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Achieving high-quality translation for literary works poses a unique challenge for machine translation models. This study compares Hungarian translations of Antoine de Saint-Exupéry’s novella, The Little Prince , produced by two leading neural machine translation (NMT) services (DeepL and Google Translate) and two large language models (LLMs) (Google Bard and ChatGPT 3.5). While the NMT tools achieved decent accuracy, their outputs often lacked the nuance required to capture the text’s literary essence. Notably, our research addresses a gap in prompt engineering by investigating whether the LLMs’ performance could be enhanced by using tailored, genre-specific prompts based on literary style guides, in contrast to baseline zero-shot outputs. Interestingly, this approach led to significant improvements for Google Bard in punctuation, grammar, and the preservation of literary devices. Conversely, the same prompt negatively affected the quality of the translation generated by ChatGPT 3.5. These findings suggest that while genre-specific prompts can guide certain LLMs toward self-correction, their effectiveness is highly model-dependent.

Dubbing is the practice of replacing the original language of a film or TV show with a different language, and it is a common practice in Iran. Due to Iran's strict censorship regulations, scenes containing political or controversial content may be removed completely or replaced with more appropriate alternative scenes. This type of censorship can be applied more easily through dubbing since the dialogue can be changed without altering the visual content. However, fansubbing, a type of non-professional subtitling, has allowed Iranians to bypass these restrictions and access a wider range of media. Iranian fansubbers typically work on popular TV shows and films from countries such as South Korea, Japan, and the United States. Nevertheless, the Iranian Ministry of Culture and Islamic Guidance decided to grant permission to Iranian official and online video-service providers such as Namava and Filmio to subtitle overseas AV products.As the subtitling industry in Iran continues to grow and evolve, it is interesting to see empirically how the quality of the professional subtitles and fansubs differ. Furthermore, most Iranian studies in the field subtitling have only focused on the linguistic and cultural aspects. However, far too little attention has been paid to the reception of subtitling, particularly fansubbing, in the Iranian context, and it is not apparent empirically why Iranian fansubbers do subtitling and why Iranian audiences watch them. Finally, regarding the statement of the problem, this study investigates the following main problems: (a) there has been no empirical comparison between the quality of Persian professional and fansubs, (b) there has been no academic investigation of the motivations for subtitling among Iranian fansubbers, and (c) there has been no academic investigation of the reception of fansubbed television programs by Iranian audiences.Therefore, in this project, the following objectives are addressed: (a) to determine the quality of Persian pro- and fansubs, (b) to identify the main categories of motivations and reasons for subtitling among Iranian fansubbers, (c) to investigate the perceptions and attitudes of Iranian fansubbers regarding the quality of professional and fansubs, and (d) to investigate the perceptions and attitudes of Iranian viewers regarding the activity of fansubbing and quality of fansubs. This study explored the reception of non-professional translation among fansubbers and audiences of fansubbed programs in Iran. Furthermore, the Persian contextualized version of the functional iv equivalence, acceptability and readability areas (FAR) model was used to assess the quality of proand fansubs in the Iranian context.Since professional subtitlers often maintain a quality control process to ensure accuracy, consistency, and readability, the quality assessment results showed that professional subtitlers performed better than fansubbers in terms of functional equivalence, acceptability, and readability. The results of the interview and survey revealed that the low quality of the current official subtitling and dubbing in Iran can be attributed to a lack of respect and recognition for subtitlers. Additionally, they felt that the translators selected for the official translations were not solely based on their qualifications. In addition, there was a strong emphasis on providing free fansubs to users, and the reasons for translating for free included religious reasons, good intentions, and charges for official translation services.

Given the increasing pace of dissemination of cultural content across global borders, subtitling as a cost-effective solution for rendering audiovisual programs is gaining more popularity, even in societies, which have been traditionally using dubbing as the dominant modality for foreign films and television series. Likewise, various types of subtitling practices have developed and are used in Iran both at official and non-official outlets. While official dubbing has failed in some aspect in addressing the growing interest of Iranian viewers of foreign content, a variety of non-professional subtitling has been filling the gap, and subtitling appears to be dominating the audiovisual media market. Despite such developments, the necessities of professional practice of subtitling, including standardized guidelines, codes of ethics and practice, and training, have never been realized in Iran. In the absence of a professional subtitling tradition, this article presents the status quo of non-professional subtitling into Persian and introduces the specific typology of this practice in the Iranian mediascape.

Violations of research ethics including a varieties of plagiarism by students in Iran is a concern which has lately called promising levels of attention as rules are updated and better enforced and more awareness is being raised. As to deal with any problem, a full understanding of its nature is necessary, the current study focused on how a sample of Iranian students construe this phenomenon. To collect the necessary data, an original questionnaire with 34 closed-ended items included the most common instances of violations of research ethics was designed. The items included were mainly varieties of plagiarism identified in the literature. The items were narrowed down with reference to the qualitative data from focus group interviews with a purposive sample of Iranian graduate students. In the main phase of the study, using the questionnaire, quantitative data were obtained from the responses of 274 graduate students of translation studying in various Iranian universities. The findings revealed the participants did not have a fully accurate perception and appreciation of research ethics violation as they failed to distinguish ethically acceptable from unethical conducts. The contributing sample showed indifference to most ethical issues in scholarly publication. Translating a text and presenting it as one’s own in addition to text recycling were identified as the most severe instances perceived. The types, fraudulence, unacknowledged use, duplicate publication, misreferencing, excessive overuse were perceived the most severe to the least severe according to the sample. The typology and the findings on the severity of the types and instances were recommended to be used as an empirically supported guideline for curriculum design of academic writing courses in graduate programs in Iranian universities or similar contexts.