Jul 2026· NEWPORT INTERNATIONAL JOURNAL OF LAW, COMMUNICATION AND LANGUAGES· 0 citations
TL;DR
It is argued that AI translation should not be understood solely as a technological tool but also as a transformative force redefining literary production, reception, and cross-cultural communication.
Abstract
Artificial Intelligence (AI) has transformed the field of literary translation by introducing new possibilities and challenges in the translation of poetry and prose. This study examines the phenomenon of AI-mediated translation through the lens of Translation Studies, focusing on the dynamics of loss, gain, and the emerging aesthetics of machine voice. It explores the long-standing tension between fidelity and creativity and investigates how AI systems influence linguistic, cultural, and aesthetic dimensions of literary texts. The study identifies significant areas of loss, including diminished prosodic patterns, weakened sensory and emotional resonance, and cultural and intertextual gaps that affect the preservation of meaning and literary expression. Conversely, AI translation also offers notable gains, such as expanded multilingual accessibility, wider global circulation of literary works, enhanced efficiency, and the development of new hybrid literary forms. Furthermore, the study analyzes the concept of machine voice as a distinct aesthetic phenomenon that reshapes reader interpretation and challenges traditional notions of authorship and originality. Through theoretical analysis and comparative perspectives on AI- and human-mediated translations, the paper argues that AI translation should not be understood solely as a technological tool but also as a transformative force redefining literary production, reception, and cross-cultural communication. The study concludes that while AI introduces inevitable losses in literary translation, it simultaneously creates new forms of creative and interpretive possibilities that demand continued scholarly engagement.
Keywords: Artificial Intelligence Translation, Machine Voice Aesthetics, Literary Translation, Fidelity and Creativity, and Poetry and Prose Translation.
This paper examines the translation of metaphor and idiomatic expression in postcolonial Arabic literature through a comparative evaluation of human translation and Gemini 3.6 Flash. Focusing on selected examples from Ibrahim Nasrallah’s The Time of White Horses, the study investigates how figurative language encoded in cultural, social, and political experience is rendered in English, and how far the human translator and the AI system succeed in preserving meaning, imagery, tone, and narrative force. The analysis is guided by an integrated theoretical framework combining equivalence theory, domestication and foreignization, and narrative theory, allowing the study to assess translation at the lexical, cultural, and ideological levels. Using a qualitative descriptive-analytical comparative method, the paper studies a set of metaphorical and idiomatic expressions representing honor, kinship, land, resistance, religion, and colloquial speech. The findings show that the human translator generally preserves figurative force through context-sensitive paraphrase, image retention, or culturally informed reformulation, while Gemini 3.6 Flash often moves toward literal rendering, semantic narrowing, or partial domestication that reduces the richness of the original expression. In some cases, the AI output remains intelligible but loses the emotional and cultural density that gives the source text its literary power. The study concludes that, in postcolonial Arabic literary translation, human mediation remains essential for preserving figurative meaning and narrative positioning, while AI tools may serve only as preliminary support rather than as a replacement for human judgment.
Haitham Mohd Khair ALYousef· International Journal of Tra...· 0 citations
This study examines the semiotic modes of meaning-making in literary translation from the perspective of multimodal stylistics. Taking Bi Feiyu’s novel Massage and its English translation as a case study, this research finds that typographical choices reinforce the transmission of tone and the representation of characters’ psychological states; punctuation modifications reshape the rhythm of reading and literary effect; and spatial layout accentuates narrative emphasis through visual adaptation, thereby enhancing the narrative tension of the translated text. In addition, the cover of the English version constructs multimodal meaning through visual metaphor and typographic design, foregrounding the novel’s theme. The transformation of multimodal semiotic resources in literary translation exemplifies a process of multimodal repragmatization, while such semiotic reconfiguration enables multilayered meaning-making across cultural contexts. These multimodal translation strategies not only enrich the expressive potential of the translated work but also provide target readers with a multidimensional reading experience.
Yixuan Wu· Journal of Foreign Languages...· 0 citations
As a highly expressive rhetorical device in classical Chinese poetry, reduplicated words possess unique aesthetic value in semantic connotation, phonological rhythm and morphological presentation. However, due to the fundamental differences between Chinese and English linguistic systems, the English translation of Chinese reduplicated words has long been a difficult task in translation practice. This paper looks at two English translations of the famous reduplicative opening in Li Qingzhao’s Slow, Slow Tune. Using eco-translatology as its theoretical lens, it compares the translators’ choices, examining how each navigated the constraints of language, culture, and communicative effect. What emerges is a picture of translation as a dynamic balancing act—a process in which the translator constantly adjusts, compromises, and seeks the best fit within a complex web of forces. The findings offer a systematic way of thinking about how reduplicated words in classical poetry might be translated and evaluated more thoughtfully.
Xuri Shen· English Language Teaching an...· 0 citations
This paper explores the role of translation in shaping intercultural understanding and the transmission of literary heritage, focusing specifically on the translation of Azerbaijani classical poetry into English. Drawing on key theoretical perspectives in translation studies and historical examples of literary transmission, the study situates Azerbaijani literature within a global context. It traces early encounters with Azerbaijani poets such as Seyyid Imadaddin Nasimi and highlights the contributions of Orientalist scholars in bringing figures like Nizami Ganjavi, Muhammad Fuzuli, and Gazi Burhaneddin to the attention of English-speaking audiences. The paper discusses the challenges posed by the multilingual character of Azerbaijani literary production, especially the use of Arabic and Persian, and debates around the representativeness of translated works. Through a selective analysis of key translations and scholarly efforts, the article underscores the pivotal role of translation in elevating Azerbaijani literary aesthetics and calls for further research to ensure a more comprehensive global appreciation of its cultural and poetic legacy.
Translation plays a pivotal role in reshaping literary systems, introducing new linguistic structures, narrative techniques, and aesthetic tendencies into а given target culture. Advances in translation technologies and language services further strengthen this process, leaving a discernible imprint on the native language. From this perspective, the development of contemporary Bulgarian fiction may be examined through the dynamics of translated literature. Drawing on a brief analysis of statistical data on the publication of Bulgarian and translated literary works between 2006 and 2024, this article traces major shifts in the translation sector over the same period, with particular attention to technological and cultural transformations.
In the conclusions, tentative predictions concerning the potential impact of translation practices on the future of Bulgarian literature are presented, identifying key areas that warrant focused scholarly and cultural attention.
The article addresses the problem of overcoming the methodological gap in philological science concerning the lack of systemic analysis of the artistic potential of language. Amidst contemporary cultural transformations, digitalization, and the development of multimodal texts, there is an urgent need to create a comprehensive toolkit for interpreting innovative literary practices of the 20th and 21st centuries, where language manifests itself as an autonomous art object. The study aims to identify, structure, and systematize the key aesthetic devices of language based on the experimental prose of recent decades, as well as to develop an integrative methodological framework for analyzing language as an independent aesthetic category. The research is grounded in a synthesis of historical-literary analysis and the linguo-aesthetic approach. The authors integrate the tenets of formalism, structuralism, post-structuralism, and reception aesthetics, reviewing the evolution of linguistic expressiveness in retrospect — from ancient mimesis to avant-garde and digital practices. Data from corpus linguistics, cognitive science, and cultural studies are also employed. As a result, an integrative model of the aesthetic functions of language is proposed, which unifies the phonetic (alliteration, assonance), rhythmometric (pausing, intonation contours), semantic (metaphorization, polysemy, occasionalisms), and syntactic (inversion, parcellation) levels of the text into a single analytical matrix. The study substantiates the necessity of an interdisciplinary synthesis to investigate "cross-sign transitions" within the recipient's mind and creative products. The materials and findings of the article can be utilized in theoretical courses on philology, linguopoetics, semiotics, and discourse theory, as well as in the analysis of digital literature and performative practices.
T. Marazykov, S. Abdyldaeva· Bulletin of Science and Prac...· 0 citations