Translating taboos presents an important challenge for the Iranian audio visual translators, and deleting them is the other censorial aspect regarding dominant social constraints. This research attempted to discover the prevailing strategies used in IRIB’s dubbed movies. To this end, the original English movies were compared with their dubbed Persian counterparts based on Sharifi and Darchinian's (2009) conceptual model. All along data collection, relying on a definite set of taboos, the 41 examples in the selected sample of three American movies were found and documented. In the present descriptive study, corpus based research is applied. After classifying the cases based on the theoretical model, taboos had been classified based on their moral, ideological, political, and social nature. The “deletion” strategy is the highest applied strategy in the translation of taboos with the highest frequency (71%). The second general strategy is “taboo to non-taboo” which includes 17%, the third general strategy is “taboo to taboo” with 9%, and the least general strategy for handling taboos is “euphemism” which is 3%. The frequency of the taboos in each of the movies, as well as their frequency in the entire corpus, was measured and discussed. General results and discussion are drawn to suggest future studies on taboo as a social and ideological phenomenon. Manuscript profile

Language and culture are closely interrelated and besides linguistic knowledge, cultural knowledge is crucial for a translator. Culture and linguistics specifically intertwine during poetry translation. To manifest this interconnectedness, the present study was focused on the poems of Parvin Etessami, a 20th-century Persian poetess, to determine the cultural elements in her poems and investigate their English translation. Eighteen couplets of Etessami’s poems were randomly selected to represent her poetry as a whole. The method was comparative-descriptive and the theoretical framework was based on Newmark’s (1988) strategies of translation. The concept of culture was studied within the paradigm of linguistics. The results of the analyses implied that in the majority of cases, Pazargadi resorted to two or more translation strategies for translating a cultural item simultaneously, indicating Newmark’s translation strategy of “couplets”. The second most frequent translation strategy was “modulation”. The translation strategies of “synonymy” and “reduction” were the least frequent ones. The strategies of “recognized translation”, “translation labels”, and “compensation” were not present in the selected samples. Hence, these strategies are not mentioned in the theoretical framework. The analyses indicated that the translator applied a literal translation besides different strategies to convey the intended meanings and preserve the style of the original poems. Manuscript profile