Translation in Oral History and Its Potential Pitfalls

Compiled by Hamid Ghazvini
Translated by Fazel Shirzad

2026-01-28

Translation has an ancient history, beginning when humans expanded their sphere of communication beyond their immediate surroundings, and its scope has increased day by day. This work has played a significant role in human development, the improvement of their lives, and the formation of human civilizations. Translators have not only facilitated human communication but have also contributed to the transmission of cultures, ideas, sciences, arts, literature, and knowledge throughout history. In fact, without translators, many scientific and cultural advancements would not have been possible. Therefore, translation can be considered something beyond the mere transfer of concepts from one language to another (it is an art infused with the translator’s taste, aesthetic sense, intelligence, and talent).

Throughout history, translators have created a platform for the interaction and convergence of civilizations through their work, because in translation, in addition to transferring the text into other communication systems, all extra-textual factors, including social and cultural elements, inevitably come into play.[i]

By this introduction, we turn to the question: What is lost or altered in the translation of oral history works, and what should be done to minimize the damage?

It is clear that in oral history, the narrator’s speech and diction are of the utmost importance. The text resulting from an interview (including words, sentence structures, emotions, pauses, emphases, and similar elements) forms a historical document. Oral literature is undoubtedly the mother of written literature and its progenitor. This perspective stems from the fact that humans began with speech, and whatever they saw, imagined, and uttered became words.[ii]

It is evident that the output of translating oral history, in any language, differs from the original text. Even modifications as simple as converting a narrator’s dialect to the standard dialect in a country’s formal literature face the same issue, because meanings, concepts, and words typically have a history and context in each language, and this very fact increases the complexities of translation. On the other hand, the grammatical rules of the source and target languages are usually different, leading to changes in the manner of expression. Some languages are verb-oriented, others noun-oriented, and some construct meaning through suffixes and prefixes. Thus, languages are not mirrors that can reflect a perfectly clear image of one another. Translation is, in essence, a form of interpretation and understanding by the translator from the source language to the target language.

We must not forget that many words, grammatical rules, and linguistic capacities are untranslatable into other languages. Many words have their own limited geographical scope; there are idioms defined in a specific region, tied to the speech frameworks and living environment of the people of that region, and elsewhere, a proper understanding and recognition of them is lacking, because meanings depend on specific culture, context, and usage. For this reason, not all phrases and idioms can be translated into another language, and the translator may inevitably be forced to omit certain words. Sometimes a word in the source language may have multiple meanings, and the translator may infer and include only one, while the selection of that single word may fail to convey the ultimate intent. Additionally, one of the challenges in translating oral history is the lengthening or shortening of the text compared to the original. For example, a sentence that was 10 words in the source language may be expressed in 7 words in another language. This very issue undermines the semantic framework, beauty, subtlety, and significance of certain words used by the narrator in the original text. Thus, we sometimes encounter texts where the volume of the original clearly diverges from the translated text.

Moreover, in every language, there are homophones that, when placed together, can create beautiful phonetic arrangements and evoke interesting meanings. For instance, if the narrator possesses captivating diction and rhetorical skill, all these structures are lost during translation. Additionally, some of the narrator’s emotions and moods during the interview are not conveyed after translation. Verbal fillers and certain emphases and repetitions are also omitted, such as “like,” “well,” “to be honest,” and so on.

Another contentious issue is the position of the translator. They are a central element in the translation process. Given that the translator is part of their surrounding cultural environment, they also play a pivotal role in the principles and practical methods of translation because the translator reproduces or recreates a text anew and introduces it into an environment and culture different from its original one.[iii] It is precisely at this point that the translator’s style comes into play. Every translator has their own preferences and techniques in their work, which are, so to speak, their signature, distinguishing their work from others, and this very fact leads to a departure from the original text. Of course, this does not mean that translators should not adhere to their own style; rather, the point is that the translator’s style can introduce changes into the structure of the original text.

It is not an exaggeration to say that when someone reads translated works, they are partly reading them through the translator’s diction. When sentences and words from one language are placed into the structures of another language, part of the narrator’s tone and voice is essentially lost within new forms and structures, and the new structures can symbolize the voice and tone of the translator.

All these points indicate that translation is a sensitive and challenging task. To better understand what happens along this path, we must reflect on the types of translation:

Free Translation: In this type, the translator focuses solely on fully conveying the concept and does not consider themselves bound to the structure and grammar of the source language.

Idiomatic Translation: In this method, the main message is conveyed through idioms, expressions, and sentences that do not exist in the original text, even though their content is similar.

Faithful Translation: here, the translator strives to translate accurately, adhering to the narrator’s grammar and diction with minimal difference.

Several Suggestions

As mentioned, one of the most difficult translations is that of oral history texts. Now, we must consider what approach to adopt for this task.

• The translator must be proficient in both the source and target languages and their grammar.
• They must be aware of the cultural idioms and semantic connotations of both languages.
• They must understand the inherent nature of the source language text. Because awareness of the inherent nature and terminology, as well as familiarity with the literature, history, geography, customs, social, political, and economic conditions, and all other layers of life in the source language society, are among the fundamental necessities of translation.[iv] For language is a living entity, constantly evolving.
• They must be well-acquainted with the narrator’s perspective to undertake translation with a clear understanding of their narrative. They must be able to discern the precise intention and purpose of the narrator in presenting each and every word.
• The translation must be culturally comprehensible to the audience.
• References to religious, political, and national symbols in the source language, which are abundantly observed in every oral history interview, must be presented in such a way that the audience in the target language gains a clear understanding of them and does not fall into misinterpretation.
• The writing style must follow the tone and degree of formality or colloquialism of the source text.
• The translator must have sufficient command of the specialized terms and expressions used by the narrator and be able to clarify them.
• The translator must possess the utmost precision, intelligence, and professional capability.
• The translator must strive to the highest degree in terms of fidelity and adherence to ethical principles during translation.

In the introduction, they should explain what characteristics the narrator’s diction possessed, what challenges they faced during translation, how they managed them, and what changes they were compelled to make in the text.

 

 
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