This study highlights the problems of translating Shakespeare's food and drink-related insults (henceforth FDRIs) in (Henry IV, Parts I&II) into Arabic. It adopts (Vinay & Darbelnet's:1950s) model, namely (Direct& Oblique) to highlight the applicability of the different methods and procedures made by the two selected translators (Mashati:1990 & Habeeb:1905) .The present study tries to answer the following questions:(i) To what extent the FDRIs in Henry IV might pose a translational problem for the selected translators to find suitable cultural equivalents for them? (ii) Why do the translators, in many cases, resort to a literal procedure which is almost not workable with such expressions. (iii)What is the main reason behind the high percentage of inappropriateness in translating FDRIs from English into Arabic? As for the main conclusions that the study has come up with, we can sum up them in the following points.(i) Most of the FDRIs are culturally bound expressions with cultural peculiarities making them very hard to be deciphered and translated even by experienced translators.(ii) Most of the FDRIs used by Shakespeare in his tragedy Henry IV, are very old and were his own inventions, a fact that makes them very difficult not only for the non-native speakers of English as the case with our translators (Mashati &Habeeb) but also for the native speakers. (iii) Finally, one can say that all the wrong and funny renditions were due to the wrong adopted procedures by (Mashati &Habeeb) , while the other successful renderings were as a result of their well-selected procedures that consider the cultural difference between the two languages.
وفي الحقيقة وأنا أكتب عن الفكر العمراني عند اليعقوبي وقفت وقفات طويلة أردت منها أن أحدد المجال الذي أبدع فيه اليعقوبي لكي أوسم موضوع بحثي، كأن أقول عنه الجغرافي أو مهندس أو رحالة أو أديب، لكني وجدته جغرافياً طبيعياً وبشرياً ومهندس بناءً عارفاً بمواد البناء وهندسة البناء وهندسة المساحة والطرق والجسور والهندسة المعمارية، لذا وجدته موسوعة لكل ما كان في عصره من العلوم، فضلاً عن كونه مؤرخاً، له مؤلفة المشهور ((
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Represents light a sovereign and importance in cinematography element of what possessed the physical characteristics make it a sharp image detail or opaque, or any other form as he wants the director, Valdu away from the main function, which emerged with the beginnings of cinema, any access to endanger the proper and good, the Alachtgalat dramatic and psychological are deepened performance lighting and functioned in adjacent with the shadows, all the two complement each other, which affects the image details or even the ability to express their personal depths or the social and psychological same place, and this prompted the researcher to determine the search in the following address: (employing lighting to express their personal duplica
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Much has been written about Baghdad in the history books and documents ,about the Origin of its call , Reality ,history ,peoples ,Rulers and all that have passed since the beginning of creation and so far...