International Journal of Arabic-English Studies (IJAES) Vol. 25, No.

1(Jan), 2025

The Impact of Translator’s Gender and Culture on the Arabic

Translations of Morrison's The Bluest Eye: A Qualitative Analysis
DOI: https://doi.org/10.33806/ijaes.v25i1.778

Abdelkrim Chirig, Karima Bouziane and Marouane Zakhir

Chouaib Doukkali University, Morocco

Received: 16.5.2024 Accepted: 15.8.2024 Published: 2.1.2025

Abstract: This paper examines the influence of the gender and culture of Arab male
translators on the Arabic translations of Toni Morrison's The Bluest Eye. It compares the
translations by Kamel Youssef Hessein and Fadel Soultani, and focuses on how gender
biases and cultural contexts influence the translation and affect the portrayal of female
characters. The study employs a qualitative method, integrating Fairclough's Critical
Discourse Analysis (CDA) and Toury's Translational Norms (TN) to assess the Arab male
translators' linguistic choices and their impact on the target texts (TTs). Through a
paratextual, descriptive, interpretative, and translational norms analysis, the research
identifies cases of gender bias, cultural adaptation, and ideological influences in the
translations. The findings reveal that male translators' interpretations lead to subtle erasures
and alterations of female characters' voices, reflecting certain patriarchal and cultural biases.
The study emphasizes the need of taking into account the gender and cultural background
of the translator in literary translation.

Keywords: CDA, culture, gender, male translators, The Bluest Eye, translation analysis

1. Introduction
Studies have revealed fundamental differences in language usage between men and
women (Cameron 1998). Both are influenced by a culture with prevalent gender
biases, adopting specific vocabulary and speech patterns associated with their
gender. Men tend to use more aggressive and confrontational language, while
women employ more pleasant and collaborative speech (Wardhaugh 2006: 326).
However, it is essential to note that there are not two distinct languages, but rather
clear linguistic disparities between both sexes (Baron 1986: 59-63). The
significance of this observation becomes clearer when examining translations of
works by a female author two culturally distinct languages, English and Arabic,
particularly when these translations are done by male translators. While
sociolinguistic investigations have primarily focused on gender differences within
a given language, certain linguistic characteristics remain universal across
languages.
In relation to the paper at hand, Flotow (1997: 49) argues that certain female
writings have been inadequately translated, a practice she labels as 'patriarchal
translation'. English translations often omit sections highlighting women's
historical achievements, particularly those discussing controversial topics and
traditional gender roles (1997). Besides the translator's gender, ideology also

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influences the translation process. Lefevere (1998) defines ideology as the beliefs
and attitudes shaping how readers and translators approach texts. However, this
definition overlooks the complexities of ideological mediation in translation
(Munday 2007; Hamdan, Naser and Hamdan 2021). Every translation carries
underlying ideologies, whether conscious or not, transferred from the source text
(ST) to the target text (TT). These ideologies can belong to the author or their
culture (Al-Mohannadi 2008). Understanding translation's role within cultural and
ideological contexts is crucial for comprehending its significance. This means
recognizing how translation is influenced by and reflects the cultural norms, values,
and ideologies of both the source and target languages. It involves examining how
translators navigate these influences to either preserve or alter the original message,
and how this process impacts the way translated texts are received and understood
by different audiences.
To a greater or lesser extent, every translation presents its own unique
perspective of the original text. A translator is first and foremost a reader,
attempting to make sense of a text through the lens of his or her own life and
upbringing (Ury 1977). Because multiple factors complicate the procedure, the
result is likely to be inaccurate or subjective. The influence of gender on translation
practices is a topic directly pertinent to our current investigation. Translation,
according to Yu, is best understood as a form of rewriting inside a certain historical,
social, and cultural context, one that inextricably involves the translator's
subjectivity (2015). This paper hence investigates the way in which Arab male
translators, who are primarily readers and critics, approach literary works written
by women.

2. Research aim
The purpose of this paper is to compare and contrast the results of the translations
and the specific changes made in the portrayal of female characters in literary
translations of Toni Morrison’s novel The Bluest Eye by two Arab male translators,
Kamel Youssef Hessein and Fadel Soultani. The choice to focus on male translators
solely was deliberate and informed by a gap in the existing literature, where the
emphasis has predominantly been on female translators of female-authored works.
By concentrating on male translators, the study unveils whether and how gender
might influence the translation process, specifically when the original work is
imbued with intricate themes of gender and race. This will aid in exploring the
specific ways in which a male translator’s gender and culture might affect the
interpretation of a female author's work. In the act of translation, it is crucial to
acknowledge the implications of gender and textual interpretation, recognizing that
gender markers can change based on cultural and linguistic contexts, and that each
translation is unique and cannot be exactly replicated (Santaemilia 2015). The
translation process involves various factors, including gender, culture, psychology,
and others. To fully understand and account for these factors, it is necessary to
employ CDA as devised by Fairclough and TN as proposed by Toury. By
integrating these theoretical frameworks into the translation process, translators can
effectively and consciously address the complexities of gender and culture in their

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work. This study aims to explore these complexities through the following research
questions:
1. In what ways do some Arab male translators affect the translations of a female
author's work, particularly in terms of cultural and gender biases?
2. How do translations done by male translators potentially impact the portrayal of
female characters in the translated text?

3. Literature review
3.1 Translator’s gender and translation
Many analyses have proven that men and women use language differently (Holmes
2013). Hence, translating literature poses significant challenges, especially when
the author is of a different gender, due to differing linguistic styles, perspectives,
and cultural understandings. Trying to remain faithful to the ST necessitates that
the translation conveys the same feelings, attitudes, and behaviours as the original
work. In addition, when a male translator is tasked with translating a literary work
by a female author, he must properly portray her sensibilities and ideas.
Translation poses a challenge with respect to gender indeterminacy, and
scholars have suggested various approaches to tackle this issue. Hirschauer (2001)
recommends the elimination or disregard of gender differences in the public domain
through the process of de-gendering. Lanser (1982) argues that the gender of the
narrator in literary works should not be equated with that of the author. Livia (2000)
discusses linguistic techniques to eliminate gender elements from literary texts.
Bruised Fruit (1999) and other works of fiction that feature gender-neutral
characters allow readers to connect with characters whose gender is ambiguous and
to explore contexts where gender differences are insignificant. Conversely, some
Victorian-era authors, such as Dickens, Emily Brontë, and Hardy, assigned the
voice of the narrator to their main characters, which subtly hinted at a gendered
identity. Gorban' and Poberezhnaia (2004) observe that gender often influences the
translator's choice of language. However, Lorber (1993) contends that the world
should not be dichotomised based on gender, and suggests reorganizing it based on
other criteria.
Diachuk (2017) explores the impact of translators' gender on translation
accuracy. She examines whether the gender of the translator influences the quality
of the final product when the same text is translated by multiple translators. Both
male and female translators adopt an unbiased approach when working with female
authors' styles. Male translators tend to utilise lexical and stylistic elements of the
Ukrainian language and favour the domestication method. In contrast, female
translators exhibit greater sensitivity to sexism in works by female authors, yet they
risk distorting the story and characters' identities in their pursuit of gender
authenticity (Diachuk, 2017).
The major constituent of a translated text reveals the translator's gender,
which is reflected in the author's literary output. Also, when the same text is
translated by translators of different gender, the translator's gender invariably
affects their understanding of the author's literary perspective (Diachuk, 2017).
Consequently, gender-aware translation is viewed as a purposeful and intentional

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endeavour of the translator, who then portrays the gender identity of a literary text.
This gender identity is determined by both the author's self-identification and the
degree to which it is reflected in the text.

3.2 Translator’s ideology and translation

Lefevere (1998) highlights the significance of ‘translator's ideology,’ referring to a
framework of socially accepted beliefs and values that shape the translator's
decisions during the translation process. This ideology plays a crucial role in
determining the quality of the translated text. Munday (2007), however, suggests
that this approach may oversimplify the complexities of translation and ideological
involvement. Regardless of the translator's awareness, both overt and covert
ideological elements inevitably impact the final translation. Thus, the translator's
ideology emerges as a primary determinant of any translation. Identifying and
evaluating the translator's ideology can be challenging due to the intricacies of
translation, but it undeniably influences the interpretation of the ST, linguistic
strategies, and the communication of meaning in the target language (TL).
Ultimately, the translator's ideology significantly affects the accuracy, fidelity, and
alignment with the original author's intentions in the final translated product.
Given the fundamental ideological component of gender, several scholars
have examined the question of translator's ideology in relation to our prime concern
here. In Brown's The Dancing Girls of Lahore (2005), for instance, Shaheen, Ali
and Zahra (2021) analysed the translator's ideology in the Urdu version. Patriarchal
manifestations are seen in the data, namely in the areas of grammatical and lexical
selection. Another instance is seen in Woolf’s To the Lighthouse (1927), a novel
originally written in English that was translated into Chinese by both a male and
female translator. Mingli (2021) compared the two translations and discovered that
the male translator portrayed the female character as a perfect Victorian woman,
which reflected the prevailing societal expectations and hierarchies of the period
for Chinese women. This stresses the need for more research and awareness in the
subject of translation studies, as it points out the likelihood of gender prejudices
infiltrating into translations.
Similarly, the translation of The Bluest Eye by Morrison into various
languages sparks debate. For instance, Chen (2022), in a study of the Chinese
translation by Yang Xiangrong under the framework of Eco-translatology,
highlights how cultural and ideological biases influence the portrayal of female
characters and the overall storyline. Chen concludes that while Yang's translation
maintains the ecological balance and harmony between the source language (SL)
and the target language (TL), it still exhibits cultural biases in the depiction of
female characters. Moreover, Rasul and Mohammed (2023) explore the translator's
voice in the Kurdish rendition of the same novel. Their investigation reveals how
the translator's interventions at both textual and paratextual levels impact the final
translation. Their analysis indicates that the translator's voice is predominantly
present, with additions and expansions that sometimes dramatize and elucidate
certain aspects of the text. This, in turn, reflects the translator's cultural background
and interpretive stance.

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4. Methodology
This paper employs a predominantly qualitative methodology to examine the data,
focusing on the Arabic translations of Toni Morrison's The Bluest Eye by two Arab
male translators. An eclectic approach was adopted, combining Fairclough's critical
discourse analysis and Toury's translational norms. The translations were analysed
from feminist and cultural perspectives to identify potential gender, cultural, and
stereotypical biases in the translation process or product; that is, the study adopts a
feminist perspective to critically assess whether the male translators' translations
uphold the integrity of the original's meanings or if these meanings are inadvertently
diluted or reshaped by the translators' own perceptual, societal, or cultural biases.
Concurrently, the cultural perspective examines how the translators navigate the
complex interplay of translating a text steeped in African-American culture into a
linguistic and societal framework rooted in Arabic norms and values. This involves
a meticulous appraisal of cultural differences, idioms, and societal norms, assessing
their preservation or transformation within the translational norms.
The study beings with a paratextual analysis, which involves studying
various aspects such as book covers to gather first interpretive cues. Following this,
the analysis of the text examines grammatical and syntactic structures, with
particular attention given to elements such as grammatical gender, word
manipulation, and transitivity. Subsequently, a comprehensive assessment of
lexical and semantic features is conducted, wherein the register and lexical choices
are subjected to evaluation. The research next progresses to a pragmatic phase,
when it analyses linguistic complexities such as modality and implicatures in
relation to their sociocultural context. Finally, the broader social and cultural
context of the text was explored, considering social context and intended audience
to understand language use in reinforcing gender stereotypes.
Toury's model serves as a supplementary tool, focusing on initial norms,
which govern the translator's predominant decisions between adhering to source
text norms or conforming to norms active within the target culture, and operational
norms, which dictate the actual decisions made during the translation on a textual
and linguistic level (Toury 2012). Cultural considerations were prioritised to
determine appropriate translation strategies, while text-linguistic norms guided the
selection of suitable content from the target texts. The application of Toury's norms
to the Arabic translations aims to provide insights into how the translators tailored
the text to suit Arab readers' preferences and sheds light on the translation’s effects.

5. Results and discussion

This section explores the different ways of analysing texts beyond their linguistic
features. Beginning with an understanding of how external elements, such as book
covers, influence a reader's comprehension, we delve into the significance of
paratextual components and their profound impact on readers' engagements.
Secondly, we undertake a detailed textual analysis based on Fairclough's model,
emphasizing the importance of evaluating a text's formal aspects, and which
examines how our language choices shape and reflect our message and the world

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around us (Al-Khawaldeh et al. 2024). Thirdly, the interpretation analysis stage

emphasises the link between text, context, and authorial intention. Last but not least,
this exploration culminates in the examination of translational norms, which
provide insights into the shared values guiding translators within a specific cultural
context.

5.1 Preliminary paratextual analysis of the ST and TTs

External factors are so imperative in the analysis of the TTs, for they are a tool to
understand what is beyond the linguistic features. For example, a book's cover is a
crucial part of the book's overall strategy to connect with the reader (Gudinavičius
and Šuminas 2018). Dixon et al. (2015), in turn, look into the possibility that book
covers can indicate sub-genre material to discerning readers. The world of literature
also extends well beyond the pages or covers of books. Instead, it includes a
plethora of paratexts—supplementary elements that surround the main text. A
reader's comprehension and interpretation of a work might be profoundly impacted
by these external factors. For instance, paratextual components like prefaces,
translator's notes, acknowledgements, or any other peripheral elements can
significantly influence how a reader engages with and understands a piece of
writing. Accordingly, this section tackles two major components, which are (1) the
book covers of both the ST and TTs and (2) extralinguistic knowledge of the ST
and TTs.

5.1.1 Book cover

Table 1
ST
Author Toni Morrison
Origin African-American
Title The Bluest Eye
Language English
Publishing Holt, Rinehart, and Winston, New York, 1970
information

Table 2
TT1 TT2
Translator1 ‫كامل يوسف حسين‬ Translator2 ‫فاضل السلطاني‬
(Kamel Youssef Hessein) (Fadel Soultani)
Origin Egyptian Origin Iraqi
Title ‫أكثر العيون زرقة‬ Title ‫العين األكثر زرقة‬
Language Arabic Language Arabic
Publishing 1995،‫ بيروت‬-‫دار االدب‬ Publishing -‫دار الطليعة الجديدة‬
information information 1996 ،‫دمشق‬

Before delving into the linguistic elements of the book covers for the ST and the
TTs, it is essential to analyse the implied meanings and themes of the three designs.

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Book covers serve as marketing tools and protective containers for the stories they
encase, and also offer readers insight into the contents and influence their
expectations and emotional responses (Söderlund and Rosengren 2008). Readers
also expect book covers to indicate the story's quality, impacting their perception
of the work's artistic merit (Schmidt-Stölting et al. 2011; Horsky and Honea 2009).

Figure 1. Toni Morrison's Figure 2. The Arabic Figure 3. The Arabic

original ST cover translation of The Bluest translation of The Bluest
Eye by Kamel Youssef Eye by Fadel Soultani
Hessein

Toni Morrison's original ST cover (Figure 1) prominently features her

youthful face, potentially leading to the misconception that the work is
autobiographical. The author draws on her own experiences to develop the plot.
Conversely, TT1 cover (Figure 2) exhibits a striking contrast between two dolls,
one representing Eurocentric features and the other African characteristics. This
visual representation may harbour prejudiced notions about the ST, potentially
misrepresenting the author's intent. The cover design's emphasis on physical
appearance suggests a limited understanding of the ST's themes. In TT2 cover
(Figure 3), a dominant blue theme pervades the design, symbolising the central
theme of internalised racism and the yearning for whiteness. The image of a young
girl with blue eyes and rosy cheeks may unwittingly reinforce the white
community's preference for European features, perpetuating damaging societal
norms. This portrayal of a young girl yearning for acceptance based on her physical
appearance could reinforce the notion that one's worth is determined by their looks.

5.1.2 Extralinguistic knowledge of the TTs

The extent to which the translator makes use of extralinguistic knowledge affects
the final translation's quality. Specifically, it appears that extralinguistic knowledge
contributes to translation more than linguistic knowledge does (Kim 2006). In our
context, TT1’s foreword (1995) for The Bluest Eye by Morrison provides a
scholarly analysis of the novel's unique theme, intricate plot, and use of magical

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realism. The translator notes the novel's charm, akin to a labyrinth with deadly traps,
and observes that Morrison takes the reader on a journey through superfluous
scenes after the tragic story's conclusion in a Greek mythological setting. The
translator acknowledges the difficulties in understanding Morrison's use of magical
realism, with only a vague reference to Latin American magical realism and
glimpses of its origins through the protagonist's actions. However, he emphasises
that the work's distinguishing feature is its depiction of harsh and moral poverty
that weighs heavily on both the physical and spiritual aspects of life, transforming
rape into a desire for madness. Overall, the translator's formal analysis provides
valuable insight into the novel's themes, structure, and importance. The back cover
of TT2 produced for the translated work is of a brief nature. The observation
suggests that there might be some limitations in the translator’s depth of
understanding or engagement with Morrison's work, seen in his inclination to rely
solely on the viewpoints expressed by other notable figures with regards to the
author and her novel, The Bluest Eye. This, in turn, implies a certain degree of
detachment on the part of the translator. This stance on TT2’s part could contribute
to a translation that is potentially fraught with stereotypical and biased
interpretations of the text. Without a profound understanding of the author and her
work, the translator might produce a poor translation, failing to capture the intended
meaning. The absence of an acknowledgment or foreword in the translation could
possibly indicate a less pronounced recognition of the ST and its author. We know
that these introductory sections, typically composed by the translator or other
notable individuals, serve as valuable contextualisation and provide readers with
important insights into the translation process.

5.2 Descriptive analysis stage (textual analysis)

According to Fairclough, the initial stage of textual/linguistic analysis involves
description, which heavily relies on text analysis. To describe a text, it is essential
to examine its formal aspects, including grammatical, syntactic, lexical, and
semantic features. These features represent, in our case, the translator’s preferences
in terms of language choices, which are drawn from the discourse types used in the
text. To gain a comprehensive understanding of a text's actual features, it is crucial
to analyse the range of available options within the discourse types from which
these features are derived (Fairclough 2015).

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Table 3. The range of available options

ST (The Bluest Eye)
‘We’ll never let her go. We could never find anybody like Polly. She will not
leave the kitchen until everything is in order. Really, she is the ideal servant’
(p.128)
TT1 (Kamel Youssef Hessein) TT2 (Fadel Soultani)
،‫ فلن نجد أحدا مثل بولّلي‬،ً‫ لن نستطيع أن نجد واحدة ”لن ندعها تذهب أبدا‬.ً‫”لن نسمح لها بتركنا أبدا‬
‫ إنها‬،‫ إنها التترك المطبخ حتى يكون كل شيء إنّها ال تغادر المطبخ إالّ بعد ترتيب كل شيء‬.ً‫مثلها أبدا‬
)172 .‫ ص‬،1995( “‫ حقّا الخادم المثالية‬.‫ ص‬،1996( “‫ إنها الخادمة المثالية‬،ً‫في مكانه حقا‬
)106

In order to more properly communicate the intended meaning in the TL, word
manipulation is the process of changing the SL, thus shaping the audience's
perception of the text and their sense of reality (Sadeq Alaghbary 2022). This entails
making deliberate adjustments to the wording, syntax, and grammar of the ST to
create an equivalent version in the TL. In Table 3, an excerpt taken from The Bluest
Eye, when translating the sentence ‘We'll never let her go,’ from English to Arabic,
there are different ways to convey this message in Arabic. The translator must
consider the subtleties of the language and the cultural context of the text to choose
the most appropriate way to convey the intended meaning. In the case of TT1, word
manipulation is not apparently realised in the translation of the sentence ‘We'll
never let her go.’ However, Soultani, in TT2, chose to use a different Arabic phrase
‘ً ‫ ’لن نسمح لها بتركنا أبدا‬to translate the same English sentence. The words ‘‫( ’تذهب‬go)
and ‘‫( ’ترك‬leave) are two different verbs that demonstrate the translators’ own
interpretations and subjectivity to the connotations of the words in the context of
the ST. In simple terms, '‫ 'تذهب‬conveys a positive, pleasant departure, whereas '‫'ترك‬
carries a negative sense of loss or abandonment. This distinction is crucial in
Morrison's story, as it portrays the unfair and abusive relationship between the slave
and the master. Therefore, in TT2 the translator’s choice of using ‘ ‫لن نسمح لها بتركنا‬
ً ‫ ’أبدا‬conveys the resistance to loss and departure in a more emotionally charged way,
making the target reader understand the complex psychological state of the
characters.
The omission of the name Polly in TT2 (Table 3) raises questions as regards
the translator's motives and the significance of the character in the ST. The
translator's intention behind the omission of Polly's name remains abstruse.
However, regardless of the translator's intentions, the omission of Polly from TT2
might be interpreted as a subtle indication of her less central role in the translator's
perspective. The significance of characters within a literary work is often
manifested through the frequency and contextualisation of their presence
(Vermeule 2010). The issue at hand pertains to the possibility that TT2’s translator
may have deliberately excluded the name of Polly, a character of minor significance
and infrequent appearance in the ST, with the aim of preserving the emphasis on
more prominent characters or to facilitate the translation process. Polly,
nonetheless, holds an important position in the narrative, and omitting her name

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may indicate a possible oversight or a failure to acknowledge her significance

within the plot. In addition, this can also be interpreted as an instance of erasure,
wherein the translator eradicates or diminishes the importance of a character during
the process of translation. The act of erasure discussed in this context may have
multiple underlying reasons, including the translator's subjective inclinations or the
intention to conform to the expectations of a specific readership. This act may
worsen the already dire situation of Polly, who lacks any means of emotional
sustenance and is incapable of providing for her children. Here erasure can silence
female characters' voices and experiences more by concealing or eliminating them
entirely. This supports patriarchal narratives that diminish women's problems and
strengths, and it also simplifies the character's complexity. It could be considered
that the male translator's approach may unintentionally reflect certain gender biases.
This might lead to a less comprehensive portrayal of the character's complexities
and the deeper issues they encounter. However, it is crucial to acknowledge that
these differences could also arise from the translator's stylistic preferences, with the
intention of achieving a more cohesive storyline or emphasizing alternative
characters. While acknowledging this potential does not lessen the possible
influence of the translator's choices on the narrative and representation of
characters, it does offer a more comprehensive understanding of the motivations
behind these decisions.

Table 4
ST (The Bluest Eye)
‘Black e mo. Black e mo. Yadaddsleepsnekked. Black e mo black e mo ya dadd
sleeps nekked. Black e mo…’ (p.61)

TT1 (Kamel Youssef Hessein) TT2 (Fadel Soultani)

‘ ‫ أبوك‬،‫ يا سوداء زلط‬،‫يا سوداء زلط‬ ‘‫يا‬...‫ يا سوداء أبوك ينام عاريا‬،‫سوداء‬
‫ أبوك نومه‬،‫ يا سوداء زلط‬،‫ يا سوداء زلط‬.‫يا نومه ملط‬...‫ يا سوداء أبوك ينام عاريا‬،‫’ سوداء‬...‫سوداء‬
)94 .‫ ص‬،1995( ’.‫ يا سوداء زلط‬،‫ملط‬ )54.‫ ص‬،1996(

Table 4 serves as an unequivocal exemplification of the abject misery and

afflictive existence that Pecola endures. She is subjected to egregious forms of
humiliation by minor characters. Of particular interest in the ST is the employment
of a rhythmic verse which is incessantly reiterated throughout the diatribe. With
regards to grammatical and syntactical aspects, TT2 is relatively faithful to the ST,
despite the detection of certain omissions stemming from the ambiguity of the
expression ‘e mo’. As concerns the semantic level, it is notable that TT2’s translator
has maintained almost the same wording in spite of the change in register from
casual to formal. It is evident that register, conceptualised by Halliday (1977) as a
type of language variety that is determined by the situational context in which it is
used, holds paramount significance in this novel, given that a majority of the
characters are outcasts and misfits who reside in destitute environments and have
never been exposed to any form of education. Nonetheless, it should be noted that

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TT1 exhibits certain tendencies toward bias and prejudice, which are evident in his
addition of the word ‘‫زلط‬,’ a term completely missing from the ST and commonly
employed in his Egyptian colloquialism to connote the notion of ‘quick steps’ with
the aim of acquiring money. His addition, perhaps, is an attempt to translate the
unfathomable phrase ‘e mo’ which leads to multiple interpretations none of which
can be right. This addition may reflect the translator's cultural background and
possible economic context, illustrating how his cultural perspective influences the
translation. The use of a colloquial term like '‫ 'زلط‬demonstrates how the translator's
familiarity with Egyptian slang and economic realities shapes his interpretation and
adaptation of the text. It suggests a cultural lens that prioritizes local vernacular and
economic realities, which might not be present in the ST but are brought into the
translation to make it more relatable to the target audience. Furthermore, an equally
noteworthy syntactic feature of the translation is the nominalization of the phrase
‘ya dadd sleeps necked’ into ‘‫أبوك نومه ملط‬,’ wherein in TT1, the translator replaces
the verb phrase with a noun phrase, presumably to mitigate the severity of the image
of Pecola's father, Cholly, sleeping in a state of complete nudity, while also
attempting to uphold the masculine persona attributed to all fathers. This change
may reflect the translator's gender perspective as he aims to soften the portrayal of
male characters and maintain their dignity. By choosing to use a less explicit term,
the translator might be attempting to preserve a certain level of respectability and
decorum for male characters, which can be seen as an influence of his own cultural
and gender biases. This modification impacts how the target audience perceives
Cholly, potentially minimizing the negative aspects of his character and altering the
reader's understanding of the narrative. It is noteworthy that TT1 is redeemed by
the translator’s use of footnotes, in which he clarifies:
The original text was written in the colloquial language used by
Black Americans, and that is the closest translation to the original.
Although some readers may find it somewhat ambiguous, I
apologise to them. In the end, every translation is a choice of
alternative that may not satisfy everyone (our translation). (Hessein
1995: 94)

5.3 Interpretation analysis stage

The principal objective of interpretation is to scrutinise the discursive practice,
which demands a comprehensive evaluation of the interplay between the text and
the discursive, interpretative, and producing procedures. Owing to its emphasis on
contextual factors and the author's intention, this approach is well-suited for our
study here. By adopting this pragmatic analysis, we can aptly consider the
situational context within which a particular text is situated, thus enabling us to
discern any modulations that may have been introduced by the translator. Here, we
examine modality in further detail and see how it relates to register analysis
throughout the interpretation stage. According to Fawcett (1997), there is a
connection between Gricean implicatures and translation. Understanding the
interpretive significance and, ultimately, the author's intentions of the source
material is essential for any translator.

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The pragmatic level of modality, for instance, is a linguistic feature that plays
a vital role in expressing the degree of possibility or uncertainty associated with a
statement. We can observe from Table 3 that the modal verb ‘could’ is typically
used to indicate a slight or uncertain possibility. However, in this instance, the
translator in TT1 has employed ‘‫’لن‬, as a modality of usuality, in a manner that
breaks the uncertainty and emphasises the extreme implausibility of finding a
servant like Polly. It is also worth noting that, in TT1, Hessein’s choice of ‘‫ ’لن‬to
further emphasise the implausibility of finding a servant like Polly may also reflect
a certain bias or belittlement towards Pecola's role as a girl and servant. The use of
‘‫ ’لن‬in conjunction with the verb further underscores the difficulty of finding
someone like her. In Arabic, ‘‫ ’لن‬can be translated as ‘won't’ and is used with a non-
finite verb to express negation. Additionally, the accusative case assigns the object
role to the noun or pronoun, while the negation particle negates the meaning of the
verb. This combination of particles and verb can also transform the meaning from
present to future tense. Therefore, by using ‘‫ ’لن‬with the verb, TT1 is not only
indicating what we have just mentioned above, but is also suggesting that this will
remain a difficult task in the future. The combination of ‘could’ and ‘‫ ’لن‬serves to
emphasise the exceptionalism of Polly's qualities as a servant, and the extreme
rarity of finding someone who can match her level of competence and dedication.
This choice of modality in TT1 may be influenced by the translator’s cultural
perspective, which could reflect societal attitudes towards female roles and
servitude. By using here a stronger negation, the translator might be imposing a
cultural bias that diminishes Polly’s role, indicating that she is irreplaceable in a
way that subtly highlights her lower status.

Table 5
ST (The Bluest Eye)
‘Bay Boy and P. L. had at one time been his idols.’ (p. 81)
TT1 (Kamel Youssef Hessein) TT2 (Fadel Soultani)
‘ ‫ في وقت من‬.‫ل‬.‫وكان باي بوي وب‬ ‘ ‫ أل في‬.‫كان يعبد باي بوي و بي‬
.‫ ص‬،1995( ’‫األوقات بمثابة معبودين بالنسبة إليه‬ ‫)’الوقت نفسه‬73 .‫ ص‬،1996(
)123

Table 5 presents a richer complexity than its surface appearance suggests. It

is worth noting that both TTs contain distinct interpretations. In this context, the
implementation of Grecian implicature could prove advantageous, given that both
translations convey meanings and implications that differ from those intended by
the author. The former, a theory developed by Grice, aims at explaining how
individuals interpret implied meanings in speech, and this involves a General
Cooperative Principle and four maxims (quantity, quality, relation, and manner)
that define cooperative behaviour (Grice 1975). Baker states straightforwardly that
the essence of his theory is how we acquire comprehension beyond what is
explicitly stated (Baker 2018). With regards to our example, the primary element
modified by both Arab translators is the term ‘idols’ in the ST, which now suggests

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subjective thoughts and ideologies. To clarify, according to the Oxford Advanced

Learner's Dictionary, the word ‘idol’ has two definitions: (1) ‘a person or thing that
is greatly loved and admired,’ and (2) ‘a statue that is worshipped as a god’ (Hornby
2018) The translators, nonetheless, have chosen the second definition as their
preferred translation, which implies a variety of interpretations, one of which is
resurrecting the issue of slavery. And maybe both the translators’ implication of the
idea that the relationship between blackness and slavery may have historical and
cultural roots (Curran 2011; Gross-Wyrtzen 2022). The word ‘idols’ in the ST is
not referring to the worship or adoration of Bay Boy and P.L. as gods. Instead, it is
used as a metaphor to describe the strong feelings of admiration and respect that
Junior has for them. In order to demonstrate a significant issue present in the
translations listed in Table 5, we should consider utilizing back-translation method
as a means of evaluating their accuracy. No doubt that back translations serve the
purpose of enabling precise oversight of the quality of translations (Brislin 1986).
Furthermore, the gaps identified between the primary text and its back translation
may signify inadequacies in the original TT, necessitating a re-evaluation of the
translation's accuracy (Behr 2016). For instance, a back translation for TT2 would
be ‘He worshiped Bay Boy and P.L. at the same time’. The choice of both Arab
translators to use a term that invokes the notion of "idols" in a religious or
worshipful context instead of a more neutral or admiring sense speaks to the very
possible cultural influences shaping their interpretation. Accordingly, the previous
attempt looks unquestionably indistinct from what the actual ST conveys and
demonstrates the ideological entrapment that TT2’s translator has succumbed to.
We can state that these very choices can unintentionally induce connotations of
servitude or inferiority, if we take into consideration the historical contexts of
blackness and slavery. The translation, thus, risks perpetuating problematic cultural
narratives.

Table 6
ST (The Bluest Eye)
‘How come you got so many boyfriends, Miss Marie?’
‘Boyfriends? Boyfriends? Chittlin’, I ain’t seen a boy since nineteen and twenty-
seven.’
‘You didn’t see none then.’ (p. 50)
TT1 (Kamel Youssef Hessein) TT2 (Fadel Soultani)
‫من أين لك بك ّل هؤالء الفتية األصدقاء يا آنسة‬ ‘ ‫كيف استطعت أن تحصلى على‬
‫ماري؟‬ ‫’كثير من األصدقاء آنسة ماريا؟‬
‫ لم أر فتى منذ العام ألف‬،‫سجقة‬
ُ ‫ يا‬،‫ إنني‬.‫فتية أصدقاء‬ ‘ ‫أصدقاء؟ أصدقاء؟ لم أر ولدا منذ‬
‫وتسعمائة وسبعة وعشرين‬ 1927’
)77 .‫ ص‬،1995( . ‫ ص‬.‫لم تري أحدا ً منهم إذن‬ ‘ .‫تر ولدا ً منذ ذلك الوقت’ ص‬
ِ ‫لم‬
)44 .‫ ص‬،1996(

According to Fowler and Kress (1979), the modality of a writer (as author
and/or translator) reveals their subjective perception on themselves, their target

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audience, and the message being transmitted. This is particularly relevant in the
context of translating The Bluest Eye, a novel rich with themes of race, gender, and
identity. The use of modality by translators can significantly alter the portrayal of
characters and their experiences
The first observation that one can draw from Table 6 is the addition of a
probability modal verb ‘‫ت‬ ِ ‫ ’استطع‬in the TT2. This alone conceals loads of ideologies
and ulterior motives, which can be intentional or unintentional; that is, TT2’s
translator utilises the modal verb ‘‫ت‬ ِ ‫( ’استطع‬could) to convey the probability of
achieving a specific objective, such as acquiring countless boyfriends with ease,
which may not necessarily come to fruition. This denotes the expression of a
conditional probability. The speaker is suggesting that the existence of those
boyfriends is a potentiality, though not a certainty. Therefore, the individual is
employing a hedging strategy to acknowledge the possibility of negative outcomes
or dissatisfaction for Miss Marie. The ST elucidates that Miss Marie does have
many boyfriends (a word that we discuss in the following section that deals with
the analysis of TN and does have her own ways to lure those boyfriends (clients).
Nevertheless, the translator in TT1 does indeed avoid adding modality, attempting
to remain as faithful as possible. These differences in translation choices highlight
how Arab male translators' cultural and gendered perspectives can influence the
depiction of female characters. The addition of '‫ت‬ ِ ‫ 'استطع‬in TT2 introduces an
element of uncertainty and potential failure; the translation reflects the translator's
cultural and gender biases regarding women's abilities and social roles. Conversely,
TT1's straightforward translation maintains the original assertiveness of Miss
Marie's character, demonstrating a different interpretative stance. These variations,
as shown, affect the reader's perception of Miss Marie, for they illustrate how the
translators' backgrounds shape their choices.

5.4 Investigating translational norms

According to Toury (2012), the process of becoming a translator necessitates
acquiring the ability to perform a social function in accordance with a
predetermined set of shared translational norms that are prevalent within a
particular cultural milieu and are relevant to all forms of translation. He adds that
norms are considered as ‘the translation of general values or ideas shared by a
community – as to what is right and wrong, adequate and inadequate – into
performance instructions appropriate for and applicable to particular situations’
(Toury 2012: 63).
A relevant instance in Table 6 can illustrate how norms generally work. The
first observation we can make is the translation of the word ‘boyfriends’ to ‘ ‫الفتية‬
‫ ’األصدقاء‬in TT1 and ‘‫ ’األصدقاء‬in TT2. The Arabic translations of the word
‘boyfriends’ in both TT1 and TT2 have been toned down for the Arab readers by
removing any sexual connotations. As concerns TT1, we can observe the use of
‘‫ ’فتية‬which can be defined as a young man in his youth, between adolescence and
adulthood. The ST includes no age indication nor maturity phase of the
boyfriends/clients, whom TT1 suggests to be young men. When it comes to TT2,
the translator has chosen to de-gender the word ‘boyfriend’ to be ‘‫ ’األصدقاء‬that

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literally means ‘friends’, both male and female friends. The latter is defined as
individuals who share a bond of affection or respect with another person. No doubt
that Miss Marie, a plain prostitute, invariably questions the norms that some of the
characters have about what it means to be a beautiful woman. She has contempt for
norms of decent conduct in public and does not care about society's standards for
women's purity or virginity and, hence, is consistently exhibiting the behaviours of
atypical food consumption, use of vulgarity, and expression of amusement. Societal
norms and gender expectations often classify these behaviours as unsuitable for
females (Bloom 2007). Nonetheless, TT2’s translator engages in a cordial and
bowdlerised discourse that is somewhat restrained by refraining from utilizing a
precise translation of the term ‘boyfriend’. The aforementioned circumstance, thus,
has resulted in an unfitting alteration of the context and tone. This excerpt
exemplifies the adherence to the norms of the target culture (TC), specifically in
terms of acceptability.

Table 7
ST (The Bluest Eye)
It was in this godlike state that he met Pauline William. (p.145)

TT1 (Kamel Youssef Hessein) TT2 (Fadel Soultani)

،1995( .‫في هذه الوضعية األثيرية التقى بولين وليامز‬ ‫ قابل بولين‬،‫في حالته اإللهية هذه‬
)211 .‫ص‬ )134 .‫ ص‬،1996(.‫وليمز‬

The excerpt in Table 7 discusses the moment Cholly, Pecola’s father, meets
his wife Polly (Pauline William). Before trying to fathom out the alterations that
occur at the level of translation, we have to put the word ‘godlike’ in a context that
is germane to translational norms. The word describes Cholly who has been, at first,
a young man full of spirit and exuberance; however, he is subjected to significant
psychological trauma from both his biological father's disinterest in acknowledging
him and a group of armed white males who taunt and intimidate him. He, hence,
must navigate these challenges in order to persevere. The adversities sustained have
inflicted permanent damage to Cholly's will to survive. After the arson that
destroyed his home and resulted in the sexual assault of his daughter, he is
ostracised even more than other marginalised characters in his society.
In relation to TN, we can make a few observations. On the one hand, Hessein
in TT1 has translated the word ‘godlike’ to ‘‫ ’األثيرية‬which somehow weakens the
potency of the ST word. There is no doubt that in TT1 the translator’s decision to
refrain from translating ‘godlike’ as ‘‫ ’كاإلله‬or ‘‫ ’إلهي‬can be attributed to the centrality
of monotheism in the Islamic conception of God (Allah). The translational norms
expressed in TT1 exhibit the potential to indicate adherence (acceptability) to the
TC, which is primarily composed of Muslim Arab readers. The reason for this lies
in the possibility of a negative reception that a translation which is objectively
accurate, may generate, resulting in a reduced esteem for the novel. TT2, on the
other hand, raises two main issues: the translation of the words ‘godlike’ and ‘met’.

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Chirig, Bouziane and Zakhir Impact of Translator’s Gender and …

Firstly, TT2 of the word ‘godlike’ into Arabic as ‘‫ ’اإللهية‬is considered to be

excessive. This is because the translation not only implies a state of resemblance to
God, but also directly equates Cholly with God Himself. The aforementioned action
is considered inappropriate within Arab-Muslim culture. As Mutahhari states, “God
resembles nothing and nothing can be compared to God. God is the Absolute
without needs; all need Him; He needs none” (1985: 69). Consequently, we can
deduce that the TT2 exhibits inadequacy, thereby emphasizing Soultani's
unwarranted conformity to the norms of the source culture (SC), which is a concept
that Toury defines as adequacy. Secondly, the word ‘‫ ’قابل‬is subject to debate as it
may alter the contextual meaning of the text. Specifically, Morrison employs the
verb ‘met’ in a romantic context where two lovers meet each other for the first time
(namely, Cholly and his presumed match, Polly). TT2’s translator has inadvertently
diminished the romantic aspects of Cholly and his wife by utilizing ‘‫قابل‬,’ which
may be more appropriate in alternative contexts where such themes are not being
addressed. Notwithstanding, TT2 provides a context wherein ‘‫ ’قابل‬means ‘he
encountered’ (Malouf 1931), ‘he met someone face to face’ (Al-Arabiyya 1990),
and ‘he faced something and met it’ (i.e., he confronted it face to face) (Ibn
Mukarram 2010). All of this reveals that TT2 conforms to the discursive and
linguistic norms of the TC and is deemed acceptable within the parameters of the
TL.

6. Conclusion
This study provides an examination of the impact male translators have on the
Arabic translations of Toni Morrison's The Bluest Eye. Through the application of
Fairclough's Critical Discourse Analysis and Toury's Translational Norms, the
research highlights significant biases that can arise in the translation process,
especially when gender and cultural contexts intersect. The findings indicate that
male translators, in their attempt to navigate the complex themes of gender and race
in Morrison's work, often introduce alterations that may not align with the ST’s
intentions. These changes can range from subtle shifts in tone and meaning to more
pronounced omissions and modifications that reflect the translators' cultural and
ideological perspectives.
The analysis of paratextual elements, such as book covers and forewords,
reveals how these components can influence readers' perceptions even before
engaging with the text itself. The differing depictions on the book covers and the
presence or absence of forewords underscore the varying degrees of engagement
and interpretation by the translators. Additionally, the textual analysis demonstrates
how the translators' choices in word manipulation, and modality can significantly
impact the portrayal of characters and the overall narrative.
By focusing on the role of male translators, this study sheds light on the
potential for gender biases to infiltrate translations, thereby affecting the
representation of female authors and their characters. The use of CDA and TN
frameworks has proven effective in uncovering these biases and providing a partial
understanding of the translation process. The research also emphasizes the

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importance of cultural sensitivity and awareness in translation practices,

particularly when dealing with works that tackle sensitive themes.
Overall, this study calls for greater awareness and reflection among
translators regarding the impact of their own gender and cultural backgrounds on
their work. By fostering a more equitable approach to translation, particularly for
works authored by women, male translators can contribute to a more accurate and
respectful representation of diverse voices in literature.

Abdelkrim Chirig (Doctoral Candidate) - Corresponding Author

Applied Language and Culture Studies (ALCS)
Chouaib Doukkali University, El Jadida, Morocco
ORCID number: 0000-0003-2864-5532
Email: [email protected]

Karima Bouziane (Associate Professor)

Applied Language and Culture Studies (ALCS)
Chouaib Doukkali University, El Jadida, Morocco
Associate Researcher at CEOS.PP, ISCAP, Polytechnic of Porto, Portugal
ORCID Number: 0000-0003-1510-9087
Email: [email protected]

Marouane Zakhir (Associate Professor)

Applied Language and Culture Studies (ALCS)
Chouaib Doukkali University, El Jadida, Morocco
ORCID Number: 0000-0001-9303-3968
Email: [email protected]

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Chirig, Bouziane and Zakhir Impact of Translator’s Gender and …

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