Transletters. International Journal of Translation and Interpreting, 9(2025), pp. 1-24 ISSN 2605-2954

Translating paratextual elements in religious texts

The case of Shariati’s “Fatima is Fatima”

Amir Ghajarieh

Ershad Damavand University

Sepideh Rezadadeh

Ershad Damavand University

Received: 28/06/2025

Accepted: 19/10/2025

Abstract

Paratextual elements are important components of a successful translation. While they

were previously thought to be secondary to the main text, recent research has shown

how important they are in translation tasks. The concept was introduced by Genette

and divided into inner and outer paratexts. The translation of paratextual elements is

different for religious texts, mainly due to the particular beliefs and religious and

historical discourses behind them. The aim of this research is to understand the

effectiveness of paratextual translation and the strategies used in translating

paratextual elements in “Fatima is Fatima.” This study used Genette’s paratextual

framework, Shangzhen’s model and Baker’s narrative theory. The results show the

important role of translators in the successful mediation between the source text and

the reader in religious texts through the efficient use of strategies in the translation of

paratexts. An important intervention the translator of Fatima is Fatima could have

made was the inclusion of explanatory footnotes. This would serve as a significant

reflection of the translator’s voice, which is a crucial element in receiving the

translation of religious texts. To achieve better results, publishers need to play a

dynamic role in highlighting the inclusion of paratexuality in translated religious

works.

Keywords

Paratext, religious texts, specialized texts, translation, visibility.

Amir Ghajarieh, Sepideh Rezadadeh

INTRODUCTION

Recent scholarship in translation studies have expanded our understanding on

the crucial role of paratextual elements such as preface and translator’s notes in

translators’ visibility (Toledano-Buendía, 2013; Yari et al., 2020) These

elements serve as a mediator between the target text and the readers

(Hastürkoğlu, 2023). They can often be seen through the framing and

reframing of content and as noted by Batchelor (2018) are gatekeepers for

readers and has the capacity to alter the meaning of the text. Commonly

thought of as the periphery to the text, paratext has recently been recognized

as an active element impacting the way translated works are read and received

in target cultures (Xu, 2023). For instance, paratextual notes explain

intertextual references and contribute important knowledge about how

translators deal with the challenges of cultural and linguistic untranslatability

(Haroun, 2022; Mowafy & Mohamed, 2023). These elements may also reflect

on the translational strategies employed by the translators as cultural mediators

and the socio-political contexts in which the translators operate (Xu, 2023).

Gerard Genette’s (1997) idea of paratexts as mediating, liminal devices —

those that stand between text and reader— has enabled new frameworks for

consideration of complex relations between translated texts and their readers.

Grounded on this framework, recent studies have investigate paratextual

features in translation in particular, highlighting the paratexts of translated

works as a means to negotiate cultural differences and produce cultural

understanding and the interpretative choices of translators (e.g., Sariaslan,

2024).

Recent research has increasingly examined paratextuality across multiple

texts (e.g., Li & Tan, 2023; Mowafy & Mohamed, 2023). Because paratexual

elements is significant in relation to sacred and religious texts, such elements

should also be part of the investigation (Haroun, 2022). Religious texts abound

with elevated and cultural specific items that need to be explained and

annotated these items should be explained because they are so abundant

(Roodashty et al., 2023). While there are some studies on translated

paratexuality in religious texts, the lack of evidence about translated

paratextuality in religious translation texts from Persian with less diffusion

around the world shows that there is much room to focus on this research

topic. This absence is especially striking, in light of the growing prominence of

religious and cultural dialogue in our globalized society.

Translating paratextual elements in religious texts

The current study aimed to fill this gap and investigates paratextual

translation strategies with respect to Ali Shariati’s Fatima is Fatima as a

religious text. Further, drawing on a more recent body of scholarship on the

translator’s voice in shaping translated paratexts (e.g., Yalsharzeh et al., 2019;

Toledano-Buendía, 2013), this study examined the findings under Baker’s

(2006) narrative theory. Through this lens, the translator’s voice reflected in

footnotes and other intervention apparatus becomes more visible to depict the

source text meaning in a vivid picture for the readership. Guided by these

objectives, this research explores the following questions:

RQ1. What paratextual elements are present in the source text of Ali

Shariati’s “Fatima is Fatima,” and how do they function within the context

of the original Persian publication?

RQ2. What are the most frequent strategies employed in translating the

paratextual elements of “Fatima is Fatima” from Persian to English?

RQ3. How does the representation of transparetexuality reflect the

translator’s voice?

RQ3. How do translation students perceive the effectiveness and

challenges of translating paratextual elements in religious texts, particularly

in the case of “Fatima is Fatima”?

This research broadens our understanding of the role paratextual elements

play in translating religious texts. By focusing on Fatima is Fatima, this study

offers insights into challenges and translation processes associated with

translating religious texts. The findings can enhance Translation theory and

practice, especially when it comes to translating religious and cultural texts.

1. LITERATURE REVIEW

Gerard Genette’s (1997) work is seminal in the case of paratextual studies in

translated texts. Genette (1997) put forth the concept of paratext as a liminal

device, mediating the text’s entry into the readership’s mind. This has inspired

researchers to examine paratranslation as an important subfield of study in

translation studies. In 2012, Jose Yuste Frias first used the term paratranslation,

defining it as the translation of paratext from source language to target

language. This conceptualization has created new research opportunities by

inviting academics to think about the intricate process of translating the

surrounding paratextual elements in addition to the translation of the main

Amir Ghajarieh, Sepideh Rezadadeh

text. Particularly, paratexts present a distinct challenge when it comes to

religious texts. These problems are primarily caused by religious sensitivities

and the importance of cultural and historical differences in subtitles between

the target and source audiences. Religious paratexts often carry theological,

ritual, and cultural meanings that resist straightforward transfer. The concept

of paratexts is expanded to paratranslation (Tahir Gürçağlar, 2018) with a focus

on describing the time and space required to translate any paratexts (Yuste

Frías, 2012). Based on this extension, temporal and spatial dimensions of

paratranslation are important when it comes to religious text translation.

1.1. Paratextual elements in religious text translation

Paratextual issues surrounding the translation of religious texts have their own

unique challenges (Haroun, 2022). The studies of Kloppenburg (2013) and

Pleijel (2022) are valuable in highlighting the role of paratexts while focusing

on Bible or the New testament translations. The works demonstrate the

complicated dimension of paratexts in altering meaning beyond doctrinal

authority. As Pleijel (2022) notes, adding footnotes to the original translation

can reframe the source text as well as the primary translation. The emerging

scholarship on the authorial power of paretexts implies the importance of the

translator’s choice and their voice in reframing the original text based on the

target audience Den Hollander et al. (2020) also published a book series

covering broad investigations into paratranslation within Jewish and Christian

traditions. Their book chapters underline the historical depth in which

paratextual practices are rooted with regard to religious text translation,

following the ways in which different traditions have developed various ways

of framing and contextualizing sacred texts for new audiences. Such a historical

perspective can offer useful contexts for grasping current practices regarding re

ligious text translation.

While less extensively studied than Bible translation, the translation of

Islamic texts presents its own set of challenges and considerations. In Islamic

text translation, similar mechanisms exist. Saad (2020) analyzes paratexts in

Edip Yuksel’s English translation of the Quran, examining how paratexts

render contextual clues with historical, cultural, and exegetical elements. What

seems to be missing in most of these studies is the translator’s voice that

should be heard through translation of paratextual elements and adding new

footnotes as a facilitating apparatus to understand the message of the original

religious texts where the reader needs more contextual clues.

Translating paratextual elements in religious texts

1.2. Paratranslation studies in Translation Studies

Most research has focused on literary fiction, in line with Genette’s own

interest, but investigations have also focused on domains such as audiovisual

translation (Matamala, 2011) and news translation (Zhang, 2012). Many studies

combine paratextual analysis with textual analysos of the translations

themselves. As Tahir-Gürçağlar (2011) points out, examination of paratexts

shows how translations can be bridged between the translated texts and their

readership. While paratextual analysis cannot alone substitute for close reading

of the translated texts, as Batchelor (2018) notes paratext has the potential to

be examined beyond the authorship intention. Most researched paratextual

features include translators’ prefaces (Tahir-Gürçağlar, 2013), translators’ notes

(Lopes, 2012; Sardin, 2007), book covers (Harvey, 2003), forwords (Poldsaar,

2010) and paratext in world literature translation (Alvstad, 2012). Most of the

above-mentioned studies used Genette’s (1997) framework pragmatically,

setting aside the stipulation to focus on authorial intention and the translator’s

voice. Within the Iranian context, paratextual translation studies, though

relatively new, has garnered more interest. The research conducted by

Hosseinzadeh and Shahparrad (2018) applied Gerard Genette’s (1997) theories

to French translations of Dolatabadi’s fiction. Their findings showed that

studying translated paratexts helps understand the role that target culture plays

in shaping text reception. Their study aptly underlined the mediating function

of paratexts within cultural differences that shape reception.

Mazhari and Farjah (2018) focus on book covers and other forms of visual

paratexts while trying to set reader expectations. Their study underlines the

necessity of maintaining a relationship between paratextual elements and the

atmosphere of the book. One of the echoing words regarding the Iranian

paratranslation studies is the necessity of the cultural adaptation. Mazhari and

Farjah (2018) mention that “translating a book from a language to another

language is transition of a book from a linguistic-spatial-cultural fact into

another and while translating a book, paratextual elements will have changes”

(p. 69). This observation rhymes with the broader trends in the translation

studies, which put an emphasis on the cultural rather than merely linguistic

nature of translation.

Recent scholarship has also underlined the educational function of

paratextual elements across genres. Sariaslan (2024) notices that paratextual

elements in poetry translation play an educational role that increases the

awareness of the reader in terms of cultural and literary contexts. This

Amir Ghajarieh, Sepideh Rezadadeh

educational function is even more important in religious text translation, since

in many cases, paratextual elements have to fill great cultural and theological

gaps.

The role and persona of the translator in translating religious texts come

to fore as a key factor. According to Buendía (2013), translator’s notes are

paratextual features by which the translator’s voice may be rendered visible,

contesting the conventional notions of translators’ invisibility. The visibility

acquires added dimension in religious texts, wherein the translator has to

juxtapose faithfulness to religious information with the requirement of making

the religious text accessible to the readers of the target language.

2. METHODOLOGY

2.1. Design of the study

The approach used in this study is a qualitative research design based on a

descriptive case study. The research has also focused on the English translation

of Ali Shariati’s Persian Fatima is Fatima for studying the paratexts. This

served to bring about an analysis more closely related to how paratextual

elements were translated in order to affect the reception by their target

audience.

2.2. Participants

In the current research, 10 students studying translation studies at Ershad

Damavand University participated through convenience sampling. The

participants were graduate students or had passed at least one semester of the

Master’s program and were familiar with paratextual elements in translation.

The participants included 7 females and 3 males who were aged between 23

and 35 years old. All participants were native Persian speakers and had an

acceptable proficiency level in English.

Translating paratextual elements in religious texts

2.3. Corpus

The corpus of this research was Fatima is Fatima in its original Persian and in

its English translation by Laleh Bakhtiar. The source text, published for the

first time in 1971 by the Hoseiniye Ershad Publications, Tehran, is an extract

from Shariati’s lecture at Hoseiniye Ershad in 1971. It has to date been

republished multiple times and is a leading work in modern Islamic thought,

pertaining to women’s roles and identities in Islamic society. The original text

has been translated into English, Arabic, French, and Indonesian. The English

translation, published by The Shariati Foundation in 1981, is 129 pages long

and constitutes the first and most widespread English edition of the text. The

analysis of the corpus included all paratextual elements present in each of the

two versions.

2.4. Adopted analytical frameworks

The typology done by Genette (1997) of paratext lays the foundation of

analysis in this study. Being a general classification of either peritexts or

epitexts, this classification is useful to identify and further classify any form of

paratextual elements in a given translation. Shangzhen (2021), inspired by

Genette (1997), was used in the analysis as well. This framework considers

both textual and sociocultural dimensions of paratranslation, offering a more

comprehensive approach to understanding how paratexts function in

translated texts. Baker’s (2006) narrative theory provides another valuable lens

through which to analyze paratextual elements in translation. Applying Baker’s

(2006) narrative theory helped analyze how the different paratextual elements

contributed to the overall narrative framing of the translated text, as a way to

highlight translator’s visibility in the text.

2.5. Procedure

Initially, the corpus was analyzed by the researchers and all instances of

paratextual elements and their translations were recorded. After identification

and extraction of paratextual elements, the data were analyzed through the

models adopted for this study. Finally, focus group discussions were carried

out in order to provide insight into students’ perceptions about the translation

of paratextual elements in religious texts.

Amir Ghajarieh, Sepideh Rezadadeh

3. RESULTS

The analysis of paratextual elements in Ali Shariati’s “Fatima is Fatima” and its

English translation by Laleh Bakhtiar reveals significant insights into the

strategies employed in translating these elements and their potential impact on

the reception of the text in the target culture. This analysis is framed within

Genette’s (1997) conceptualization of paratexts and Shangzhen’s (2021)

paratextual translation strategies, while also considering Baker’s (2006)

narrative theory.

3.1. Inner paratextual elements completing directly

Inner paratextual elements, as defined by Genette (1997), are those found

within the book itself. These can be further categorized into two groups:

elements that complete the text and elements that exist in the book but do not

directly complete the text.

3.1.1. Elements completing the text

Table 1 presents a comparison of the inner paratextual elements that complete

the text in both the Persian original and English translation. A detailed analysis

follows below.

Paratextual

Element

Frequency

Persian Sample

English

Translation

Pseudonym

ﻋﻠﯽ ﺗﺨﻠﺺ ﺷﺎ ﻧ ﺪل

(Ali’s pen name was

Shandel)

Shundle

Preface

آﻧﭽﮫ ﻣﯽ ﺧﻮ اﻧﯿﺪ ﺳﺨﻨﺮاﻧﯽ

ﻣﻦ ا ﺳﺖ در ﺣﺴ ﯿ ﻨ ﯿ ﮫ ی

ارﺷﺎد )ﺻﻔﺤﮫ ١۵، ﭼﺎپ

ﺷﺎ ﻧﺰدھﻢ(

(Back translation:

What you are

reading is my speech

at Hosseiniyeh

Ershad (page 15,

16th edition).

The words

you are about

to read are

from a lecture

I gave at

Hoseiniyyeh

Ershad…

(Page 1)

Intertitle

Translating paratextual elements in religious texts

Note

ارﺷﺎد )ﺻﻔﺤﮫ ﺣﺴﯿ ﻨ ﯿﮫ

١۵، ﭼﺎپ ﺷﺎﻧﺰدھﻢ(

(Back translation:

Ershad

(Hosseiniyeh, page

15, 16th edition))

A Hoseiniyyeh

is a traditional

religious

center where

the people

gather to see

passion plays,

in particular,

those related

to the third

Shi’ite

Imam… (Page

Epilogue

ﻓﺎطﻤﮫ اﯾ ﻦ ﭼ ﻨﯿﻦ ز ﯾﺴﺖ و

اﯾﻦ ﭼﻨﯿﻦ ﻣﺮد و ﭘﺲ از

ﻣﺮﮔﺶ )ﺻﻔﺤﮫ١٨۶(

(Back translation:

Fatima lived this

way, died this way,

and after her

death… (Page 186)

Fatemeh lived

like this and

died like this.

After her

death… (Page

286)

Translator

Notes

ﻣﺠ ﺘ ﮭ ﺪ ا ن

(Back translation:

Mojtahedan)

Mujtahids

(religious

leaders whose

directions for

the practice of

the faith are

followed)

(Page 46)

Postscripts

Characters

165

160

ﻧﺎم ا ﺷﺨﺎص ﺑﮫ ﺧﺼﻮص

ﻧﺎم ھ ﺎی ﻣﺬھ ﺒﯽ زﯾﺎدی در

اﯾﻦ ﮐﺘﺎب آورده ﺷﺪه اﺳﺖ

)ﻓﻘﻂ در ﭼﺎ پ ﺷﺎﻧﺰدھﻢ

اﻧﺘﺸﺎرات ﺳﭙﯿﺪه ﺑﺎ وران،

از ﺻﻔﺤﮫ ٣٠۴ ﺗﺎ ٣٠٨

ﻟﯿﺴﺘﯽ ﺑﺮای ﻧﺎم ھ ﺎ ﺗ ﮭﯿﮫ

ﺷﺪ ه ا ﺳﺖ(

(Back translation:

The names of

individuals,

All the names

are translated

the same

without any

explanation.

Example:

Zainab,

Fatima

Amir Ghajarieh, Sepideh Rezadadeh

especially many

religious names, are

included in this

book). (Only in the

16th edition by

Sepideh Bavaran

Publications, a list of

names has been

provided from pages

304 to 308)

Table 1. Inner paratextual elements glossing over the text

Pseudonym

The pseudonym “Shundle” is directly transliterated without explanation,

potentially obscuring its significance for target readers. This approach aligns

with Genette’s (1997) concept of paratexts as thresholds of interpretation, but

the lack of context may limit its effectiveness. From Baker’s (2006) narrative

perspective, this omission could impact the construction of the author’s

persona for the target audience.

Preface and Epilogue

The relatively successful translation of the preface and epilogue maintains their

function as described by Genette (1997). Preservation of the author’s framing

contributes to narrative coherence: the framing allows the reader important

context in which to place the text. This also agrees with Baker (2006).

Notes and translator’s notes

The treatment of notes is also inconsistent, with some source text notes

missing while others have been elaborated on. This extended note on

“Hoseiniyyeh” itself indicates cultural adjustment (Shangzhen, 2021), but its

arbitrary use may give target readers a different landscape. It will affect the

understanding of cultural and religious concepts by the readers, which is

significant in translating religious texts.

Character names

The lack of explanatory notes for character names, particularly religious

figures, contrasts with Shangzhen’s (2021) recommendation. This might be

difficult for readers who are not familiar with Islamic religious figures which

Translating paratextual elements in religious texts

could change how the story is framed and how readers understand the roles of

the characters in the text. From a narrative perspective the degree to which

readers interact with a text may be affected by the onomastic name approach

put forth by Baker (2006). The loss of cultural weights and symbols from the

original culture during translation may have a negative impact on how a text is

framed and how readers perceive the significance and role of its characters.

3.1.2. Inner paratextual elements not directly completing the text

Table 2 presents the paratextual elements not directly completing the text.

Paratextual

Element

Frequency

Persian

English

Translation

Title

ﻓﺎطﻤﮫ ﻓﺎطﻤﮫ ا ﺳﺖ

(Back translation:

Fatmeh is

Fatemeh)

Fatima is

Fatima

Subtitle

Dedication

ﺑﮫ روان ﻣﺎدرم،

زھﺮ ا _ آ ﯾ ﻨ ﮫ ی

»ا ﻓ ﺘ ﺎدﮔﯽ«،»ﻋﺎطﻔﮫ«و

»ﭘ ﺎرﺳﺎ ﯾﯽ«_ا م زﻧ ﺪﮔﯽ

ﮐﮫ ھﻤﮫ ﺑﺮا ﯾﺶ،

»ر ﻧ ﺞ«و وﺟﻮ دش

ﺑﺮا ﯾ ﻢ، ھﻤﮫ »ﻣﮭﺮ »

(Back translation:

To the soul of my

mother, Zahra -

the mirror of

‘humility,’

‘compassion,’ and

‘piety’ - my life,

everything was

‘sacrifice,’ and

very being was,

for me, pure ‘love’

To the spirit

of my

mother,

Zahra, the

mirror of

humility,

emotions, and

chastity, for

whom life

was only

sorrow, while

her existence,

for me, was

all kindness

(Page 1)

Foreword

When the

earth is

shaken with a

Amir Ghajarieh, Sepideh Rezadadeh

mighty

shaking, and

earth brings

forth her

burdens, and

man says,

‘what ails

her?’ Upon

that day she

shall tell her

Lord has

inspired

her… (Page

Epigraph

Afterword

Table 2. Paratextual elements not directly completing the text

According to Table 2, these paratextual elements include Title (maintained in

both versions), Dedication (expanded in the English version), and Foreword

(added in the English translation).

These frequency differences displayed in Table 1 and Table 2 highlight

significant shifts in paratextual strategies between the source and target texts,

particularly in the treatment of dedication and foreword.

Title

The title “Fatima is Fatima” is a literal translation from the Persian one. The

repetition inherent in the source text due to the literal translation was kept in

the target text, which has valuable meaning in the source culture. However, this

title will doubtless be less meaningful without further context to target readers

who are unfamiliar with the cultural and religious significance of Fatima within

Islamic tradition. This is a function of Baker’s (2006) notion of narrative

framing in which such paratextual elements contribute to the overall narrative

presented to the reader.

Translating paratextual elements in religious texts

Dedication

The dedication is translated relatively faithfully, preserving its emotional and

personal nature. That the author retains this personal narrative is consistent

with Baker (2006), who writes that personal stories form part of larger

narratives. The dedication provides some background into the author’s

personal motivations and relationships, perhaps framing the way the reader

perceives the author and the text.

Foreword

The foreword in the English translation is considerably different from the

Persian original. While the Persian version refers to different forewords in

various editions, the English version opens with a quote that appears to be

from the Quran. This variation in the foreword constitutes a significant change

in the paratextual framing of the text. According to Genette (1997), the

foreword is an instrument of control which ensures that the text is read

correctly. Here, the change in foreword may well have the effect of redefining

the source text for this readership, now squarely indicating that it is a religious

text, where the source text only gave that as an impression.

Absence of subtitle, epigraph, and afterword

It is also possible to observe the absence of the subtitle, epigraph, and

afterword in both the source and target texts. This is important because these

items give some context to the text in general. Their absence might have been

intentional on the part of the author and preserved by the translator, possibly

affecting the approach and interpretation that the readers of both cultures will

give to the text.

3.1.3. Inner paratexts as publisher’s duty

Table 3 shows the paratextual elements related to book presentation.

Amir Ghajarieh, Sepideh Rezadadeh

Paratextual

Element

Persian

English Translation

Cover

The first edition of

Fatima is Fatima book

has a white cover with

green writings (Name

of the book) and at

the bottom of the

cover is the author’s

photo along with his

name.

The first English edition of this

book was published in 1982 by

the Shariati Foundation. The

cover’s color is green, with Ali

Shariati’s name written at the top,

the book’s name in the middle,

and the translator’s name and

publication at the bottom.

Back Cover

Not specified

Inside

Cover

Not specified

Design

Soft paper cover

Price

The new price:

110,000 toman (2

dollars). The first

price of this book was

75 rials.

The new price is 52.41$, but older

prices are unavailable.

Table 3. Paratextual elements related to book presentation

Cover design and paratextual elements

A translated work’s front and back covers are important paratextual

components that act as the texts first point of contact with potential readers in

the target culture. Shangzhen (2021) highlights how important these

components are in forming readers’ initial perceptions and affecting the target

markets acceptance of the translated work. According to Gudinavičius and

Šuminas (2018), cover designs are at least partially important in presenting the

text to new readers. The cover design of the English translation of Fatima is

Fatima which reflects the original Persian editions simplicity seems to have

taken a minimalist approach.

Book design and selection of materials

The material used for the books cover and binding is an important paratextual

choice that can affect how the book is presented physically as well as how

readers view its worth and content. The original analysis highlights the

differences between soft and hard covers in terms of production costs and

durability. In addition to being driven by cost and production efficiency the

Translating paratextual elements in religious texts

decision to continue using a soft cover for the English translation may also

affect the books perception in the target literary audience.

Pricing strategies and market positioning

The significant price gap between the Persian original and the English

translation gives cause for reflection on market position and accessibility. The

highly increased price in the initial analysis may be interpreted in a perspective

related to Sapiro’s (2010) work on the economics of translation in the global

book market. What this price disparity may account for is differences in

production costs, market research, and value perceived in the target culture.

However, such a steep price rise might render the text inaccessible to wider

readerships in the target culture and thus affect its dissemination and reception.

Outer paratextual elements

The outer paratexts, according to Genette (1997), which Shangzhen (2021)

further developed, are those that separate the main text yet relate to it. These

elements are crucial in shaping reception and interpretation within the target

culture. Outer paratexts are, therefore, important in influencing the readership

and meaning-making from translated works. Shangzhen’s (2021) definition of

such elements, for example, follows what Genette (1997) originally termed as

epitexts. Media comments, reader reviews, and interviews with an author or

translator form crucial sites that not only preface but also position the status of

the translated text within a target culture. Tahir-Gürçağlar (2002) adds weight

to the role these elements may have in establishing “concepts such as

authorship, originality and anonymity which are only covert in translations

themselves” (p. 44).

Media reviews

Interestingly enough, a very limited number of international newspapers and

programs reviewed “Fatima is Fatima” after its English translation. This

compares with, for example, the number in Iranian media, like the Jam-e-Jam

newspaper. It would, therefore, appear that minimal international media

involvement occurred and may reflect the content presented in the book did

not agree with international standards. This accordingly limits the proliferation

and intended messages of the author and the translator.

The absence of media voices about the book in the target culture

significantly hampers visibility and a feeling of relevance to prospective

readers. This absence can limit the book’s potential to either be reinforced or

challenged by preheld narratives of the target text culture (Baker, 2006) on the

Amir Ghajarieh, Sepideh Rezadadeh

part of the media, particularly in regard to Islamic women’s roles or Iranian

thought. Reviews of the media and cultural reception. The difference in the

reception of the way Fatima is Fatima in the source culture (as attested to by

the original analysis) and in the target culture is an analysis of the type of

reception the translation received in the way of media coverage. While the

analysis of the original piece through the media mentions in source culture and

target culture only goes to prove that cultural and ideological factors play a role

in determining how a translation will be received, it was very limited to the

attention received by the text in the target culture due to its lack of press

coverage. The main argument of the text is culturally specific, not constituting

a part of the dominating discourses of the target culture(s), so it is not

surprising this argument did not draw attention in cultural products of

whatever genre published in a language other than English.

Reader reviews and reception

The analysis of reader reviews on social platforms like Goodreads, for

example, serves as a way to get some insight into what the reception was like

among individual readers for the translation. The findings presented in the

original text give evidence of a mostly positive reception among those engaging

with the text. This number, however, is significantly low compared to more

popular translations, which would suggest relative low readership. This can be

understood within the perspective of Harding and Carbonell Cortés (2018) on

cultural dynamics of translation reception. It could be due to a host of reasons,

including marketing strategies, distribution channels, or the specialized nature

of the content of the text.

3.1.4. Application of Baker’s narrative theory to paratextual elements

The translator’s inadequate use of explanatory notes was seen in the addition

of one translator’s note, which illustrates what Baker (2006) describes as

“narrative positioning,” implying inability to negotiate between cultural and

religious ideas through appropriate use of the translator’s voice.

The fact that the foreword is expanded in the English translation by the

inclusion of Quranic verses is a good example of Baker’s (2006) temporal and

spatial framing. This paratextual decision situates the text squarely within

Islamic tradition. The translator’s decision to retain some Arabic terms in their

original form in the translation constitutes what Baker calls “selective

appropriation.”

Translating paratextual elements in religious texts

Most striking, however, is the way in which the paratextual structure

engages in what Baker (2006) has described as narrative accrual. Translator’s

notes, explanatory footnotes, and cultural annotations all combine

incrementally to provide a metanarrative that posits Fatima not solely as an

historical religious figure but also as a model for contemporary Islamic feminist

discourse. The design of the cover and presentation decisions in the English

translation reveal Baker’s (2006) idea of framing by labeling. Such a decision, if

made with the purpose of active intervention can lead to new paratextual

framing.

Character names and religious terminology in the paratextual elements

show how Baker’s (2006) “relationality in narrative construction” has been

treated. Keeping the Arabic names allows the translator to establish the logical

relation between the micronarrative and the whole narrative of the source text

as a religious one. This way, therefore, the text is able to preserve its religious

authenticity, yet be less accessible to the target readers who are unfamiliar with

the Islamic history and traditions.

3.2. Focus group results

The focus group discussions with translation students from Ershad Damavand

University yielded rich insights into their perceptions of translating paratextual

elements.

Theme

Frequency

Cultural Adaptation Challenges

Preservation of Religious Integrity

Translator’s Visibility

Target Audience Considerations

Paratextual Elements as Educational Tools

Balancing Fidelity and Readability

Cover Design and Marketing Implications

Table 4. The most frequent themes from the focus group discussions

Amir Ghajarieh, Sepideh Rezadadeh

Cultural Adaptation Challenges

This theme which showed how difficult it is to modify culturally specific

paratextual elements for a target audience appeared most frequently.

Participants frequently voiced worries about how hard it is to communicate

cultural quirks without simplifying or distorting the original culture. For

example:

“The task at hand involves translating an entire worldview not just a few

words. Without writing a lengthy essay in the footnotes how can you

communicate the cultural significance of terms like

Hoseiniyyeh?”(Participant 3)

Preservation of Religious Integrity

Participants often referred to a number of instances where it was felt that

religious integrity was compromised in order for the source text to be better

understood by the recipients. This theme was closely linked to the unique

issues surrounding religious texts in translation.

“When we translate religious texts, such as ‘Fatima is Fatima,’ we are

obligated to preserve the spiritual significance. It’s not just a translation;

it’s something so sacred.” (Participant 1)

Translator’s Visibility

The role and visibility of the translator in the paratextual elements were

discussed. The participants debated ethical issues about translator interventions

and to what extent translators should be visible in religious text translations.

“The presence of the translator should in my opinion be more apparent in

religious texts particularly in the paratexts. Our interpretations and

decisions must be open and honest.” (Participant 2)

Consideration to Target Audience

The participants very often mentioned considering the target audience as

important when it came to the translation of paratexts, especially for religious

texts where the cultural affinity between the source and target texts is

substantially distant, thereby intensifying the translator’s need to mediate

meaning.

“We need to know exactly who we are translating for: Are they familiar

with Islam? Are they religious scholars or general readers? These are the

things that should really guide our paratextual strategies.” (Participant 4)

Translating paratextual elements in religious texts

Paratextual Features as Teaching Devices

Several respondents felt that the paratext features may even become some kind

of teaching tools-particularly in religious writings-which can present a reader

with things that a receptor may be poorly aware of.

“I see paratextual elements as a bridge between cultures. They are not just

explanatory, but educational. We have a chance to broaden readers’

horizons.” (Participant 5)

“In translating ‘Fatima is Fatima,’ the paratexts could be a powerful tool

for introducing the non-Muslim reader to key Islamic concepts. It’s an

opportunity we shouldn’t waste.” (Participant 2)

4. DISCUSSION

The translation of religious texts must navigate source and target culturally

specific elements in more complex manners. The way that the translator

treated religious terms and character references in Fatima is Fatima is at times

both an interesting departure from common practice. Such unevenness could

reflect variations in the difficulties of translation based on various genres. In

religious texts, based on the findings of this study, one can argue that

“translator’s notes as paratextual elements,” as Buendía (2013, p. 149) observes,

are an important tool that enables readers to better understand the translated

text. Adding a single note in the English edition, as opposed to 20 in the

Persian original acts as an evidence of passivity on the translator’s side to

afford her voice that bridges between cultures a proper reflection of her work.

The findings also raise interesting questions about the balance of

translator visibility against textual authority, in religious contexts where a

religious value is already assigned to the source text. By Baker’s (2006)

narrative theory, the translator failed to refract and place the text

simultaneously as a religious text, a feminist discourse, and a work of cultural

bridge-building. This somewhat explains the very little international media

coverage of the English translation.

We found as an important insight from the focus groups —something

that is hardly mentioned in the related literature— that working on religious

texts puts an extra burden on translators. That means they felt not only a duty

to accuracy of meaning conveyed, but also to religious integrity, in making the

Amir Ghajarieh, Sepideh Rezadadeh

text accessible to a new audience. It highlights the importance of specialized

training and support for translators of religious texts. The minimalist choice of

the cover in the English translation stirs some serious questions on marketing

and presentation of religious texts in translation. While Mazhari and Farjah

(2018) emphasize the significance of cover design in shaping what readers

expect and anticipate, the present study argues that there should be a

presentation style characterized by visual elements dedicated to various genres,

including religious texts. What is challenging is how it should strike a balance

between respectful presentation and attracting target readers.

The translator’s subtle interplay of footnotes and explanations performs

more than merely translation between the Islamic and Western intellectual

systems of theology and philosophy. This extends earlier conceptual framing

that addressed paratranslation by its cultural and linguistic attributes.

In this unexpected and crucial sense, a pattern of regularities was

established regarding intertextual references. In terms of Tahir-Gürçağlar’s

(2002) assumptions paratexts have a significant role in production and

reception of a text. According to our findings, these paratexts in religious texts

need much more attention when being rendered to other languages. In the case

of Shariati’s book, the author has given space to his personal and theoretical

reflections on women in Islam through his reference to Fatima. This important

feature of the original text was not mentioned or reflected in the paratextual

elements of the translated text. The failure to do so has a detrimental effect on

the reception of the translated text.

CONCLUSIONS

The study has illustrated the intricate problems of translating paratextual

elements in religious texts, focusing on Ali Shariati’s “Fatima is Fatima” as the

corpus. The results highlighted the influence paratextual devices on how

translated religious works are both received and interpreted in target cultures.

The analysis based on Baker’s (2006) narrative theory revealed how the

translator's underuse of explanatory notes and incoherent cultural mediation

affected the level of accessibility of the text in the target culture and its

reception with translator’s voice barely heard through adding footnotes part of

the paratranslational intervention apparatus.

Translating paratextual elements in religious texts

Nevertheless, some limitations should be acknowledged in this study. The

generalizability of the findings in this study is limited to one text and one

translation pair. Meanwhile, due to limited access to the reception data and

primarily a reliance upon the online platforms available, the scope of this study

was limited to shed more light on how the target audiences engage with the

paratextual features of the translated text. This study has significant

implications in translation studies because religious texts have a unique

translation dynamic, and spiritual and doctrinal considerations complicate

translation. The study also suggests the pre-established paratextual translation

approaches and models require revisions to fit religious texts.

The study highlights the need for more specific approaches to handling

religious paratexts, such as a consistent explanation of religious concepts in

translation, alongside an effective visual presentation of religious concepts in

translation. Comparative studies of paratranslation practices could enrich

future research in this area. Such studies could help address some of the

current limitations of this research by examining a larger corpus containing

retranslated texts. A study of digital paratexts of religious texts may also further

elucidate some of the ways new technologies may foster religious and cultural

differences in religious texts. Considering the growing awareness of religious

and cultural diversities worldwide, research in translation of religious texts

holds tremendous potential to raise the translators’ awareness regarding the

practical ways to render these texts more accessible, thereby furthering

intercultural and interfaith dialogue and understanding.

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ACKNOWLEDGEMENTS

The authors would like to thank the participants of this study in the focus group.