The University of Tehran Journal of Foreign Language Research 2588-4123 9 4 2020 01 21 The phonetic transfer of French poetry to Persian orthography The phonetic transfer of French poetry to Persian orthography 1167 1180 74781 10.22059/jflr.2020.295588.711 FA Abbas Farhadnejad Department of French language and Literature Faculty of Foreign languages and literature University of Tehran Journal Article 2020 01 08 Abstract<br /> Poetry is a lingual art that utilizes both description and music. In the course of translation, One of these two features of poetry is generally favored over the other with focus on conveying the meaning and poetical imagery of the poem. Efim Etkind, Soviet linguist and translation theorist points out different forms of translation and demonstrates that any endeavor in translation of poetry is restricted to these six described forms. What makes him to remain critical is that, in his opinion, the generality of the poem is nonetheless lost using any of these described methods. In this following article we suggest a way to make it more possible to convey the music of poem, which we assume is the important lost feature, through phonetic transfer from the source language to the orthography of the target language. We think conveying the phonetic of the poem would make the Persian speaking readers of French poetry more familiar with the musical property of the French language poetry and thus not only giving the Persian reader a semantic attraction of the poetical work but also an impression of the poem’s music, pronunciation and rhythm which is an inseparable part of this lingual art Abstract<br /> Poetry is a lingual art that utilizes both description and music. In the course of translation, One of these two features of poetry is generally favored over the other with focus on conveying the meaning and poetical imagery of the poem. Efim Etkind, Soviet linguist and translation theorist points out different forms of translation and demonstrates that any endeavor in translation of poetry is restricted to these six described forms. What makes him to remain critical is that, in his opinion, the generality of the poem is nonetheless lost using any of these described methods. In this following article we suggest a way to make it more possible to convey the music of poem, which we assume is the important lost feature, through phonetic transfer from the source language to the orthography of the target language. We think conveying the phonetic of the poem would make the Persian speaking readers of French poetry more familiar with the musical property of the French language poetry and thus not only giving the Persian reader a semantic attraction of the poetical work but also an impression of the poem’s music, pronunciation and rhythm which is an inseparable part of this lingual art https://jflr.ut.ac.ir/article_74781_78140c8ca83d6fde7a6e359e565c6ab6.pdf