الهوركروكس and destroy and destroy ات وتدميرها Horcruxes as soon as possible.

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them as soon في أسرع as possible وقﺖ ممكن He took out Transliterati وأخرج عصاه Pulling out his Borrow 75 75 his wand on بسرعه وأشار wand, he pointed ing quickly and بها الى قطعة it at the rag and from pointed with القماش :said , Tergeo Latin it to the worn المهترئة وقال tergeo piece of تيرجو material and said: Tergeo Ron said, as Transliterati قال رون وهو Descendo Borrow 77 77 he was on ﯾشير بالعصا muttered Ron, ing pointing the إلى السقف pointing his from wand المنخفض :wand at the low Latin towards low دﯾسكيندو ceilng. descend ceiling, Descendo Anyway, Descriptive على أﯾة حال Anyway, he's New 78 78 and when we equivalence وعندما نرحل، going to be me coinage leave I سيكون انا وقد .with spattergroit would have غطتني البثور. ?Good, eh been جيد، هه؟ covered in spots. Good, eh? You know Transliterati انﺖ تعرف You know – Borrow 81 81 Accio. And on أكسيو. Accio- and – ing you found it ووجدتها تطير they zoomed out From flying out من نافذة :of Dumbledore's Latin from مكتب دمبلدور study window accio Dumbledor's office window Mr Delacour Descriptive ووﺻف السيد Monsieur New 86 86 described all equivalence دﯾالكور كل Delacour coinage the details of تفصيالت pronounced ,the party الحفل بدءا من everything from starting from ترتيب جلوس the seating plan organizing المدعوﯾن الى to the the guests أحذﯾة ' bridesmaids seating to وﺻيفات shoes.'Charmant the الشرف بانها bridesmaids رائعة shoes as being wonderful She Transliterati قالﺖ بهمس: Muffliato , she New 105 105 whispered: on موفلياتو وهي whispered , coinage Muffliato as تشير في اتجاه waving her wand she was الساللم

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in the direction pointing to of the stairs. the direction of the stairs. You must of Transliterati ال بد أنكما You must've New 107 108 heard about on سمعتما عن heard of babbitty coinage babbitty بابيتى رابيتى rabbitty rabbitty, or to give it the right name Or to give Transliterati او لنعطيها Or , to give them Multipl 110 111 her the on االسم their correct e correct الصحيح، name , the process number جيرنومبلى Gernumble Derived gernumble جاردﯾنسى gardensi word from gardensi German : gern and plus Old French humble + new coinage

Do not write Transliterati ال تكتبيها Do not repress it! New 111 112 it – it could on ﯾمكن أن تكون You may have coinage be a gift for هدﯾة لك من been gifted by you from الجيرنومبلى the Gernumblies Gernumbli She was Transliterati كانﺖ فخورة proud and very Existin 123 124 proud: on وشدﯾدة domineering , g world very التسلط، من the sort of witch with domineering نوع who would have new the sort of , الساحرات been mortified to sense witch who الالتي ﯾشعرن produce a Squib would feel بالذل إلنجاب humiliated سكوﯾب by giving birth to a Squib They raised Transliterati قد رفع كل Their wands Borrow 127 128 their wands, on منهما عصاه، raised, and heard ing and he heard وسمعهما both of them from both of them ﯾصيحان معا :shout Protego Latin shout بروتيجو protego Protego The Death Transliterati وﺻاح أكل Expulso ! Borrow 131 132 Eater on الموت bellowed the ing shouted اكسبلسو Death Eater, and from

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Expulso and وانفجرت :the table behind Latin the table that المائدة التي which Harry was expulso Harry was ﯾقف هاري standing blew up standing وراءها behind exploded Hermione Transliterati ﺻرخﺖ petrificius Derived 131 133 cried from on هرميون من totalus ' word outside the خارج مجال screamed from field of الرؤﯾة :Hermione from Latin vision بيترﯾفيكوس out of sight petrific Petrificius توتالوس are and totalis Totalus Oh. I am Transliterati او، أنا اسفه ﯾا Oh , I'm so sorry Borrow 131 133 sorry Ron. on رون، إن ﯾدى Ron, my hand's ing , My hand is تهتز دﯾفيندو shaking Diffindo from Latin: shaking. Diffindo diffindo This is the Transliterati وهذا هو That's why you Derived 137 139 reason we on السبب الذي were supposed word should have كان من to use The word from used المفترض أن occlumency" Latin o" Occlumency تستخدم ccluder .for it االوكلومينسى ,e من أجله! and me ns

Then Transliterati و أشارت Hermione Derived 147 150 Hermione on هرميون pointed her word pointed with بعصاها الى wand at the her wand to مقبض الباب handle and said the door وقالﺖ: Alohomora handle and الوهومورا said Alohomora She raised Transliterati ورفعﺖ She raised her Multipl 148 151 her wand on عصاها wand and said, e :and said وقالﺖ: اكسيو Accio locket Borrow Accio locket لو كيﺖ ing from Latin: accio+ existing word : locket Hermione Transliterati ﺻاح Aguamenti Derived 175 179 shouted: on هرميون: screamed from Aguamenti اجوامينتى :Hermione, and a Latin jet of water aqua and the

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water flowed وتدفقﺖ المياه streamed from and from her من عصاها her wand. mens wand Hermione Transliterati قالﺖ هرميون Try Finite Derived 193 197 said on فورا: جرب Incantatem , said word straightaway فينيﺖ انكانتاتم Hermione at From Try Finite : ﯾجب أن ﯾوقف :once, that should Latin .Incantem ذلك المطر لو stop the rain if finire That should أنه لعنه أو it's a hex or curse and stop the rain نحس incantat ionem. if it's a hex or curse Then he saw وشاهد رﯾشات He saw quills New 199 203 writing Descriptive كتابه ودفاتر and notebook coinage feathers and equivalence واشرطة لصق ,and Spellotape notebooks سحرﯾه and magical sticky tapes Ron Functional همس رون: Meteolojinx Multipl 202 206 whispered: equivalence تعوﯾذة قلب recanto, e the climate المناخ؟ ال لم whispered Ron. process change أجربها. شكرا No, I didn’t . Derived spell? No, I ﯾا أ، أقصد Thanks, D-I word didn’t try it شكرا ﯾا أرثر mean, thanks from ,Arthur Greek thanks A, I meteor mean thanks ologia Arthur. meteor ology + borrowi ng from Latin : recanto

Hermione Transliterati وأتﺖ هرميون Hermione came Derived 208 213 came on تجرى إلى running from running to أسفل. دعينا downstairs Old .the bottom نرى. رﯾالشيو Let's see French ….Relashio relais Let's see Reashio Ms Transliterati وﺻرخﺖ Cattermole let Multipl 208 213 Cattermole on السيدة out a terrible e screamed كاتيرمول scream of fear as process with great ﺻرخة خوف a slimy, Scabbed Derived fear when فظيعة عندما hand grasped her word the blistered أمسكﺖ اليد chin and forced from hand held المقرحة بذقنها :her face back Latin her chin and ودفعﺖ وجهها Expecto Patronu pushed her الى الخلف + Patronum s ? borrowi face to the

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.back اكسبيكتو ng from Expecto باترونوم :Latin expecto Patronum

But if she Transliterati ولكنها إذا But if she wakes Derived 208 213 wakes up on استيقظﺖ ولم up and the word and doesn’t تجد القالدة. locket's gone- I from find the أحتاج لعمل need to duplicate Latin necklace. I نسخة منها. it ….Geminio! gemina need to جيمينيو There …. That re should fool her make a copy of it. Geminio Salvio bexia Transliterati سالفيو هيكسيا Salvio bexia Multipl 216 221 Protego on بروتيحو Protego totalum e , totalum توتالوم muggletum you process Repello رﯾبيللو could get out the Derived muggletum موجليتوم tent, Harry word you can get ﯾمكنك أن from out of the تخرج من : Latin tent, Harry الخيمة ﯾا + totus هاري borrowi ng from Latin protego And she Transliterati وقالﺖ وهي Erecto! She 217 222 said, on تشير بعصاها added , pointing pointing her الى الخيمة: her wand at the Derived wand to the اﯾركتو misshapen word canvas from tent: Erecto Latin: erect Hermiones Transliterati وأنهﺖ Cave Inimicum, Multipl 217 222 finished on هرميون ما Hermione e what she تفعله بتلوﯾحه finished with a process was doing نحو السماء skyward with a wave قائلة ليف flourish. Existin towards the اﯾنيميكم : Cave have g word meaning in cave + sky saying dictionary borrowi Cave ng from Inimicum Latin: inimicu m

Hermione Transliterati وﺻاحﺖ At once, Borrow 239 245 cried on هرميون على Hermione cried ing immediately الفور، Obscuro from Obscure , أوبسكورو :Latin

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Obscur e Harry said Transliterati قال هاري lumos said Derived 269 277 Lumos and on لوموس Harry, and his word the edge of واشتعل طرف wand ignited from his wand عصاه :Latin lumen ignited He pointed Combinatio وأشار بالعصا He pointed the Multipl 291 300 the wand at n الى الشكل wand at the e the silvery Transliterati الفضي وغمغم silvery shape process shape and on + literal أكسيو السيف and murmured Existin Accio sword g word: murmured translation sword Accio sword +Borro wing from Latin: Accio Harry had Transliterati كان هاري قد Harry had 310 319 forgotten on نسى كراهية forgotten Ron's Derived Ron's hatred رون للعناكب. hatred of spider. word .of spiders أسف رﯾدﯾسيو Sorry- reducio from Latin: Sorry reducab Reducio le

And she Transliterati وقررت أنها And had decided Derived 310 319 decided that on مصنوعة من was made of word it was made خشب شجر blackthorn from from البرقوق :Engorgio' French' blackthorn األسود engorge wood انجورجيو r Engorgio

Harry Transliterati اعتقد هاري Harry thought he New 315 324 thought she on أنها تعرفﺖ recognised a coinage had على Snargaluff, and recognised السنارجالوف gave the Snargaluff الذي أعطى wizened stump a who have a إشارة بتجنب .wide berth sign to avoid المكان. the place When you Transliterati عندما ظننﺖ When you New 333 342 thought we on أننا سنعيدها thought we'd coinage would give it اليك لو قدمﺖ give her back if back to you لنا دليال على you offered us if you gave وجود proof there are us evidence السنوركاك – Crumple- bang Snorckacks خبطة. مجعد. – Headed – bang .existed خبطة القرن؟ ?Snorckacks

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Bang – head – bang – horn. I swear to Transliterati اقسم لكم.... I swear…I Derived 334 343 you…I on أقسم لكم.... swear..Potter's word swear to أن بوتر في upstairs! from you.. that الطابق العلوي :Homenum Latin Potter is قال ﺻوت revelio said the Homoi .upstairs أسفل السلم voice at the foot nis and Said the هومينوم of the stairs revelo voice in the رﯾفيليو bottom of the stairs: Homenum Revelio Hermione Transliterati ﺻاحﺖ Obliviate ! cried 335 344 cried out as on هرميون وهى Hermione, Derive she pointed تشير بعصاها pointing her word her wand to الى وحهه: wand first into from :his face أوبليفيات ثم :his face, then at Latin Obliviate حولﺖ عصاها the floor beneath oblivisc and then الى األرﺿية them: Deprimo i turned her تحتهم وقالﺖ : wand to the دﯾبرﯾمو ground under them and said Deprimo Hermione Transliterati وبدأت Hermione was Multipl 336 345 started on هرميون على already running e straight الفور الدوران in a circle around process away to turn حول المكان them, waving Borrow around the وهي تلوح her wand. ing place بعصاها Protego totalum from waving her وتقول : :Salvio hexia Latin.… wand and بروتيحو Salvio : saying توتالوم Deriv+ Protego ...سالفيو ed word totalum هيكسياز from Latin: …Salvio hexes hexia

Maybe she Transliterati ربما تكون قد She probably New 337 346 has started to on بدأت في teaching all the coinage introduce تعرﯾف inmates about her زمالئها Wrackspruts and colleagues to بالراكسبارت .Nargles the والنارجلى Wrackspruts and Nargles

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And he said: Functional وقال: لقد He tortured me , Borrow 392 403 he tortured equivalence عذبني، ﯾجب you must ing me. You أن تفهم هذا! understand that from must استخدم تعوﯾذة :The Cruciatus Latin! understand التعذﯾب Curse, cruciatu Have meaning in s that. He used dictionary the torture spell.

Harry said Transliterati قال هارى: Priori Derived 393 404 Priori on برﯾورى Incantatem said word Incantatem انكانتاتم، لقد Harry. We left from We left your تركنا عصاك :your wand and Latin wand and وعصا the blackthorn prior the البرقوق wand at the and blackthorn األسود في Malfoys incantat wand at the قصر مالفوى are Malfoys manor Hermione Combinatio نادتها Luna, we told Multipl 406 416 called her: n هرميون: لونا you, Hermione e Luna we Transliterati لقد أخبرناك. called over to process + have told on لقد أنفجر ذلك her. That horn you that Addition القرن كان exploded. It Existin horn قرن : came from an g word exploded, it إﯾرومبينﺖ Erumpent, not a 'eruptio was the وليس 'Crumple- n Erumpet سنوركاك Horned added horn and not مجعد القرن ,Snorkack. suffix ‘–ment’ Snorkack’s curly horn Hermione Transliterati وﺻاحﺖ Impervius Multipl 428 440 cried on هرميون: screeched e Impervius إمبيرفيوس في Hermione , in an process in the case to حاله لحماﯾة attempt to Derived protect نفسها، ورون protect hereself , from herself, and والقزمين من :Ron and the Latin Ron and the المعدن "-goblins from the "im dwarfs from الملتهب + burning metal prefix the burning امبيرفيوس Borrow ing metal from Latin: pervius

Harry Transliterati وﺻاح هاري Liberacorpus, Multipl 428 440 shouted on ليبيراتوكورب yelled Harry, e Liberacorpu وس واستقر and with a crash process s. Harry and هاري و he and Griphook Derived Griphook sat جرﯾفوك فوق on the surface of word

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on top of the الكنوز swelling from above the المتضخمة :treasure, Latin Liber swelling and treasures corpus Protego Transliterati بروتيجو Protego Multipl 475 490 Horribilis - on هورﯾبيليس – horribilis – the e the crown of تاج رافينكلو، diadem of Borrow .Ravenclaw إن المزﯾد من Ravenclaw? ing A little extra الحكمة له Squeaked from wisdom فائدة دائما ﯾا :Flitwick. A litte Latin always has بوتر extra wisdom Protego never goes +Deriv benefit amiss, potter ed word Potter. from Latin: horrible

Professor Transliterati وﺻاحﺖ And now - Multipl 476 491 McGonagall on األستاذة: Piertotum e cried: out ماكجونجال: Locomotor! process and now واالن Cried Professor Borrow Piertotum بيرتوتوم McGonagall ing Locomotor لوكوموتور from Latin : totum and loco +Deriv ed from French Pierre and motion em Latin.

Then you Generalisati ثم ظهرت أنﺖ You turned up New 498 513 appeared in on أمامنا وقلﺖ right in front of coinage front of us إنك تبحث عن us and said you and told us تاج! أي تاج was looking for a you were هذا؟ die-dum! What's a die-dum? looking for a crown. What crown is this? And two Transliterati ووقف اثنان Two masked Derived 509 525 Death Eaters on من اكلى Death Eaters word

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with masks الموت stood there , but from ,stood there المقنعين :even before their French but before هناك، ولكن wand s were glisser they could قبل أن ﯾتمكنا ,fully raised raise their من رفع Hermione ,wands عصيهما، shouted , Glisseo Hermione ﺻرخﺖ shouted هرميون: Glisseo جليسيو Hermione Transliterati ووجهﺖ Duro! Cried Borrow 509 526 pointed her on هرميون Hermione , ing wand عصاها نحو pointing her from towards the الستارة :wand at the Latin curtains and وﺻاحﺖ: tapestry. duro :shouted دﯾرو Duro

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Appendix 7: Table of Idioms in three Books Translated by Different Strategies

- Idiom in 3 Books Translated by Different Strategy Book Idiom Page Type Strategy number 2 book her nose in 100 Variant of existing paraphase Voyages with idiom Vampiers 5 book Buried in their 273 Variant of existing Combination book idiom Literal translation+ addition 7 book nose buried in 206 Variant of existing Literal translation some papers idiom

Book Idiom Page Type Strategy number Book 2 Shot him a warning 237 Variant of existing Combination look idiom Book 5 shot him a 339 Variant of existing Paraphrase disgusted look idiom Book 7 Shot him a warning 222 Variant of existing Paraphrase look idiom

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Appendix 8: Table of Idioms in two Books Translated by Same and Different Strategies

- Idiom in 2 Books Translated by Same Strategy Book Idiom Page number Type strategy Book 5 and 7 Stomach Book 5 page Variant of Paraphase turned over number 3 existing idiom Book 7 page number 196 Books 2 and 5 Mark my Book 2 page Semi- Replacement words number 303 Figurative Book 5 page number 21 Books 5 and 7 half- Book 5 page Semi- Paraphrase heartedly number 362 Figurative Book 7 page number 236 Books 5 and 7 In the dead Book 5 page Semi- Paraphrase of night number 667 Figurative Book 7 page number 12 Books 5 and 7 Rooted to Book 5 page Figurative Replacement the spot. number 36 Book 7 page number 222 Books 5and 7 Hang on Book 5 page Figurative Paraphrase number 651 Book 7 page number 391 Books 2 and 5 Under her Book 2 page Figurative Literal nose number 234 translation

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Book 5 page number 650 Books 5 and7 Racked his Book 5 page Semi- Paraphrase brains number 462 Figurative Book 7 page number 311 Books 5 and 7 Pit of his Book 5 page Figurative Paraphrase stomach number 592 Book 7 page number 254

- Idiom in 2 books translated by different strategy

Book Idiom Page number Type Strategy Books Shake off Book 2 page Figurative Book 2= 2and 7 number 112 combination Book 7page paraphrase+ number 425 addition Book 7= paraphrase Books 2 What the devil Book 2 page Figurative Book 2= deletion and5 number 18/ Book 5= literal Book 5 page translation number 5 Books Got cold feet Book 5 page Figurative Book 5= paraphrase 5and 7 number 103 Book 7= Book 7 page combination number 150 deletion + generalisation Books Book 5= heart shot Book 5 page Variant of Book 5= 5and 7 upwards into his number 43 existing combination throat Book 5 page idiom replacement + number 262 addition

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Book 7= heart beating in his Book7= literal throat translation Books 2 Heart sank Book 2 page Figurative Book 2= and 5 number 232 Combination Book 5 page paraphrase + number 217 addition Book 5= replacement Books In the same boat Book 5 page Semi- Book 2= paraphrase 2and5 number 283 figurative Book 5= literal Book 5 page translation number 520 Books Play games Book 5 page Figurative Book 5= paraphrase 5and 7 number 723 Book 7= literal Book 5 page translation number 168

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Appendix 9: Table of Neologisms in three Books Translated by Same and Different Strategies.

-Neologism in 3 Books Translated by Same Strategy

Book Neologism Page number Type Strategy Books 2, 5 and Expelliarmus Book 2 page Derived word Transliteration 7 number 201 Book 5 page number 726 Book 7 page number 46

-Neologism in 3 Books Translated by Different Strategy

Book Neologism Page number Type Strategy Books 2,5 and Muggles Book 2 page New Book 7 number 25 coinage 2=generalization Book 5 page Book 5= Combination number 3 Addition + general Book 7 page term number 10 Book7=generalization

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Appendix 10: Table of Neologisms in two Books Translated by Same and Different Strategies

- Neologism in 2 Books Translated by Same Strategy Book Neologism Page number Type Strategy

Books 5 and Dementors Book 5 Page number Derived Transliteration 7 29 Book 7 Page number 26 Books 2 and Squib Book 2 Page number Existing Transliteration 7 151 word with Book 7 Page number new sense 124 Books 2 and Finite Book 2 Page number Derived Transliteration 7 Incantatem 203 Book 7 Page number 197 Books 2 and Spellotape Book 2 Page number New Descriptive 7 99 coinage equivalence Book 7 Page number 203 Books 5 and Pertrificus Book 5 Page number Derived Transliteration 7 Totalus 133 Book 7 Page number 598 Books 5 and Expecto Book 5 Page number Multiple Transliteration 7 patronum 659 Book 7 Page number 213 Books 2 and Lumos Book 2 Page number Derived Transliteration 7 287

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Book 7 Page number 277 Books 5 and Reparo Book 5 Page number Borrowing Transliteration 7 627 Book 7 Page number 45 Books 5 and Thestral Book 5 Page number New conige Transliteration 7 41 Book 7 Page number 702 Books 5 and Wingardium Book 5 Page number Multiple Transliteration 7 Leviosa 745 Book 7 Page number 45 Books 5 and Alohomora Book 5 Page number Derived Transliteration 7 150 Book 7 Page number 726 Books 5 and Protego Book 5 Page number Borrowing Transliteration 7 721 Book 7 Page number 122 Books 5 and Stupefy Book 5 Page number Existing Transliteration 7 724 Book 7 Page number 44 Books 5 Diffindo Book 5 Page number Borrowing Transliteration and7 735 Book 7 Page number 133 5-7 books Impedimenta Book 5 Page number Existing Transliteration 440

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Book 7 Page number 45 2-5 books Tarantallegera, Book 2 Page number Derived Transliteration 203 Book 5 Page number 701 5-7 books Occlumency Book 5 Page number Derived Transliteration 763 Book 7 Page number 139 5-7 books Avad Kedavra Book 5 Page number Derived Transliteration 748 Book 7 Page number 10

-Neologism in 2 Books Translated by Different Strategy

Book Neologism Page number Type Strategy

Books 5-7 Impervius Book 5 page Existing Book number 445 5=transliteration Book 7 page Book 7= number 351 combination

Books 2 and 7 Mudbloods Book 2 page New coinage Book 2= number 121 function Book 7 page equivalence number 8 Book 7= descriptive equivalence Books 2 and 7 Polyjuice Book 2 page Multiple Book number 168 2=transliteration

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Book 7 page Book 7= number 39 descriptive equivalence

Books 2 and 7 Sneakoscope Book 2 page New coinage Book 2= number 361 functional Book 7 page equivalence number 12 Book 7=descriptive equivalence Books 2 and 5 Floo powder Book 2 page New coinage Book 2=function number 49 Book Book 5 page 5=transliteration number 438 Books 5 and 7 Portkey Book 5 page Multiple Book number 438 5=generalization' Book 7 page Book 7= number 37 descriptive equivalence Books 5 and 7 Spattergroit Book 5 page New coinge Book 5= number 470 transliteration Book 5 page Book 7= number 78 descriptive equivalence

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Appendix 11: Idioms related to school

- Idioms Related to School in Harry Potter and the Chamber of Secrets

number number

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Translation That is a paraphrase إنها عائلة That Figurative 55 59 trouble مثيرة family's making للمتاعب. ال ,trouble .family تأكل أكثر مما don’t go Don’t eat تستطيع أن biting off more than تهضمه more than you can you can chew digest. He said: of Combination قال طبعا: So, he Figurative 71 82 + course. Paraphrase القطار ال softly, the The train addition ﯾالئم هاري rain isn’t doesn't بوتر الشهير good suit the وﺻدﯾقه enough for famous الحميم. ﯾرﯾد the famous Harry أن ﯾصل Harry Potter .Potter بضجة تعلن and his And his عنه! اليس faithful best كذلك؟ sidekick Weasley. friend. He Wanted wants to arrive with a arrive with bang, did a bang that we, boys? announces original his arrival start off doesn't he with a bang Harry paraphase ووجد هاري Harry found Figurative 188 214 found نفسه ﯾلتصق himself if himself بالحائط، بينما pinned stuck to األساتذة against the the wall ﯾطلبون wall as whilst the الهدوء teachers shouted for professors quiet. were asking for quiet.

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Ernie who Replacement إﯾرنى الذى Caught in Figurative 189 215 pointed to أشار إلى ,the act Harry هاري وقال: Ernie said: here ها هو متلبس yelled, his he is بجرﯾمته في face stark caught مكانه ,white pointing his with his finger crime in its dramatically place at Harry He said: Deletion قال: أﯾن There you Figurative 200 233 where كنتما؟ إنني are, he ?were you أبحث عنكما ,drawled I've منذ فترة! looking at them. Have looking you two for you for been some time. pigging out in the Great all this time? I've been looking for you And he Replacement وقال لهم وهو Mark my Semi 250 303 said to ﯾتنقل من ممر words, he figurative them as he إلى أخر: , sais passed تذكروا ushering from a كلماتي. سوف them around corridor to تكون الكلمة a corner, the :another االولى التي first words Remember ﯾنطق بها out of those .my words المرﺿى بعد poor Hagrid شفائهم هي Petrified will be the كلمة هاجرﯾد people's mouth will first word be , It was that the Hagrid patients will say after their recovery.

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- Idioms related to school in Harry Potter and the Order of the Phoenix

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Translation He has to عليه أن He would Figurati 8 6 face his ﯾواجه خالته have to face ve aunt and Literal وزوجها his aunt and uncle later translation فيما بعد uncle later and pay the وﯾدفع ثمن and Pay the price of his وقاحته، price for his ,rudeness لكنه لم , rudeness but he didn't ﯾكترث but he did care very كثيرا بهذا not care much about في تلك very much it at that اللحظة just at the moment moment.

He will not paraphrasi لن ﯾحب He Figurati 12 10 like being ng الخذالن امام wouldn’t ve let down in عصابته، want to lose front of his لكنه سيخاف face in front gang, he من استفزاز ,of the gang will be هاري. but he'd be scared of سكون terrified of provoking مشهدا مسليا provoking Harry, it أن ﯾرى Harry….. it will be a fun ددلى في would be scene to see مثل هذا really fun to Dudley in المأزق watch Dudley's such dilemma dilemma

Because of Paraphrase بسبب أوامر Dumbledor Semi- 21 20 Dumbledor دمبلدور. e's order. I Figurati e's orders, I كان على was to keep ve had to مراقبتك an eye on watch you دون أخبرك you but not without بشئ، فأنﺖ say telling you ﺻغير جدا ,anything you were anything, too young. because you are very young There is no Combinati ال فائدة من Well, Its no Variant 23 22 benefit of on البكاء على good of crying over التركيبة 385

+the spilled addition السحرﯾة Crying over existing magical Paraphrase المسكوبةspilt potion, idiom .1 formula1 +Replacem footnotes: ent-1 ) هوامش : Original cry over ) No benefit crying over ال فائدة spilt milk 1- spilled من البكاء .milk على اللبن المسكوب He said to Paraphrase لقال رون Don’t be Figurati 60 60 Ron with وعلى وجهه thick , said ve irritation on عالمات ,Ron :his face االنزعاج: looking don't be a التكن احمق highly disconcerte fool d Who saved Paraphrase من أنقذ Who saved Semi- 60 61 the حجر the figurtive philosoph اليبسوف؟ philosopher stone? Who من حل ?s stone' solved the طالسم Who got talismans االلغاز؟ did of ?puzzles ومن انقذكما ?riddle who من Who saved rescued you الدﯾمنتورات both your skins from from the the Dementors? Dementors.

George Combinati قال جورج: Time is Variant 63 64 said: Time on الوقﺖ Galleons, of +is like a addition كالعصا little existing magic wand Paraphrase السحرﯾة ﯾا brother, idiom my younger أخى said Fred .brother1 الصغير :Footnote )الهوامش( : original means time ﯾقصد الوقﺖ time is is like a كالسيف money sword, but لكن المثل the proverb تحول was ليصير هكذا converted في عالم to become السحرة like this in the wizarding world We thought paraphrase حسبنا أنهم We thought figurativ 68 69 they will سيفعلون. they would, e do. this will كان هذا It would tie

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prove your سيثبﺖ in so well image as a ﺻورتك with tis reckless كفتى متهور image of boy and محب you as some lover of للشهرة stupid show- off fame

Sirius said: Paraphrase قال Tonks and Semi- 87 85 Tonks and سيرﯾاس: Arthur figurativ Arthur تونكس would lose e could lose وارثر قد their jobs at their jobs at ﯾفقدان the the ministry وظيفتهما Ministry if if they start بالوزارة ان They to talk about بداء في started the matter التحدث عن shooting األمر their mouths off said Sirius.

On the Deletion مساء الثانى On the Semi- 128 132 evening of من evening of figurativ the second أغسطس the second e of عندما ,of August …August سمعﺖ جلبة gabbled When a قادمة من Mrs Figg at loud noise الزقاق once , as came from الواقع بين though she the جنوليا had learned alleyway كرﯾنﺖ، what She between ووسترﯾا was saying Magnolia ووك ,by heart when I Crescent heard a and disturbance Wisteria down the Walk alleyway between Mangnolia Crescent and Wisteria Walk

Moody said Paraphrase قال مودى Keep your figurativ 163 168 as he too وهو ﯾصافح head down e shook هاري هو and your Harry's األخر: أجل eyes ,hand: yes حافظ على peeled, said Take care of نفسك وابق ,Moody

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yourself عينيك shaking and keep مفتوحتين Harry's your eyes وال تنسوا .hand too open. And جميعا And don’t don't you all الحرص forget , all forget to فيما تكتبونه -of you takee care في الرسائل careful what you of what you put in write in writing your letters.

Paraphrase كان ليود أن He would Semi- 167 173 تراه تشو have liked figurativ He would جالسا وسط Cho to e have ﺻحبة من discover wanted Cho الطالبة him sitting to see him المتأنقين with a sat in the ﯾضحكون group of middle of على مزحة very cool cool ألقاها people laughing students their heads laughter at a off at a joke joke he had he had just told. told. laugh your head off

Hermione paraphrase قالﺖ No, said figurativ 199 207 :said quietly هيرميون Hermione e no. I told بهدوء: ال. calmly. I her to shut قلﺖ لها told her to up and keep اﺻمتي keep her big her vile وأبق فمك fat mouth mouth الحقير shut about .closed مغلقا. ,you Please don't ورجاء ال .actually attack us تهاجمنا And it like that هكذا هاري. would be Harry. If فإن كنﺖ ال quite nice if you didn't تعرف – you stopped know, Ron فأنا ورون jumping and I are on الى جانبك down our throats, your side. Harry, because in case you haven’t noticed, Ron and I

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are on your side Fred said Combinati قال فرﯾد So you've Figurati 202 210 with a on بنبرة got your ve satisfied Paraphrase الراﺿي exams with life + addition عن الحياة: ,coming up :tone بمعنى أن haven't meaning the االمتحانات ?you exams are قرﯾبة. أليس They'll be …close كذلك؟ keeping ?Don't you وستطحنون your noses And you من الدروس so hard to will be والحصص that grinded والمذاكرة grindstone from the حتى they will be ,lessons االنهيار ,rubbed raw said Fred classes and with studying satisfaction. until you collapse We spent Combinati قضيا ﯾوم They spent Variant 262 273 the whole of on literal األحد بأكمله the whole of Sunday in translation في حجرة of Sunday existing + the students n الطلبة in the idiom room, addition مدفونين common buried تحﺖ أكوام ,room under piles الكتب، Buried in ,of books والحجرة their book the room من حولهما while the around تمتلئ ثم room them filling .تفرغ around the filled up , and them then emptying. emptied

Original : has his nose in a book I must Combinati على I must figurativ 264 275 confess that on االعتراف admit that I e I was afraid Paraphrase بأنني كنﺖ have you would + addition أخاف always follow Fred اتباعك been afraid and طرﯾق فرﯾد that you George's وجورج would take stray path الضال، بدال what we instead of من إتباع might call following هدﯾى the 'Fred my والسير على 'and George guidance خطاى ,route

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rather than and walking following on my in my footsteps footsteps

Potter, hold Paraphrase بوتر تماسك Potter, you Figurati 284 295 .on boy ﯾا ولد، تحكم must get a ve Control في نفسك. grip on .your self ستعرض !yourself You will نفسك You are expose لمشكلة heading for yourself to a خطيرة. serious dangerous خصم خمس !trouble .problem نقاط أخرى Another Another من five points five points جرﯾفندور from Gryffindor! taken away from Gryffindor. Harry Paraphrase ابتسم هارى Harry was Figurati 292 303 smiled. It واﺿح أنهما grinning ve was clear ﯾوقعان به now, sure they were في مقلب ما the pair of them were making him Pulling his fall in a leg trick

Harry who Paraphrase قرر هاري Harry, who Figurati 328 341 was writing الذى كان was making ve his recipes ﯾكتب مقال very little essay الوﺻفات progress decided to أن ﯾكف عن with his stop writing الكتابة الليلة Potions essay, for the decided to night. give it up for the night

He said: Paraphrase قال: لم ﯾكن That wasn’t Semi- 350 356 your أداؤكم شيئا bad, said figurtive performanc لكنكم Harry, but e was not تقدرون there's bad. But على تحسينه definite you can حدق فيه room for .improve it زكارﯾاس improveme Zacharias سميث وهو .nt Smith ﯾنصﺖ الى Zacharias started at قوله : دعونا Smith him as he نحاول ثانية glared at listened to

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him. Let's him say: try again. let's try again. Harry said Replaceme قال هاري Well, said Figurati 358 372 as he has nt وقد تعافى Harry, ve recovered بسرعة من recovering quickly المفاجأة quickly from the غير السارة: from this unpleasant وال ﯾهمك unpleasant :surprise بعض ,surprise don’t الصدات few more ,worry بطرﯾق accidents some hits الخطأ مثل like that and like that by هذه the game's mistake and وستصبح , in the bag the game المباراة في ?isn’t it will be in جيبنا، أليس ,our pocket كذلك؟ isn't it? Hagrid said Paraphrase قال هاجرﯾد Mind yer Figurati 394 410 :angrily بغضب: ال own ve This does شأن لك !business not concern بهذا. واالن، Said you. And إن كنتم قد ,Hagrid now, if you انتهيتم من .angrily have األسئلة Now, if finished الغبية yeh've your stupid ورائي finished askin' questions, stupid follow me questions, follow me!

Did it not Paraphrase ألم ﯾخطر Has it not Semi- 439 458 occur to you على بالك ﯾا occurred to figurativ my poor ﺻغيري you, my e young one المسكين أنه poor that maybe ربما ﯾكون puffed–up the لدى الناظر ,popiniay headmaster سبب مقنع that there had a good لحجب might be an reason to بعض excellent keep some تفاﺻيل reason why of the خطته عنك؟ the details of ألم تتوقف Headmaster his plan ﯾوما لتتأمل of Hogwart ?from you - بينما تشعر is not Did you not بالظالم هكذا confiding every tiny stop one detail of his day to hope

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plans to – whilst you you? Have feel the you never unfair like paused, this? while feeling hard –done – by

Then he Literal ثم قال Then Semi- 497 520 said to translation لهاجرﯾد Hagrid said figurativ Hagrid فجأة: في abruptly, In e suddenly: in )نفذ( the same the same القارب أنا boat, yeh an boat me and وانﺖ ﯾا 'me, aren you Harry هارى ?we, Arry ?aren’t we )أليز( كذلك؟ Fred said Combinati قال فرﯾد I haven’t Figurati 508 532 looking at on ناظرا إلى even got the ve Ron: I do Paraphrase رون: ليس heart to take not have + addition عندي حتى the mickey even العزم الكافي ,out of him enough للسخرﯾة ,said Fred determinati منه looking on to وتوبيخه. over at ridicule him لكن عندما Ron’s and rebuke دخل فيه crumpled him. But الهدف .figure when the الرابع Mind you' fourteenth عشر. when he ... missed the goal went fourteenth into it.

That feel Paraphrase الذى تشعر feel is not Figurtiv 525 551 that his أن أداءه performing e performanc ليس كما to the e is not up تتطلب standards to the معاﯾير required by Ministry الوزارة. the .standards وأنا قد Ministry of And I have قررت أن Magic. I decided that األستاذة have Professor ترﯾالونى decided that Trelawney ليسﺖ على Professor is not up to المستوى Trelawney the required المطلوب، is not up to level and ولهذا scratch. I that’s why I فصلتها have dismissed fired her her

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When Paraphrase عندما تال When he'd Figurati 532 558 Firenze’s على مسامع passed on ve messag was هاجرﯾد Firenze's recited to كلمات message,Ha Hagrid’s فاﯾرنز حدق grid gazed ears, he فيه للحظة at him for a stared at من بين moment him for a عينيه through his moment in الضيقتين، ,puffy between وقد أﺻابه blackened narrow eyes الذهول. ثم ,eyes and was اخذ ﯾتماسك apparently taken stunned. aback. Then he got Then he a hold on seemed to pull himself together

He heard Paraphrase سمع Well, I Figurati 565 594 Sirius say: I سيرﯾاس thought that ve think the ﯾقول أعتقد ,paper exam was أن االمتحان Piece of very easy. I كان سهال cake, he won’t be جدا لن heard Sirius surprised if أندهش لو say, I'll be you got a حصلﺖ surprised if high result على درجة I don't get .in it عالية فيه Outstandin' g' on it at least

Now, we paraphrase واالن، نحن Now, we Figurati 645 679 need to بحاجة need to ve keep the ألبقاء الطلبة keep students بعيدا عم students away from مكتبها right away her office as ونحن her oggice we go into ندخله، وإال we force it, or one of فقد ﯾسارع entry , or the أحد طلبة some Slytherin سيلذرﯾن Slytherin's students بإخبارها bound to go and Tip her will go to off tell her quickly.

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- Idioms related to school in Harry Potter and the Deathly Hallows

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Translation Harry paraphr قال هارى وقد شعر بالغيظ and she's Figurativ 119 120 said ase فجأة: نعم، إنها مرتبطة seeing e suddenl بأحدهم وهو من النوع .someone :y angry الغيور رجل ﺿخم. Jealous yes, it is من األفضل اال تتصادم معه type. Big bloke. connect You ed to wouldn't one of want to them cross him and he is original the cross jealous someone type. A huge man. It is better to not collide with him I paraphr وفكرت أن عددا قليال جدا The tiny Figurativ 172 176 thought ase من الناس هم من ﯾعرفون number e that a أﺻال بوجود أرﯾانا، كما انه of people small ﯾمكن االعتماد على who number شقيقتيها في ان ﯾحافظوا hencfort of على سرها h knew of people Ariana's actually existence know Could be about counted Arian. upon to As if he keep the can secret depend on her sister to keep her secret When Literal عندما خطا بيرسى وﯾزلى as Percy Variant 202 206 Percy translat داخال المصعد، انفة مدفون Weasley of Weasley ion داخل بعض األوراق التي strode existing ey كان ﯾقوم بقراءتها into the idioms life, His strode

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nose into the buried in lift, his some nose papers he was was buried reading in some Original papers have he was nose in a reading book Hermio paragra ﺻاحﺖ هرميون بسخرﯾة Oh, I Semi- 302 311 ne cried ph فظيعة أه، ال ال أعرف! don’t figurativ out with شغل عقلك ﯾا رون لن know! e terrible ﯾستغرق هذا منك سوى Yelled sarcasm ثانيتين فقط Harmion e, with : oh, no I awful do not sacasm. know. Rack Use your your brains, brain Ron, that Ron. It should should only take not take a couple you of more seconds than two seconds only. You Literal لقد أوﺿحﺖ األمر بصورة Excellent Semi- 349 359 have translat رائعة ﯾا روﯾال، سأﺻوت ly put, figurativ clarified ion لك لتكون وزﯾرا للسحر اذا Royal, e the قدر لنا الخروج من هذه and You matter الفوﺿى have got my vote beatify for Royal, I minister will vote for for you Magic if to be a ever we minister get out of of magic his mess if are able to get out of this mess But he paraphr لكنه قد خرج عن الطرﯾق But he, Figurativ 491 506 came ase القوﯾم في اثناء وجوده في Harry, e out of المدرسة- ها هو أخيرا، had strayed the right

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path سر عرفه هو و فولدمورت off the while he .ولم ﯾكشفه دمبلدور أبدأ beaten track in was at his time school. at Here he school- is at last, here at a secret last was a that he secret he and and Voldem Voldemo ort knew rt knew and that Dumble Dumbled dor ore had never never found discover out. ed

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Appendix 12: Table of Combination Strategy that has the effect of both Domestication and Foreignisation

- Second Book in the Series Harry Potter and the Chamber of Secrets

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translation I gathered Transliteration واستجمعﺖ I then Multiple 152 171 + all my كل قوتى. screwed up Derived strength. Generalisation وقرأت عليه my from And read تعوﯾذة + remaining Latin the الهومورفوسى strength existing and word Homorphus performed Spell over the him. immensely complex Homorphus Charm

- Fifth Book in the Series Harry Potter and the Order of the Phoenix

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Translation Translation We have to Combination علينا سؤاله عن We ought to Multipl 44 44 ask him شيء ال ﯾعرفه ask him e something Transliteration سوى بوتر something process only the true + addition الحقيقي. إال إذا only the real Borrow Potter would كنﺖ قد أحضرت potter ing .know معك بعضا من would from Unless you الفيرﯾتاثيرامknow. the 1 Unless Latin v have brought anyone eritas + some brought any existing Veritaserum Veritaserum word 1 with you? )الهوامش( 'serum' ? Veritaserum Footnote: it's clear from its

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name that it's واﺿح من االسم a powder or انه مسحوق او magical سائل سحري ما liquid that ﯾتحقق من checks the الشخصية فهو personality مكون من as it consists مقطعين بمعنى from two عقار التثبيﺖ sections meaning a fixing drug Is your stick Combination هل ال تزال Ah Multipl 49 49 still in your Transliteration عصاك في جيبك well…wand e pockets and + addition ومؤخرتك still in your Derived your bottom سليمة؟ إذن هيا jeans? Both +…..w is ok? Then بنا. buttocks ord .let's go لوكوموتورترانك still on? Ok, Latin let's go. Loco + 1 Locomotor Locomotor Motor trunk1. trunk + trunk existing Footnote: word Or fly bag. although )هوامش( most of the أو لتطيري spells are الحقيبة بالرغم recited in a من ان معظم language التعاوﯾذ تلقى بلغة similar to شبيهة بالالتينية Latin, some فان بعضها are in باإلنجليزﯾة لكن English, but لتوحيد لغة القاء to unify the التعاوﯾذ لن نذكر language of أﯾا منها بالعربية spells, we won't mention them in Arabic. The door is Combination فالباب محمى The door 's New 63 64 protected by بتعوﯾذة مانعه. been coinage prevention Transliteration ولكي أتأكد imperturbed spells. And + addition ألقيﺖ I've been . to be sure, I بعض flicking threw some الدانجبومب Dungbombs 2 at it from the Dungbombs2 top of the . stairs and :Footnotes )هوامش( they just Dung bombs او قنابل الروث soar away are magical وهي العاب نارﯾه from it

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fireworks سحرﯾه كرﯾهة with a foul الرائحة من عالم odor from هاري بوتر Harry Potter's world. Because the Combination ألن وزارة Because the Derived 75 75 Ministry of السحر مازالﺖ Ministry of magic is still Transliteration تالحقني، ومؤكد Magic's still "animal following + addition أن فولمورت قد + .after me, " L me, and عرف أننى and "magus voldemort انيماجوسVoldemort " L 1 will know knows for all about me sure that I'm being an Animagus1. Animagus :Footnote )الهوامش( .by now Animagus or االنيماجوس هو transformer الساحر القادر is a wizard على التحول الى who can حيوان معين transform باستخدام السحر into a وهي مهاره specific ﯾصعب على animal using الكثيرﯾن التمكن ,magic منها which is a hard skill for many to grasp Annoying Combinatio تصدر عنه It keeps Existin 77 78 noises n أﺻوات rattling and g word coming out مزعجة. ربما shaking. Of with .from it ﯾكون عوcourse, it new ،1 Maybe it's a Functional ولكن األفضل could just be sense Auw, but it's أن نطلب من a Boggart, but equivalence better to we + Addition ألستور إلقاء I thought we ask Alastor to نظرة عليه قبل ought to ask take a look at أن نخرجه Alastor to have a look at it before we .take it out (الهوامش) it before we let it out سبب اختيار لفظ العو الن :Footnotes في الخيال The cause of الغربي الشعبي choosing هو كائن Auw term is كابوسي ﯾختبئ that Boggart في الدوالب in western واألطفال نيام public myth is وﯾخرج في

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a nightmare الظالم ﯾأكل creature who الطفل الذي hides in ﯾعصى امه وهو cupboards ﯾذكرنا بفكرة whilst )اﺻمﺖ واال children are جاءك العو( في sleep and خيالنا الشعبي comes out in the dark, to eat the child that disobeys his mother. He reminds us with the idea of (be quiet or the Auw will come to you) in our Arabic myth. Mrs Weasely Combinatio أﺿافﺖ السيدة The curtains Existin 77 78 added : and n وﯾسلى: in there are g word the curtains in والستائر بتلك full of Doxys, with that room are الحجرة مليئة too, Mrs new full of Descriptive بالعفارﯾﺖ Weasley went sense jumping النطاطة2.لم ال on. I thought equivalence demons2 Why + Addition نحاول التخلص we might try don't we try to منها غدا؟ and tackle them get rid of them (الهوامش) .tomorrow ?tomorrow او Doxys Footnotes: or لفظ النطاطة Doxys the لتفرﯾقها عن term jumping العفارﯾﺖ is used to العادﯾة وهي distinguish كائنات سحرﯾه them from شقيه normal demons which are magical naughty creatures.

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You've never You have never لم تتلق أبدا been on the received a Combination واحدة من receiving end New single Bat - Transliterati تعاوﯾذ البات- 92 of one of her coina 90 + Bogey spell that on بوجى التي Bat – bogey ge she fired from addition تطلقها من Hexes, have her wand عصاها you? He muttered Combination غمغم Harry muttered Multi 262 273 talking to Ron مخاطبا رون to Ron, as they ple as they moved وهما ﯾزﯾحان finally laid proces professor long Transliterati مقال األستاذة aside Professor s McGonagoll's on+ addition مكجونجال McGonagall's borro article from the الطوﯾل عن long essay on wing Inanimatus تعوﯾذة the Inanimatus from Conjurus االستحضار :Conjurus Spell Latin .Retrieval spell انانيماتوس conjur كونجوروس us +Deri ved word from Latin: inani mus Visibility was والرؤﯾة weak, even ﺿعيفة، حتى If we could with the مع تعوﯾذة just keep the ,Imervius Spell إمبرفياس Existi rain off our Combination the light started أخذ النور ng faces it would to retreat, rain ﯾتراجع، word 351 really help 336 Transliterati was pouring والمطر with visibility – all on + like it was ﯾنهمر كأنه new together, come addition curtains of ستائر من sense on – water hitting الماء تضرب Impervius! the strong األرض .ground القوﯾة He was having enough He couldn't see لم ﯾتمكن من difficulty Deriv the Bludger ball رؤﯾة كرة seeing the on ed Combination coming near بالدجر Bludger with from him after a تقترب منه which they 351 Germ 336 Transliterati minute of بعد دقيقة من were an:, on + practice so he التمرﯾن فكاد practicing, a bludg addition nearly fell off ﯾقع من فوق minute into the eon ,his broom مقشته practice it almost unseated him

401

Which he put التي ﯾدسها into the food of في الطعام Which he anyone who لكل من secretly feeds opposes him. Combination ﯾعارﺿه. ثم to anybody New Then there are هناك ما who disagrees 366 coina 351 some creatures Transliterati ﯾستعين به with him. And ge whom he use on+ addition من كائنات then there's his from the االومجوبوال Umgubular Umgubular ر سال slashkilter slashkilter. شكيلتر

And it would And you let her وتجعلها really be better see you as you تراك مثال if she saw you are teaching us وانﺖ تعلمنا teaching us Combination how to look العناﯾة how to look

after a Porkocks بحيوان ,after 406 New 391 Transliterati animal, and البورلوك، Porkocks, how on + how to tell the وكيفية to tell he addition difference التفرقة بين difference between Knarls النارل between .and hedgehogs والقنافذ Knarls and Hedgehogs بدأوا أخيرا They had Deriv Finally they في عمل finally started ed started making Combination تعوﯾذة work on word the Patronuses Transliterati البتروناس ,Patrounuses 559 from 533 Spell that + on التي كان which Latin: everyone was Addition الجميع everybody had Patron keen on حرﯾصين been very keen us learning على تعلمها to practice ﺻاحﺖ هيرميون: اكيو واند1. طارت عصا Hermione هاري من Accio wand! shouted: Accio الركن المظلم Cried Multi wand1. Harry’s التي كانﺖ Hermione. ple wand flew from Combination فيه إلى ﯾدها، Harry's wand Borro the dark corner .فألقتها إليه 727 flew from a wing+ 690 she was in to Transliterati dark corner Existi her hand, so she on+ addition into her hand ng threw it to him.

and she threw word

it to him Footnote: wand

means wand. الهوامش: بمعنى العصا :wand

402

بصراحة ﯾا ,Honestly Harry هارى، هل Mutip are these هذه أدمغة؟ le Honest, Harry, Combination brains? Accio اكيو برﯾنBorro 1 they're brains – 734 wing+ 697 brain1. look- Accio Transliterati Existi brain on+ addition Footnote: brain ( (الهوامش ng .means brain بمعنى مخ او word Brain دماغ You haven't Combination لم تستعمل Never used Existin 708 746 used an التعوﯾذة غير an g word Unforgivabl Literal المغفور لها من Unforgivabl with + e spell translation قبل ﯾافتى. أليس e Curse new before, have Addition كذلك؟ before, have sense you, boy? you boy?

- Seventh Book in the Series Harry Potter and the Deathly Hallows

n n

Type Back

ST Page

Number Number

Strategy

TT Page TT Page

Translatio Translatio

Neologisms Multi ple Deriv لقد وقع ed his head غطاء word cover fell رأسه أثناء He lost his from during the المطاردة، :hood during Latin chase. The Combination لقد كانﺖ the chase. sempe Sectumsempr Transliteration تعوﯾذة Sectumsempra r + 58 57 a spell was + addition سيكتو was always a borro always مسيمبرا speciality of wing Snape's دائما Snape's from speciality تخصص the سناب :Latin sectu m

403

Multi ple proces وأشار s He pointed بالعصا He pointed the Existi the wand at Combination الى الشكل wand at the ng 300 the silvery Transliteration الفضي silvery shape word: 291 shape and + literal وغمغم and murmured sword murmured translation أكسيو Accio sword +Borr Accio sword السيف owing from Latin: Accio Multi نادتها ple Hermione هرميون: Luna, we told proces called her: لونا لقد you, Hermione s Luna we have أخبرناك. called over to told you that لقد أنفجر her. That horn Existi horn Combination ذلك القرن exploded. It ng 416 406 exploded, it Transliteration كان قرن : came from an word was the + Addition إﯾرومبين Erumpent, not 'erupti Erumpet horn ت وليس 'a Crumple- on and not سنوركاك Horned added Snorkack’s مجعد ,Snorkack. suffix curly horn القرن –‘ ment’

404

Appendix 13: Ethical Approval

University Ethics Sub-Committee for Science and Engineering and Arts Humanities

18/09/2018

Ethics Reference: 16717-aya9-ss/ar:modernlanguages

TO Name of Researcher Applicant: Alshaymaa Alharbi

Department: Modern Languages

Research Project Title: Factors Influencing the Translators Choice of Foreignisation and Domestication in Translation into Arabic of Neologisms and Idioms in the Harry Potter Series.

Dear Alshaymaa Alharbi,

RE: Ethics review of Research Study application

The University Ethics Sub-Committee for Science and Engineering and Arts Humanities has reviewed and discussed the above application.

1. Ethical opinion

The Sub-Committee grants ethical approval to the above research project on the basis described in the application form and supporting documentation, subject to the conditions specified below.

2. Summary of ethics review discussion

405

The Committee noted the following issues:

Thank you for your application which is in order.

3. General conditions of the ethical approval

The ethics approval is subject to the following general conditions being met prior to the start of the project:

As the Principal Investigator, you are expected to deliver the research project in accordance with the University’s policies and procedures, which includes the University’s Research Code of Conduct and the University’s Research Ethics Policy.

If relevant, management permission or approval (gate keeper role) must be obtained from host organisation prior to the start of the study at the site concerned.

4. Reporting requirements after ethical approval

You are expected to notify the Sub-Committee about:

 Significant amendments to the project  Serious breaches of the protocol  Annual progress reports  Notifying the end of the study

5. Use of application information

Details from your ethics application will be stored on the University Ethics Online System. With your permission, the Sub-Committee may wish to use parts of the application in an anonymised format for training or sharing best practice. Please let me know if you do not want the application details to be used in this manner.

Best wishes for the success of this research project.

Yours sincerely,

Dr. Martin Phillips

406

Appendix 14: Information Sheet and Consent Form in English Study Title: Factors Influencing the Translator’s Choice of Foreignisation and Domestication in Translation into Arabic of Neologisms and Idioms in the Harry Potter Series. I am writing this formal consent form to invite your child/student to participate in my research, which I am conducting as a part of my doctoral study at the University of Leicester. My study highlights some of the translation problems caused by the cultural differences between the Arab and English cultures and this is done by investigating the translation of a well-known children’s fantasy fiction series about Harry Potter, written by the English writer J.K. Rowling, into Arabic. It focuses on three books from the series, namely the second, Harry Potter and the Chamber of Secrets, the fifth, Harry Potter and the Order of the Phoenix and the seventh Harry Potter and the Deathly Hallows. The main aims are to determine the translation strategies used to deal with idioms and neologisms, the use of domestication or foreignisation, and the factors that have influenced the translator’s choice. As part of my research, I wish to conduct fieldwork which includes interviews with the audience of the Harry Potter series in Arabic, who are children aged around 11 years. Thus, my target for this project consists of year 6 students who have read Harry Potter and can enrich my findings with their opinions and impressions of the novel and its entertaining elements. During the interviews, audio and written data will be collected, and later analysed and presented in my thesis. All personal data such as the name of a child, parent, teacher or institution will be anonymous and confidential. You can withhold your consent for this research and you may withdraw your consent at any time. Also, you may request a copy of any data related to this research after I complete it. If you have any questions, you may contact me at the address given below. If you would like your child/student to participate in this study, please kindly approve and sign the attached statement on the next page.

Yours sincerely, Alshaymaa Alharbi Email: [email protected] Contact: 00966555322621 Supervisor: Professor Kirsten Malmkjær Email: [email protected]

407

Parents' Consent Form

Study Title: Factors Influencing the Translator’s Choice of Foreignisation and Domestication in Translation into Arabic of Neologisms and Idioms in the Harry Potter Series

Please circle your answers:

1. I understand the aim of this study and my child has had the chance to answer any questions. Yes /No

2. I agree to my child taking part in this study. Yes/ No

3. I understand that my child’s participation is voluntary and they can withdraw at any time. Yes /No

4. I agree to interviews being audio recorded. Yes /No

5. I understand that my child's name will be kept anonymous. Yes /No

Name of parent: Name of child participant: Signature: Researcher: Alshaymaa Alharbi

408

Class Teacher Consent Form

Study Title: Factors Influencing the Translator’s Choice of Foreignisation and Domestication in Translation into Arabic of Neologisms and Idioms in the Harry Potter Series

Please circle your answers:

1. I understand the aim of this study and my student has had the chance to answer any questions. Yes /No

2. I agree to my student taking part in this study. Yes/ No

3. I understand that my student’s participation is voluntary and they can withdraw at any time.

Yes /No

4. I agree to interviews being audio recorded. Yes /No 5. I understand that my student's name will be kept anonymous. Yes /No

Name of teacher: Name of child participant: Signature: Researcher: Alshaymaa Alharbi

409

Appendix15: Child Participant Information Sheet

Study Title: Factors Influencing the Translator’s Choice of Foreignisation and Domestication in Translation into Arabic of Neologisms and Idioms in the Harry Potter Series.

I would like to ask you to help me with my study. Before you decide I would like you to understand why I am doing the project and what it would involve for you. I will go through the information sheet with you and answer any questions you have. Talk to your parents about the study before making a decision if you wish.

My study is about reading and translation of books. I focus on Harry Potter and its translation from English to Arabic. I focus on three books from the series, the second, Harry Potter and the Chamber of Secrets, the fifth, Harry Potter and the Order of the Phoenix and the seventh Harry Potter and the Deathly Hallows. The main aims of my study are to look at some special words/expressions used in the books which are called idioms (informal words, sayings) and neologisms (made-up words) and how these words were translated into Arabic. To help me with my project, I would like to ask you some questions about your reading habits, the languages you know, Harry Potter and these special words. The interview will take 10 to 15 minutes and you do not have to answer the questions if you do not want to. When we have the discussion, I will also record what you are saying and write down some of your ideas. I will discuss your words and ideas in my study. But I will not mention your name, your parents’ name, or the school’s name in my study and I will not share this information with anyone else. Also, you can decide to change your mind and not continue with the interview at any point. If you want, I can send you what I have found/written down after I finish my study. If you have any questions, you can contact me using the information below or ask me now. Best wishes, Alshaymaa Alharbi Email: [email protected] Contact: 00966555322621 Supervisor: Professor Kirsten Malmkjær Email: [email protected]

410

Appendix 16: Information Sheet and Consent Form in Arabic

ورقة معلومات واستمارة الموافقة

أنا الشيماء الحربي طالبة دكتوراه في جامعة ليستر في برﯾطانيا. أرغب في مشاركتكم القيمة في بحثي للدكتوراه الذي

أقوم به حالياً بعنوان: العوامل المؤثرة في اختيار المترجم للتغريب والتوطين في الترجمة العربية للتعابير المستحدثة

واالمثال في سلسلة هاري بوتر.

هذه الدراسة تركز على ترجمة أدب األطفال بشكل عام ودراسة ترجمة رواﯾة هاري بوتر الى اللغة العربية بشكل

خاص حيث تلقي الضوء على بعض مشاكل الترجمة الناجمة عن االختالفات الثقافية بين الثقافتين العربية واإلنجليزﯾة.

وبذلك تهدف الرسالة إلى تحدﯾد االستراتيجيات التي ﯾستخدمها المترجم في ترجمة الكلمات الجدﯾدة واالمثال، باإلﺿافة

إلى استخدام التغرﯾب والتوطين والتعرف على أهم العوامل المؤثرة على المترجم في اختيارهما في ترجمة التعابير

المستحدثة واألمثال في رواﯾة هاري بوتر ليتسنى معرفة وتحدﯾد المنهج األكثر اتباع.

وتتطلب هذه الدراسة إجراء مقابلة مع طالبات الصف السادس الالتي قرأن رواﯾة هاري بوتر. وسيكون لهذه المقابلة

دور فعال في تطوﯾر وتحسين البحث والحصول على نتائج قيّمة. علماً بأن هذه المشاركة تعتبر تطوعية وسوف

تستخدم ألغراض البحث العلمي فقط مع المحافظة التامة على الخصوصية وسرية المعلومات. سوف أطرح عليهم

بعض األسئلة ستستغرق المقابلة من 10 إلى 15 دقيقة وال ﯾتعين عليهم اإلجابة على األسئلة إذا لم تكون ترغب في

ذلك . سيتم تسجل المناقشه لكي استخدمها الحقا في دراستي .ولكنني لن أذكر اسمك أو اسم والدﯾك أو اسم المدرسة

في دراستي ولن أشارك هذه المعلومات مع أي شخص آخر.

إذا كنتم ترغبون في مشاركة طفلكم/طالبتكم في هذه الدراسة، ﯾرجى التكرم بالموافقة والتوقيع على اإلقرار المرفق

بالصفحة التالية.

مع خالص التقدﯾر والود لتعاونكم ،،،

وهللا ولي التوفيق

الشيماء الحربي

رقم الهاتف: 00966555322621

االﯾميل: [email protected] 411

نموذج موافقة الوالدين

عنوان البحث: العوامل المؤثرة في اختيار المترجم للتغريب والتوطين في الترجمة العربية للتعابير المستحدثة واالمثال في سلسلة هاري بوتر

يرجى وضع دائرة حول إجاباتك:

1-أتفهم هدف هذه الدراسة وقد أتيحﺖ لطفلي الفرﺻة لإلجابة على االسئلة. نعم/ ال

2-أوافق على مشاركة طفلي في هذه الدراسة. نعم / ال

3-أدرك أن مشاركة طفلي تطوعية وﯾمكنه االنسحاب في أي وقﺖ. نعم / ال

4-أوافق على إجراء المقابالت الصوتية. نعم / ال

5-أتفهم أن اسم طفلي سيظل مجهوال ً. نعم / ال

اسم ولي امر الطالب: اسم الطفل المشارك: التوقيع: اسم الباحثة: الشيماء الحربي

412

نموذج موافقة رائدة الفصل

يرجى وضع دائرة حول إجاباتك:

1-أتفهم هدف هذه الدراسة وقد أتيحﺖ للطالبة الفرﺻة لإلجابة على األسئلة. نعم/ ال

2-أوافق على مشاركة الطالبة في هذه الدراسة. نعم / ال

3-أدرك أن مشاركة الطالبة تطوعية وﯾمكنها االنسحاب في أي وقﺖ. نعم / ال

4-أوافق على إجراء المقابالت الصوتية. نعم / ال

5-أتفهم أن اسم الطالبة سيظل مجهوال ً. نعم / ال

اسم رائدة الفصل: اسم الطالبة المشاركة: التوقيع: اسم الباحثة: الشيماء الحربي

413

Appendix 17: Child Participant Information Sheet in Arabic

ورقة معلومات للطفل المشارك

أنا الشيماء الحربي طالبة دكتوراه في جامعة ليستر في برﯾطانيا. أرغب في مشاركتكم القيمة في بحثي للدكتوراه الذي

واالمثال في سلسلة هاري بوتر.

هذه الدراسة تركز على ترجمة أدب األطفال بشكل عام ودراسة ترجمة رواﯾة هاري بوتر الى اللغة العربية بشكل

خاص حيث تلقي الضوء على بعض مشاكل الترجمة الناجمة عن االختالفات الثقافية بين الثقافتين العربية واإلنجليزﯾة.

إلى استخدام التغرﯾب والتوطين والتعرف على أهم العوامل المؤثرة على المترجم في اختيارهما في ترجمة التعابير

المستحدثة واألمثال في رواﯾة هاري بوتر ليتسنى معرفة وتحدﯾد المنهج األكثر اتباع.

وتتطلب هذه الدراسة إجراء مقابلة مع طالبات الصف السادس الالتي قرأن رواﯾة هاري بوتر. وسيكون لهذه المقابلة

دور فعال في تطوﯾر وتحسين البحث والحصول على نتائج قيّمة. علماً بأن هذه المشاركة تعتبر تطوعية وسوف

تستخدم ألغراض البحث العلمي فقط مع المحافظة التامة على الخصوصية وسرية المعلومات.

لمساعدتي في مشروعي، أود أن أطرح عليك بعض األسئلة ستستغرق المقابلة من 10 إلى 15 دقيقة وال ﯾتعين عليك

اإلجابة على األسئلة إذا لم تكون ترغب في ذلك . سيتم تسجل المناقشه لكي استخدمها الحقا في دراستي .ولكنني لن

أذكر اسمك أو اسم والدﯾك أو اسم المدرسة في دراستي ولن أشارك هذه المعلومات مع أي شخص آخر. أﯾضا، ﯾمكنك

أن تقرر تغيير رأﯾك وعدم االستمرار في المقابلة في أي وقﺖ .إذا كنﺖ ترﯾد

إذا كانﺖ لدﯾكم أي أسئلة، ﯾمكنك االتصال بي باستخدام المعلومات أدناه أو تسألني اآلن

مع خالص التقدﯾر والود لتعاونكم ،،،

الشيماء الحربي

رقم الهاتف: 00966555322621

االﯾميل: [email protected]

414

Appendix 18: Interview Questions in English

Initial Interview Questions Probes Do you speak a different language from your mother tongue? What is it?

How do you see the level of your second/ third language in terms of reading and writing? Have you read any of the translated Harry Potter books in Arabic? Can you tell me which one(s) you have read? Can you tell me about your experience when reading Harry Potter What are the things you prefer more or like about it? books, was it enjoyable or not? What are the things you dislike most about it? Have you watched any Harry Potter movies? Did you watch it before or after reading a Harry Potter book? Did that influence you to read/watch Harry Potter? Explain please. What are the main reasons that motivate you to read Harry Potter Can you explain? books? Do you often read Harry Potter books alone or with others, such as Why? friends or parents? Can you tell me about your reading style? Do you read silently or Why? loudly? Based on your experience of reading Harry Potter, have you found any Give an example. unusual/funny words? What about the words like Expelliarmus and Wingardium Leviosa-Alohomora, Sneakoscopes? Do you like those unusual/funny words? Why? Have you found them easy or difficult to understand? Why?

What do you think about these idioms let’s go quickly, I bet nothing like Have you found them easy or difficult to understand? Why? that had happened, I had to watch you, and because of what happened and maybe they will hang us?

415

Appendix 19: Interview Question in Arabic

االسئله االساسيه االسئله الفرعيه

هل تتحدث لغة أخري غير لغتك االم؟ ماهي؟

كيف ترا مستوى لغتك اإلنجليزية من ناحية القراءة والكتابة؟ هل قرأت اي كتاب مترجم ل هري بوتر؟ هل ممكن ان تخبرني ماهي؟ هل ممكن ان تخبرني عن تجربتك الشخصية في قراءتك لُكتب هري بوتر؟ هل م ُمتعه او ال؟ ماهي أكثر االشياء التي عجبتك عند قراءتك لهري بوتر؟ هل هناك اي شيء لم يعجبك عن هري بوتر؟

هل شاهدت اي فيلم من افالم هوري بوتر؟ هل من الممكن ان تخبرني عندما قرأت مجموعة كتب هري بوتر السبعة هل كان قبل او بعد مشاهدتك للفيلم؟ هل تعتقد انا هذا إثر عليك لقراءه /مشاهدة هاري بوتر؟ وضح من فضلك؟ ما هي األسباب التي شجعتك لقراءة قصة هوري بوتر؟ وضح من فضلك؟ هل عادة تقرأ كتاب هوري بوتر لوحدك، او مع عائلتك؟ لماذا؟

هل عادة تقرأ القصة بصوت مرتفع او بدون صوت. لماذا؟

من خالل تجربتك في قراءة كتاب هوري بوتر، هل وجدت الكلمات او العبارات المسلية او غريبه؟ ممكن تعطيني مثال؟

وماهوا رأيك في هذه العبارات ) الهامورا، اكسبلموروس، السنيكوسكوب، وينجارديوم ليفيوسا(؟ هل تعجبك هذه الكلمات المسلية ولماذا؟

هل تجدها صعبه او سهله في الفهم؟ لماذا؟ وماذا عن هذه العبارات : )هيا بنا بسرعة, أراهن أنه لم يحدث شيء من هذا, كان على مراقبتك , هل تجدها صعبه او سهله في الفهم؟ لماذا؟ سيقوم عالم السحر ولن يقعد بسبب ما حدث وربما يشنقوننا(؟

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Appendix 20: Thematic Coding

Coulour Theme Code Red Reading habits Alone, parents, friend, loud, silent Blue Reading motivation Fiends, family, movie, story, genre Yellow Domestication Easy, difficult, normal, nothing new Green Foreignisation Interesting, unusual, difficult, easy, strange, funny

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Appendix 21: Interview Transcript in English

15 mintes

22 Septamper 2018

1-Do you speak a different language from your mother tongue?

Yes, I speak another language.

2- What is it?

I speak one more language, which is English.

3-How do you see the level of your second/ third language in terms of reading and writing?

I think it's more than good, I can read and write fluently.

4- How have you developed your skills in spoken and written English language?

I think I'm lucky, because I lived in America for a while, during my father's study there.

5 - Have you read any of the translated Harry Potter books in Arabic?

Yes, I have.

6-Can you tell me which one(s) you have read?

I have read all the series, which is seven books.

7- Can you tell me about your experience in reading the Harry Potter books, was it enjoyable or not?

I really enjoyed reading all the books.

8- What are the things you most preferred or liked about them?

I found the adventures of Harry the most exciting because he had all the adventures with his friends and did the magic without his parents, so it was an interesting story.

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9- What are the things you most dislike about them?

The thing that I did not like most about the Harry Potter stories is the way that some people attack him, because I was very sad for him. He does not have a father. Besides that, the books are a bit too long and it took a lot of time for me to read to the end of story.

10- Have you watched any Harry Potter movies?

Yes, I have.

11- Did you watch it before or after reading a Harry Potter book?

I watched the movie before I read the books.

12- Did that influence you to read/watch Harry Potter? Explain please

Yes, I think it's very effective, and this is one of the reasons I was encouraged to read them.

13- What are the main reasons that motivate you to read Harry Potter books?

14- Do you often read Harry Potter books alone or with others, such as friends or parents?

I prefer reading with my parents, either my mother or my father.

15 -Why?

16- Can you tell me about your reading style? Do you read silently or loudly?

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I read most of time aloud.

17- Why?

Because my parent can hear if read fluently or not, so she/he can correct me.

18- Based on your experience of reading Harry Potter, have you found any unusual/funny words?

Yes, I think there are some when using some magic words.

19- Give an example.

I do not remember.

20- What about the words like Expelliarmus ,Wingardium Leviosa, Alohomora and Sneakoscopes?

Yes, I remember, these are the magic words I mean.

21- Do you like those unusual/funny words? Why?

Yes, I like them.

22- Why?

Because they make me laugh

23- Have you found them easy or difficult to understand? Why?

I think I found them easy.

24- Why?

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They are not ordinary words, they are magic words, which Harry Potter says when he does magic and I understood this through my reading of the text and my imagining of events.

25- What do you think about these expressions: Let’s go quickly, Nothing is hidden, I bet nothing like that had happened, I had to watch you and because of what happened and maybe they will hang us)?

They are normal expressions.

26- Have you found them easy or difficult to understand? Why?

I can understand their meaning and I did not notice any difference between these words and the rest of the text because these words are normal to me.

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Appendix 22: Interview Transcript in Arabic

1_هل تتحدث لغه أخري غير لغتك االم ؟

نعم لغه اخرى

٢.كم لغه وماهي؟

اتحدث لغه واحده وهي االنجليزﯾه

٣. كيف تقييم مستوى لغتك االنجليزيه؟

اعتقد اجيدها قراءة وكتابه بشكل اكثر من جيد

٤. كيف تمكنت من إتقان اللغه؟

اعتقد انا محظوظ، الني عشﺖ فتره ليسﺖ بالقصيره في امرﯾكا، ففي فترة دراسة والدي هناك في ذلك الوقﺖ.

٥. هل قرأت اي كتاب مترجم ل هري بوتر؟

نعم، لقد قرأت جميع الكتب

٦. هل ممكن ان تخبرني ماهي؟

لقد قرأت تقرﯾبا ً جميع الكتب لهري بوتر من الكتاب االول إلى السابع .

٧. هل ممكن ان تخبرني عن تجربتك الشخصيه في قراءتك لُكتب هري بوتر؟ هل م ُمتعه او ال؟

لقد استمتعﺖ جدا في قرأت جميع الكتب

٨- ماهي اكثر االشياء التي عجبتك عند قراءتك لهري بوتر؟

اكثر االشياء التي وجدتها ممتعه هي المغامرات التي ﯾقوم بها هري بوتر مع اﺻحابه، من غير امه او ابيه، باالﺿافه

إلى قيامه بااللعاب السحرﯾه، واعتقد انها بشكل عام انه من اكثر الكتب تشوﯾقاً.

٩. هل هناك اي شيء لم يعجبك عن هري بوتر؟

اعتقد اكثر شيء لم ﯾعجبني في قصة هري بوتر إذاء الناس لهري بوتر، الني كنﺖ متعاطف معاه جدا، فهو ليس لدﯾه

ام واب، باالﺿافه إلى ذلك الكتاب نوعا ً ما كبير جدا ً وهذا ﯾستغرق وقﺖ كبير مني في القراءه، النني كنﺖ متحمس

إلنهاء جميع الكتب والوﺻول إلى نهاﯾة القصه.

١٠. هل شاهدت اي فيلم من افالم هوري بوتر؟

نعم لقد شاهدت. 422

١١. هل من الممكن ان تخبرني عندما قرأت مجموعة كتب هري بوتر السبعه هل كان قبل او بعد مشاهدتك للفيلم؟

لقد شاهدت الفيلم قبل قرأت الكتب، وهذا من االسباب التي شجعتني لقراءة هوري بوتر.

١٢. هل تعتقد انه مشاهدتك للفيلم عامل مؤثر؟

نعم اعتقد وبشده انها مؤثره جدا النه مشاهدتي للفيلم اثر علي إﯾجاباً.

١٣. ماهو اكبر عامل شجعك لقراءة قصة هوري بوتر؟

كنﺖ متشوقه لقراءة القصه، الن هناك بعضمن عائلتي و اقاربي عادة ما ﯾتكلمون عتا لقصه عندما نجتمع . وفالوا انا

قصه عظيمه اذا قراتها سوف احبها. هذا السبب شجعني على قراءة لكي ارء اذا كان جميل مثل وﺻفهم

١٥. هل عادة تقرأ كتاب هوري بوتر لوحدك، او مع عائلتك؟

افضل القراءة مع والدي

١٧. لماذا؟

، ألنني في بعض االحيان احتاج شخص كبير ، بمقدوره مساعدتي في فهم وشرح بعض الكلمات الصعبه. النه كتبة

باللغة الفصحى وانا اد ﺻعوبه بعض األوقات في فراء وفهم بعض الكلمات

١٨. هل عادة تقرأ القصه بصوت مرتفع او بدون صوت.

انا في االغلب اقرأها بصوت عالي

١٩. لماذا؟

من اجل ان تتأكد امي انني قرأت القصه بشكل ﺻحيح.

٢٠. من خالل تجربتك في قراءة كتاب هوري بوتر، هل وجدت الكلمات او العبارات المسليه؟

نعم، اعتقد عندما ﯾستخدم بعض عبارات السحر

٢١. ممكن تعطيني مثال؟

الاتذكر شيء

٢٢. وماهو رأيك في هذه العبارات )الهامورا، اكسبلموروس، وينجارديوم ليفيوسا، السنيكوسكوب(؟

نعم تذكرت، هذي الكلمات السحرﯾه التي اقصدها.

٢٣. وماذا عن هذه االمثال، )هيا بنا بسرعة، أراهن أنه لم يحدث شيء من هذا، كان على مراقبتك، سيقوم عالم

السحر ولن يقعد بسبب ما حدث وربما يشنقوننا(؟

احيانا ً اشعر ان بعض هذه العبارات ّمسليه.

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٢٤. هل تعجبك هذه الكلمات المسليه ولماذا؟

نعم، تعجبني النها ممتعه وتضحكني.

٢٥. هل تجدها صعبه او سهله في الفهم؟

اعتقد انني وجدتها سهله.

٢٦. لماذا؟

ال انها عبارات وكلمات سحرﯾه، ﯾقولها هوري بوتر من عند قيامه بالسحر وهذا فهمته من خالل قراءتي للنص وتخيلي

لالحداث.

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