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ﺍﶈﺘﻮﻳﺎﺕ ﺃﲰﺎﺀ ﺍﻟﺒﺎﺣﺜﲔ ﺃﺭﻗﺎﻡ ﺍﻟﺼﻔﺤﺎﺕ ١. ﺇﺑﺘﺴﺎﻡ ﺍﻟﺮﺍﺟﺤﻲ ٠٠١ - ٠٣٢ ٢. ﺇﳝﺎﻥ ﺍﻟﺰﻳﲏ ٠٣٣ - ٠٥٧ ٣. ﺛﻨﺎﺀ ﺍﻟﻐﺒﺎﺷﻲ ٠٥٨ - ٠٧٦ ٤. ﻋﺒﺪ ﺍﳊﻤﻴﺪ ﻋﻠﻴﻮﺓ ٠٧٧ - ١٢٦ ٥. ﺩﻻﻝ ﺍﳉﻤﻴﻌﻲ ١٢٧ - ١٦٤ ٦. ﳒﻮﻯ ﺍﻟﺰﻳﲏ ١٦٥ - ٢٦٥ ٧. ﻫﺎﱎ ﺍﻟﻔﺮﺣﺎﰐ ٢٦٦ - ٣٠٦ ٨. ﳏﻤﺪ ﳛﲕ ﲨﺎﻝ ٣٠٧ - ٣٣٣ ٩. ﻋﻨﺘﺮ ﺻﻠﺤﻲ ٣٣٤ - ٣٥٧ ١٠. ﺃﲪﺪ ﺍﳌﻌﻴﲏ ٣٥٨ - ٣٦٩ ١١. ﻫﺪﻳﺮ ﺃﺑﻮ ﺍﻟﻨﺠﺎﺡ ٣٧٠ - ٣٨٧ ١٢. ﻋﻔﺖ ﺧﻮﻗﲑ ٣٨٨-٤٠٤ ١٣. ﺳﻮﺳﻦ ﺍﳉﺤﺪﱄ ٤٠٥-٤٤١ ١٤. ﻠﺔ ﻗﻬﻮﺟﻲ ٤٤٢-٤٧٣ ١٥. ﻫﺸﺎﻡ ﺟﻮﺍﺩ ٤٧٤ - ٤٩٧ ١٦. ﺯﻳﺪﺍﻥ ﺟﺎﺳﻢ ٤٩٨ - ٥١٥ Thematic Progression in the Translation of Narrative Text From Arabic into English By Ebtisam N. Al-Rajhi Assistant Professor of linguistics Department of English Language and Literature 1. Introduction The present study focuses on Thematic Progression in narrative texts translated from Arabic into English. The goal is to analyze and compare thematic progression in Arabic narrative texts and their translation into English. The patterning of theme through a text is one means of structuring the text as a message, so that the addressee is aware of what the addressor is trying to communicate. The most influential thematic patterning is associated with (Danes 1974) who belongs to the Prague tradition. Thematic progression (TP) is defined as “the choice and ordering of utterance themes, their mutual concatenation and hierarchy, as well as their relationships to the hypertheme of the superior text units (such as paragraph, chapter…) to the whole of the text, and to the situation.” (P.114) The definition of a sentence theme is presented in Halliday’s 1967-68 article “Notes on Transitivity and theme in English.” Later Fries (1981) explained that the individual sentence themes collectively may form noticeable patterns that play a text- structuring role, and Fries (!981) is often cited by Halliday (1985) as a model of explaining the function of theme. The interaction of theme and cohesion is discussed 1 in ' Cohesion and Texture' (Martin 2001) and in 'Discourse and Information Structure' (Ward and Birner 2001). The application of TP patterns on argumentative text is a study conducted by Crompton (2004); Crompton criticizes Halliday's definition of theme and Fries's hypothesis of 'method of development', but he identifies TP patterns in argumentative texts. The importance of TP in translation.is emphasized by Hatim and Mason (1994) as they elaborate: When theme and rheme analysis remains restricted to the boundries of the sentence, it is naturally unable to bring out the functions of these elements within texts.Yet, if theme-rheme analysis is to have any relevance to translators, it must provide an account of thematic progression in the service of particular rhetorical purpose.(P.217) Rorvik (2004) stated that " when studying thematic progression in translated texts one may also gain insights about the translation process."(149) The process of translation is also important for (a) the translator who examines communicative cues present in the SL text. because SL text makes up the input of the process of translation which connects one language / culture system with another, and(b) the researcher interested in the application of the analysis of text and discourse to translation. The research attempts to answer the following questions: 1. 1-What are the TP patterns identified in the source text and the translated text? 2. 2-To what extent do the TP patterns found in the translated text reflect the TP Patterns of the source text? 3. 3- If there are changes in transation,what are the strategies employed n the translation and how do they affect thematic progression ? 2 2. Methodology and Data Tomlin et al . (1997) suggests that “there are three methodological strategies employed in the analysis of text and discourse: (1) introspection-based analysis, (2) text counting methods and (3) experimental and quasi-experimental methods”. According to this typology, the writer of this research uses the introspection-based analysis that depends on the documentation of examples. The clause and its relation with other clauses in the sentence is considered as the basis for the analysis of theme and thematic progression in the SL and TL. The clause is customarily employed in most linguistic analysis that underlie translation theories as expressed in the following quotation: Since texts are realized through clauses, it is inevitable that such knowledge should form the basis of skilled actions which create discourse. It is equally clear that knowledge of this kind - and in two languages - must not only form a major part of ‘translator competence’... but the clause itself must be the major focus of the process of translation itself (Bell 1991, 227). The material used in this study has been taken from two novels written in Standered Arabic and their translation into English as follows: 1. The Beggar ,by Naguib Mahfouz, translated by Henry and Al-Warraki 1986. 2. The Return of the Spirit, by Tawfiq Al-Hakiim, translated by Hutchins 1990. The analysis of thematic progression in two novels by different writers and their translations by different translators is useful in that it allows the analysis of of TP patterns regardless of individual style of one writer or translator. 3 3. Hypotheses The hypotheses of the study include the following: 1. There will be identifiable TP patterns in the source text and in the translated text. 2. There will be differences between theTP patterns found in the translated text and the TP patterns found in source text. 3. The changes in the translated text are not expected to affect the intended meaning of the original text. 4.Definition of Theme The present study uses Halliday 's ( 1967)definition of theme; the theme is what the message is about. Every clause has a theme. The element occurring in the first position is the natural theme of the clause; everything else in the clause is the rheme. (Halliday : 212) the function of thematization serves to establish a starting point for the clause or a perspective from which the development of the clause proceeds. The system’s domain is the current clause. The system introduces the structure of an upcoming message; the theme is what the message is about. Every clause has a theme. The element occurring in the first position is the natural theme of the clause, everything else in the clause is the rheme ( 212). In English, the unmarked theme in the declarative clause is the subject. In the non-declarative moods, the theme consists of the noncognitive ‘key signature’(223) that identifies the mood. The mood itself is marked, although ‘the key signature’, as a theme, is unmarked, part of the notion of theme is that it is the point of departure for the message. With the WH-interrogative, for example the over-riding message is there is something I do not know and that I want you to tell me about . “The rest of the message is explanatory comment about this demand”(213). 4 Since the unmarked theme is either the subject of the declarative clause or, in the case of the marked mood, the ‘key signature’ of the mood, the marked theme may be realized in English by a variety of constructions which Halliday summarizes under the headings of adjunct, conjunction, complement, predicator. The adjunct as a theme which establishes a cognitive setting of time, place manner, or cause is quiet frequent. For example: (1) Yesterday John saw the play. Halliday recognizes that more than one adjunct can appear in thematic position. “The function of theme, restricted elsewhere to single clause elements, can in the case of adjunct extend over two or more”(219). The same reasoning holds for conjunctions which by their initial position serve as a marked theme; subordinating conjunction which must occur in initial position “permit at least some thematic variation in the clause”(220). Halliday considers that there is a predictable patterning of conjunctions and adjuncts in English within the system of thematization and he has proposed order classes of theme types for English (222). Another form of marked theme in English is the complement. Halliday examines the interrelation between the transitivity system 1 and the fronting of non-subject nominals. When the addresser wishes to foreground an element in the clause by marking it, by dissociating it from the subject, he brings the element to the front as in the following example 2: (2) These houses my grandfather sold. It can be noted that the above fronting of the object can be achieved by the use of the passive construction these houses were sold by my grandfather, but Halliday explains “that marking for voice is ,in modern English, a way of avoiding marking for theme, to the extent 5 that the combination of marked voice with marked theme might perhaps be excluded as ungrammatical” (218). Finally, there are predicators or verbs, as themes: (3) (And) resign he did! such constructions are considered to be relatively rare in English. 4.1 Identification Identification is an optional subsystem within the textual level. It assigns an identifier-identified structure to a clause. Any clause can be organized into the equative form x equals y through the nominalization of one set of its elements. The basic identifying clause is an asymmetrical equative clause with the meaning x is to be identified as y (223). A non identifying clause (one that is not in the x is y form) is made into an identifying clause by assigning the functions ‘thing to be identified’ and ‘identifier’ to its structure. The identified is known and the identifier is unknown (244). In English the identified is a nominalization introduced by either a WH-word or a substitute noun form: (4) What John saw was the play.

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