An-Najah National University 

Faculty of Graduate Studies 

 

 

 
 

 
 

The Translation of Proper Names in 

Children's Literature from English into 

Arabic  

 

 
 

 
By 

Sana Issa  
 

 
 
 

Supervisor 

Dr. Bilal Hamamra  
 

 

 
This Thesis is Submitted in Partial Fulfillment of the 

Requirements for the Degree of Master of Applied Linguistics 

and Translation, Faculty of Graduate Studies, An-Najah 

National University, Nablus, Palestine.   

2019 





iii 
 

Dedication 

    To my Parents, who supported me in every step of the way, and who 

provided me with immense love and care parents could ever give.  

   To my brother and sisters, who showed great encouragement for me 

throughout my study. 

   To My supervisor Dr. Bilal, who offered excellent guidance and 

foresight throughout the work of my thesis. 

   To my professors at An-Najah National University, from whom I 

gained great knowledge during my B.A. and M.A. 

  To those who never stopped dreaming and who believed that they 

can do the impossible. 

 

  



iv 
 

Acknowledgment 

Praise be to Allah who bestowed me with His many blessings, and 

who granted me the ability to reach this far.  

I would like to sincerely express my gratitude to my supervisor, Dr. 

Bilal Hamamra. I truly appreciate the time and effort he spent not only 

while working on my thesis but also from the beginning of this journey. 

Through his insight and encouragement, this work became possible. 

I want to thank my friends and colleagues who showed tremendous 

support throughout my graduate study. I am eternally grateful for their kind 

words and advice they have given me, and for being by my side when I 

needed them. 

I would like to extend my appreciation to my professors at An-Najah 

National University for everything they taught me throughout my 

undergraduate and graduate studies.    

Finally, I can‘t thank enough my family who supported me the most 

on every step of the way. This achievement would not be possible if it were 

not for their encouragement and sincere love they have given me.   

 

  





vi 
 

Table of Contents 

Subject Page 

Dedication iii 

Acknowledgments iv 

Declaration  v 

Table of Contents vi 

List of Tables viii 

Abstract  ix 

Chapter One: Introduction 

1.1 Cultural items and Proper Names in Harry Potter 2 

1.2 Purpose of the Study 4 

1.3 Statement of the Problem 5 

1.4 Questions of the Study 5 

1.5 Significance of the study 6 

1.6 Methodology 6 

Chapter Two: Theoretical Background and Literature Review 

2.1    The Definition of Children‘s  Literature 9 

2.2    Children‘s Literature and its translation in the Arab World: 

Literature Review 
11 

2.3     Proper Names and their Nature 16 

2.4     Proper Names, Humor and Wordplay in Harry Potter 20 

2.5   Theoretical Models to the Translation of Proper Names in 

Children‘s Literature 
25 

  2.5.1 Gote Klingberg‘s Model (1986) 25 

  2.5.2 Lawrence Venuti‘s Model (1995) 29 

Chapter Three: Data analysis: Translation of Proper Names 

3.1   Translation of Proper Names Related to the English and 

Western Society 
32 

3.1.1 Personal Names 33 

3.1.2 British Places Names 34 

3.1.3 British Food Names 35 

3.1.4 British Title Names and Nicknames 36 



vii 
 

Subject Page 

3.1.5 Animal Names and Names of Creatures from 

Mythology 
39 

3.1.6 Names of Spells from Foreign Language 40 

3.1.7 Names of Holidays 41 

3.2     Translation of Invented Names 43 

3.2.1 Invented Foods and Drink Names 45 

3.2.2 Invented Place Names 50 

3.2.3 Invented Titles and Nicknames 54 

3.2.4 Invented Animal Names and Magical Creatures 56 

3.2.5 Invented Ghost Names 57 

3.2.6 Invented Magical Plants 58 

3.2.7 Invented Names of Potions 58 

3.2.8 Invented Books Title and School Subjects Names 59 

3.2.9 Invented Objects‘ Names 61 

3.2.10 Invented Wizard‘s Currency 64 

3.2.11 Invented Games 65 

Chapter Four: Conclusion & Recommendations 

4.1     Conclusion 68 

4.2     Recommendations  72 

 References  75 

 ة اٌٍّقٔ

 

 

 

 

 

 



viii 
 

List of Tables  

Table No. Title   Page 

Table (1) Translation of Personal Names 34 

Table (2) Translation of British Food Names 35 

Table (3) Translation of British Title Names and Nicknames 36 

Table (4) Translation of Animal Names and Names of 

Creatures from Mythology 

39 

Table (5) Translation of Spells Names from Foreign 

Language 

40 

Table (6) Translation of invented Foods and Drinks  46 

Table (7) Translation of Invented Place Names 51 

Table (8) Translation of Invented Titles and Nicknames 54 

Table (9) Translation of Invented Animal Names and Magical 

Creatures 

56 

Table (10) Translation of Ghost Names 57 

Table (11) Translation of Invented Magical Plants 58 

Table (12) Translation of Invented Names of Potions 58 

Table (13) Translation of Books Title and School Subjects  59 

Table (14) Translation of Invented Names of Objects 61 

Table (15) Translation of Invented Wizard‘s Currency 64 

 

 

  



ix 
 

The Translation of Proper Names in 

Children's Literature from English into 

Arabic  

By 

Sana Issa (Qazmouz) 

Supervisor 

Dr. Bilal Hamamra  

Abstract 

      This study focuses on the translation of proper names in children 

literature taking Harry Potter and the Prisoner of Azkaban as a case study. 

A descriptive study is conducted for the data collected from the English 

source text, Harry Potter and the Prisoner of Azkaban, and its official 

Arabic translation. It investigates the procedures used by the Arab 

translator, Ahmad Hasan Mohammed, and the problems that resulted from 

the use of some translation procedures that the translator employed. 

Klingberg‘s (1986) model for the translation of cultural items is used for 

the analysis of procedures. The study also focuses on examining the 

invented names by J.K. Rowling, the author of the Harry Potter series. The 

analysis in chapter three shows that the translation falls within Venuti‘s 

(1995) concepts of domestication and foreignisation. While most proper 

names relating to the English and Western culture are foreignised, the 

invented proper names are domesticated. Furthermore, the researcher 

contend that the deletion of some invented names affects the plot 

development. While Mohammed deletes some of the invented names, he is 

also inconsistent in his translation of invented names and his use of 

translation strategies.  



1 
 

 

 

Chapter One 

 Introduction 

1.1. Cultural items and Proper Names in Harry Potter 

1.2. Purpose of the Study 

1.3. Statement of the Problem 

1.4. Questions of the Study 

1.5. Methodology 

 

 

 

 

 

  



2 
 

Chapter One 

 Introduction 

1.1 Cultural Items and Proper Names in Harry Potter: 

    The translation of cultural items in literature has been an essential 

issue in translation studies. Cultural items are bound to a specific culture, 

thus finding equivalences for them in another culture is problematic. They 

include proper names, names of food, customs, currency…etc. Sometimes, 

these culture-bounded items may be lost in translation, which may or may 

not be acceptable according to the type of the translated text. Accordingly, 

a translator should adopt different strategies in translating cultural terms, 

depending on the context in which they are used. Children literature, the 

subject of this thesis, is an example of a genre that is saturated with cultural 

items, especially proper names, which is the main focus of this research. 

According to the Oxford Dictionary, a proper noun ―is a name that 

identifies a particular person, place, or thing, e.g. Steven, Africa, London, 

Monday. In written English, proper nouns begin with capital letters‖. In 

this thesis, the focus is on studying Ahmed Hasan Mohammed‘s translation 

of proper names in J. K. Rowling‘s Harry Potter and the Prisoner of 

Azkaban and how the choice of some strategies affects the translated text. 

    J.K. Rowling‘s Harry Potter is a famous children series of fantasy 

which consists of seven books. Rowling employs the language in her books 

in an unusual way, creating expressions related to the world of wizards. 



3 
 

Some of these expressions become part of the English language, such as the 

word ―Muggle‖. Because the setting of the novel is in the UK, and the 

proper names employed are English and Western ones, the translator faces 

a problem in rendering these names into Arabic. The problematic task of 

translating proper names in the series is further intensified by the fact that 

some proper names are invented such as ―Shrieking Shack‖, ―Quidditch‖, 

and ―Bludgers‖. 

The proper names in Harry Potter, including character‘s names and 

geographical names, are not chosen arbitrarily. For example, some have 

connotative meanings such as ―Remus Lupin‖ who is a character that can 

turn into a werewolf; such ability of changing his shape is reflected in his 

surname. According to J.K. Rowling‘s official website, Pottermore.com, 

his surname, Lupin, is derived from the Latin word ―Lupinus‖ which means 

―of a wolf‖. Other names give a musical effect such as ―Hufflepuff‖. Thus, 

when translating proper names in Harry Potter into Arabic, the translator 

has to adopt different strategies, depending on the type of proper names. 

According to Hermans (1988), names can be divided into two main 

categories: conventional names (unmotivated) and loaded names 

(motivated). Fernandes (2006) argues that conventional names are those 

that have an international status; they do not have a semantic load. Thus, 

they remain the same such as Harry, Hermione. Loaded names, on the other 

hand, refer to names which have a semantic load. According to Fernandes 

(2006, p. 49), proper names range from ‗suggestive‘ to overtly ‗expressive‘ 

names and nicknames. Expressive names are connected with the lexicon of 



4 
 

the language (e.g. Private Drive) while suggestive names are less 

semantically motivated (e.g. Malfoy). Manini (1996) pointed out that the 

second category of Hermans, the loaded names, are mostly invented by the 

author, like Rowling, and possibly include elements of wordplay. 

     The translation of proper names is challenging. Accordingly, 

translators should adopt different strategies depending on many factors, 

including the context and the function of the name. A translator may use a 

strategy that maintains the culture of the source text without taking into 

consideration whether the target culture accepts it or not. Alternatively, 

s/he can change the proper names and make them acceptable in Arabic. 

Hence, this study focuses on describing and examining the strategies used 

by Ahmed Hasan Mohammed in his translation of proper names in Harry 

Potter and the Prisoner of Azkaban. 

         Harry Potter and the Prisoner of Azkaban is the third book of 

the Harry Potter Series. In this book, Harry is now thirteen years old and is 

in his third year at Hogwarts. Harry along with his friends, Hermione and 

Ron, decide to investigate an escaped prisoner, Sirius Black, who is 

believed to be on of Voldemort‘s follower. They also think that Sirius 

betrayed Harry‘s parents which lead to their death.   

1.2 Purpose of the Study: 

     This research is a descriptive study, focusing on the procedures the 

translator, Mohammed, adopted in dealing with proper names, especially 



5 
 

invented proper names based on Klingberg‘s (1986) model. The strategies 

are analyzed according to how the translator employed them and the effect 

of the translator‘s choice on the text. Finally, the procedures are examined 

in terms of domestication or foreignisation. The focus will be on the 

translator‘s choice for the translation of invented proper names.    

1.3 Statement of the Problem: 

     The use of a translation procedure that is inappropriate for the type 

of proper name leads to several problems. For example, the deletion of 

proper names that identify some aspect of the story can affect the 

development of the plot. Also, the choice of some procedures can lead to 

the loss of the humorous effect intended by the proper names. For example,  

―Fang‖ was translated as ―small animal‖ "اٌؾ١ٛاْ اٌٖغ١و". It may also distort 

the balance employed in the novel by specific features rendered in these 

proper names. For instance, ―Chocolate Frog‖ an invented food names was 

translated as "لطؼخ ِٓ ا١ٌْىٛالرخ". Finally, inconsistency in translating some 

proper names can confuse the reader and create misunderstanding such as 

the translation of some invented place names like ―Three Broomsticks‖ 

which is translated as ًػٖب اٌّىبٌٔ", "اٌّؾ"" , and "اٌؾبٔخ", and it was even 

deleted once.  

1.4 Questions of the Study: 

1. What are the translator‘s procedures for dealing with different kinds 

of names? 



6 
 

2. How did the translator‘s choices affect the overall text? 

3. What conclusions can be reached from the analysis of this 

translation? 

1.5  Significance of the Study: 

          This study contributes to the study of children‘s literature, which has 

not received enough attention in academic research in the Arab world. 

Furthermore, it highlights the importance of choosing an appropriate 

translation strategy for proper names which are sometimes viewed as 

meaningless. It also differentiates between the invented proper names by 

the author and other proper names that may be related to a specific culture. 

Finally, it shows that each type may require different translation techniques 

since these invented proper names have several functions in children‘s 

literature. 

1.6 Methodology: 

      This research adopts a descriptive approach to the analysis of the 

chosen data, which are analyzed according to name translation model, a 

source-oriented approach. The data are taken from Harry Potter and the 

Prisoner of Azkaban in comparison to its official Arabic translation by 

Ahmed Hasan Mohammed, revised by Raja Abed Allah, which is 

published by the publishing house ―Nahdat Masr‖. 



7 
 

     The data are searched and collected manually from the original text 

and the translated text by collecting all the proper names in both texts. The 

analysis focuses on many types of proper names including names invented 

by the author, names of characters, tools, spells, printed works, shops and 

buildings, creatures, places, titles, popular dishes, and popular drinks. The 

focus is on invented names which will be classified according to their 

types, such as invented names of foods and drinks.  These names will be 

examined according to the procedures used by Mohammed. The translation 

procedures here follow Klingberg‘s model (1986) for the translation of 

culture-related items in children‘s literature. Afterwards, proper names will 

be evaluated in terms of following domestication or foreignisation 

strategies, as outlined by Venuti (1995). The researcher contend that the 

overall strategy employed by Ahmed Hasan Mohammed is foreignisation. 

So the focus of the study is on the use of domestication in some cases and 

not following the general procedure for the translation of proper names, 

especially invented proper names. An example from the novel is ―Cauldron 

Cake‖, a wizard dessert invented by Rowling, translated as "اٌىؼه". 

Mohammed used simplification as a procedure; he gave a superordinate 

equivalent and omitted the unfamiliar element reference, so he used a 

domestication strategy. Moreover, suggested translation is provided for 

some cases where they seemed problematic. 

  



8 
 

 

 

Chapter Two 

 Theoretical Background and Literature Review 

2.1  The Definition of Children’s Literature 

2.2  Children’s Literature and its translation in the Arab 

World 

2.3  Proper Names and their Nature 

2.4  Proper Names, Humor and Wordplay in Harry Potter 

2.5  Theoretical Models to the Translation of Proper Names 

in Children’s Literature 

  

  



9 
 

Chapter Two 

 Theoretical Background and Literature Review 

    Little research was done on children‘s literature in earlier translation 

studies, particularly in the Arab world. However, children‘s literature has 

become a booming field in recent translation studies. This chapter discusses 

children‘s literature in general in terms of its definition and characteristics. 

It also examines the place of children‘s literature in the Arab world and 

how it is handled in translation. Moreover, it deals with proper names in 

terms of their nature and basic features in children‘s literature. 

Additionally, it investigates the elements of wordplay in proper names and 

their function. Finally, it discusses the theoretical models used for the 

analysis of the translation of proper names in Harry Potter and the 

Prisoner of Azkaban. 

2.1 The Definition of Children’s Literature: 

     The definition of ‗children‘s literature‘ has always been a 

challenging task. Hunt (1994) notes that ―children‘s literature seems at first 

sight to be a simple idea: books written for children, books read by 

children. But in theory and in practice, it is vastly more complicated than 

that‖ (p. 4). According to Hunt (1999), the two constituent terms, ‗children‘ 

and ‗literature‘, cannot be divided and tracked back to their original 

independent meanings (p.16). Children in ‗children‘s literature‘ does not 

necessarily relate to children as in those within education, sports...; instead, 



10 
 

it is a ―specialized idea‖ of ‗children‘ (Hunt, 1999, p.16). Hunt (1994) 

provides a general definition for children as ―people whose minds and 

bodies have not yet matured in various definable ways‖ (p.5). The same 

goes to the word ‗literature‘; literature does not inevitably relate to any 

other literature, especially adult‘s literature. The word ‗Literature‘ is 

considered a useful term if it is used ―to educate children into a particular 

kind of culture: but it can be misleading or pernicious if we are ‗using‘ the 

texts in other ways‖ (Hunt, 1999, p.4). Hunt (1999) believes that children 

or childhood has different meanings or scopes of meaning depending on 

time and place. Accordingly, childhood can have different meanings in 

different cultures, and it can also embrace different meanings in the society 

itself throughout periods of history. 

Children literature has been given different definitions, including 

children literature as ―any narrative written or published for children‖ 

(Knowles and Malmkjeer, 1996, p. 2), and ―the literature read silently by 

children and aloud to them‖ (Oittinen, 2000, p. 6). Hunt (1991) argues that 

children‘s literature refers to ―a particular text written expressly for 

children who are recognizably children, with a childhood recognizable 

today‖ (p. 67). Townsend (1971) gives a pragmatic definition to children‘s 

literature as ―a book which appears on the children‘s list of a publisher‖ 

(cited in Kwan, 1992, p. 61). While the above definitions of children 

literature focus on the target of this literary genre and children, some 

scholars examine the characteristics, linguistic features, structures and 



11 
 

themes of children literature. McDowell (1973) points out that children‘s 

books are: 

generally shorter; they tend to favor an active rather than 

passive treatment, with dialogue and incident rather than 

description and introspection; child protagonists are the rule; 

conventions are much used; they tend to be optimistic rather 

than depressive, language is child-oriented; plots are of 

distinctive order; probability is often discarded, and one 

could go on endlessly talking of magic and fantasy and 

simplicity and adventure. (McDowell, 1973, p.52) 

Don Nilsen (1993) also says that ―‗Humor‘ is a significant aspect of 

both children‘s and adolescent literature‖ (Nilsen, 1993, p. 262). In 

addition to entertainment, children literature aims to convey a moral lesson 

and develop the children‘s imaginary faculty (Wollstonecraft 1989, cited in 

Coillie and Verschueren, 2006).  

Children literature is, therefore, any literature written for children to 

read,   aiming to encourage ethical values. It is suitable to their age and 

interests and meets their linguistic and cognitive ability. 

2.2 Children’s Literature and its Translation in the Arab World 

     Children‘s literature received little attention in the Arab world, 

whether in terms of writing children‘s books or translating children‘s books 

into Arabic. Those that were published for kids were fairytales, moral tales, 

or stories told by animals which fall under the animal realism genre 



12 
 

(Mdallel, 2003, p.303). These books are loaded with didactic, ideological 

and religious concerns. This means that children‘s literature in the Arab 

world was used as a means to teach, for example, how a good Muslim must 

behave. Hence, this affected the choice of books to be translated into 

Arabic. The Arab researchers who studied children‘s literature have 

different views concerning the approach a translator should follow when 

translating children‘s literature. Their views were mostly ideologically 

motivated. Some Arab researchers think that children must not be 

encountered with the unfamiliar. However, other researchers believe in the 

ability of children to process the unfamiliar. 

The ideology of children begins moulding from an early age. One 

primary tool that contributes to moulding their ideology is reading. Reading 

can help children to learn about the world in general, and the culture and 

norms of their society in particular. Accordingly, the topics that children 

read should be taken into consideration. Ad-Deek (2001) emphasizes that 

children should be introduced into serious literary themes which are 

conveyed through humour to motivate children to read books and adhere to 

them (Ad-Deek, 2001). Thus, when translating children‘s literature into 

Arabic, a translator should consider the theme of the book s/he translates 

especially when these books introduce a foreign culture which may include 

ideas that are unaccepted or alien to the Arab child. In this context, 

Shahwan (1991) argues that the translator‘s visibility and intervention are 

essential for dealing with the foreign effect. For example, some books may 

have a content which includes embedded ideas, such as racism, that have 



13 
 

an impact on children. She adds that the use of inappropriate expressions, 

like cursing, can have a negative influence on children. The foreign effects 

may even include the illustrations used, such as weird appearances and 

clothes (p. 25). This necessity of the translator‘s intervention is illuminated 

in the Arabic translation of Harry Potter and the Prisoner of Azkaban, the 

main subject of this thesis.  

Sameer Ahmad (2006) notices the role of children‘s literature in 

introducing different cultures to young readers. Ahmad notes that the 

child‘s cognitive ability and modes of behavior are constantly modified by 

what he/she reads. Hence, anything a child reads should not contradict 

his/her previous knowledge, but if it does, it should be altered or modified 

by something more suitable in its form and content. Ahmad sees that 

children‘s literature enriches children‘s experience in various aspects of life 

which helps to develop their identity. He also believes that children‘s 

literature gives them an opportunity to benefit from the literature of other 

cultures, but one must avoid any unfamiliar structures that might have a 

negative impact on children. So, the manipulation of opposing foreign 

culture‘s elements is important in order to avoid confusing children with 

something that contradicts their beliefs.  

Ali Azeriah (1993) challenges the claim that foreign children 

literature poses a threat to the Arab child‘s beliefs and values. He discusses 

the norms affecting the translation of children‘s literature into Arabic on 

linguistic and cultural levels. Linguistically, he states that classical Arabic 



14 
 

dominates the colloquial Arabic in children literature, and there is a 

tendency towards a standard language and style. Culturally, Azeriah argues 

that it affects the aim of enhancing understanding among cultures. He also 

suggests choosing children‘s books for translation according to their 

subject matter, which is ―theme-based‖ (cited in Dukmak, 2012, p.36). 

Further, he encourages translators to translate works that have unfamiliar 

themes such as human rights.  

Sabeur Mdallel (2003) takes a sociological approach in studying 

children‘s literature in the Arab world. He shares the fundamental point of 

view of Azeriah about connecting translation to ideology. However, he sees 

that each society has the right to use ―protective cultural measures‖ (p. 

298), particularly when there‘s an opposing ideology for children. 

Translation is a valuable tool to introduce children to different 

cultures and habits around the world. It helps shape their ideas about the 

world from an early age and opens their mind to accept people who are 

different from them. However, in the case of children‘s literature, this task 

is not easy. The choice of what ideas one can introduce to children is very 

critical since there are many radically different cultures. When a child 

encounters an idea that is entirely different from what s/he knows, it might 

confuse him or her, or s/he may not be able to comprehend it. Such 

challenges can be faced when translating Harry Potter and the Prisoner of 

Azkaban since it is centered in British culture, which is radically different 

from the Arab culture that is dominated by Islam. 



15 
 

Harry Potter started to gain the attention of Arab researchers in 

children‘s literature. But there are few studies related to the subject of this 

thesis. A close study done by Waffa Dukmak, ―The Treatment of Cultural 

Items in the Translation of Children's Literature: The case of Harry Potter 

in Arabic‖ in 2012, deals with cultural items and their translation in Harry 

Potter series. Dukmak‘s study covers the translation of all the cultural 

items in children literature taken the first, the fourth and the sixth books of 

Harry Potter as case studies for the purpose of seeing the consistency 

between different translations. For her study, Dukmak referred to various 

approaches; she uses each approach for the discussion of a specific 

element. In her study she referred to Klingberg‘s model for the discussion 

of cultural items, yet she excludes this model from the analysis of proper 

names. My study applies Klingberg‘s (1986) and Venuti‘s (1995) 

approaches. Although her study covers a wide range of cultural items 

including names, it does not provide a specific focus on the invented 

names. In addition, the books she chose contain less number of invented 

names. My Study highlights how translation strategies differ between 

proper names and the invented proper names. Nevertheless, Dukmak 

(2012) reached to a main conclusion that there is no coordination between 

the different translators of Harry Potter which are all published by the 

same publishing house. This means that each translation of Harry Potter is 

independent on its own and can be analyzed to see the procedures of 

translators.  



16 
 

A recent study that is similar yet is more limited than this study, 

published in 2017, bears the title ―Proper Names in their Arabic Translation 

of Harry Potter and the Goble of Fire‖, by Al-Hadithy. She used the fourth 

book of Harry Potter, but she applies Fernandes‘ (2006) approach. 

Fernandes provided ten procedures for rendering proper names. Al-Hadithy 

provided examples on the use of each procedure which makes it less 

accurate when it comes to judging the adequacy and effectiveness of the 

translation.  This current study covers a wider range by providing all the 

proper names mentioned in the third book of Harry Potter by using 

Klingberg‘s approach, and it analyzes the importance of wordplay in these 

names. 

2.3 Proper Names and their Nature: 

Proper names are seen as a significant type of cultural items in 

children‘s literature because of their unique nature in this genre. In order to 

understand proper names, we need to define them and their nature more 

closely. M. Moliner (1993) defines proper name as: 

The one applied to a certain thing to distinguish it from the 

rest of the same species. They are always written in capital 

letters. Truly, proper names are all the expressions which are 

denominations and particular titles of things, but they are 

only called proper names when they are formed by only one 

or several words that do not form a complete sentence (cited 

in Aguilera, 2008, p.1). 



17 
 

     A proper name refers to an individual or a set of individuals to 

distinguish it from other similar individuals that belong to the same 

category. For instance, in Harry Potter and the Prisoner of Azkaban, the 

name ―Trevor‖ refers to a specific toad, or the name ―Whomping Willow‖ 

refers to a specific kind of willow trees. The general name willow is 

considered a common noun to refer to any willow tree without any specific 

characterization.  

    Names in children‘s literature usually communicate a message to the 

reader (Marmaridou, 1991). Such a message can be conveyed on two 

levels. One is the ―level in a text‖. On this level, the elements of the story 

convey the hidden meaning of the text. Another level operates above the 

text, which is communicated ―between the author of the work and the 

reader‖ (Marmaridou, 1991, p. 88). This level operates with relation to the 

semantic, semiotic, and symbolic meanings of names.  

    Proper names have a number of semantic features. Often, the relation 

between the proper name and the ‗thing‘ to be designated is seen arbitrary. 

However, proper names have connotations in the case of imaginative 

literature, fairy tales, comedies, allegories, and children‘s stories 

(Newmark, 1988). Proper names have connotative meanings; they carry a 

―semantic load‖. Fernandes (2006, p. 46) believes that personal names, in 

narrative literature, have been often used as ―signifiers‖ which means the 

personal name provides hints related to the destiny of a character or cues 

about the development of the plot. For instance, in Harry Potter and the 



18 
 

Prisoner of Azkaban, there is a character named ―Sirius black‖. Sirius is the 

name of a star known the Dog Star. Throughout the story, Sirius turns out 

that he can transform himself into a black dog. Another semantic function 

that proper names have is the comic effects of humour, which results from 

using various techniques such as ―double entendres‖ and puns (Embleton, 

1991, p. 75). For example, in Harry Potter, there is a hippogriff called 

―Buckbeak‖. This name is formed by using analogy with the word 

―bucktoothed‖ in order to describe a main physical feature of this creature. 

A more detailed explanation is provided in 2.4.   

Proper names can also have a semiotic meaning. According to 

Fernandes (2006), semiotic meaning of a name means that a name: 

Act as signs, generating ancient or more recent historical 

associations (e.g. Ptolemy, Archimedes, Wolfgang Amadeus Mozart), 

indicating gender (e.g.  female:  Hermione, male:  Ronald), class (e.g.  Sir 

Nicolas De Mimsy-Porpington), nationality (e.g. Carlo Montana and Marco 

Andretti are typically Italian names), religious identity (e.g. David and 

Gabriel are biblical names), intertextuality (e.g. Sherlock Holmes), 

mythology (e.g. Banshee, Centaur, Unicorn) and so on. (Fernandes, 2006, 

pp. 46-47). 

These names can be easily translated when they have an international 

status such as The Eifel Tower. Nonetheless, the semiotic feature of names 

is sometimes problematic when it is culturally bound. To translate the 

semiotic associations with the names into another culture might cause an 



19 
 

overload of information, and distort the flow of the text, especially in the 

case of children literature. This is because the choice of some strategies 

could affect the child‘s understanding of the plot or the message 

(Fernandes, 2006). One way to translate these semiotic associations is by 

replacing them by a name that provides a similar function in the target 

language culture.  

Translators of proper names should take the sound symbolic meaning 

into consideration. Sound symbolism means ―the use of specific sounds or 

features of sounds in a partly systematic relation to meanings or categories 

of meaning‖ (Matthews, 1997, p. 347). Imitative sound means that the 

sound of the words is heard, but the actual component of speech sounds 

could ambiguously sound like the imitated sound (Shisler, 1997). For 

instance, there is a troll in the Harry Potter series called ―Grawp‖ which is 

similar to ―grow up‖. Such a case is also considered a form of wordplay 

which is discussed in 2.4. 

This section provides a detailed explanation of proper names and 

their nature, especially in children‘s literature. The semantic, semiotic, and 

sound symbolic meanings of proper names show that these names are not 

chosen arbitrary and translating such names can be a difficult task if the 

translator wants to preserve these features. This is noticed in the translation 

of proper names in Harry Potter and the Prisoner of Azkaban. 

  



20 
 

2.4 Proper Names, Humour and Wordplay in Harry Potter: 

Humour is considered as an essential aspect in children‘s literature, 

which functions to amuse the reader. Nelson (1989) provided a general 

understanding of what humour means: ―the quality that makes a person 

laugh or smile and consequently feel good‖ (p. 4). Don Nilsen (1993) states 

that ―humour is a critical aspect of much of children‘s and adolescent 

literature‖ (Nilsen, 1993, p.262). Such a feature is prominent in 

Harry Potter series. The children‘s author, Gordon Korman (2002), stated 

in an electronic mail interview that she believes that ―the true key to Harry 

Potter‘s popularity is not its fantasy, but its humour‖ (cited in Zbaracki, 

2003, p. 3). This function of humour is employed by the use of wordplay 

on proper names mainly. J. K. Rowling chooses the names of her 

characters, book titles, object, places and animals very carefully. In some 

cases, she alludes to mythology and other languages such as Latin and 

French; while in other cases, she uses wordplay riddled with the sense of 

humour.   

Wordplay, as Arcand (1991) defines it, is deliberate manipulation of 

words employed for the sake of humour or entertaining the reader. For this 

study, McDonough‘s typology of wordplay in Harry Potter is used. 

McDonough (2004, pp. 19-20) discussed eleven types of wordplay that are 

used in the first five books of Harry Potter series: acronyms, alliteration, 

anagrams, antonomasia, epithet, exoticism, inversion, onomatopoeia, 

parallelism, pun and spoonerism. However, McDonough admits that her 



21 
 

classification does not cover all possible types in Harry Potter series, and a 

further research can be done. In Harry Potter and the Prisoner of Azkaban, 

there are five types of wordplay that McDonough discussed: alliteration, 

antonomasia, inversion, parallelism, and puns:    

a) Alliteration: ―the repetition of the same sound or syllable in a 

sequence of two or more words‖ (p. 21). This technique is used 

extensively in Harry Potter and the Prisoner of Azkaban. For 

example, Severus Snape, Cauldron Cakes, Shrieking Shack, and 

Peeves the Poltergeist. 

b)  Antonomasia which is ―an epithet or other indirect description is 

substituted for a proper name‖ (p. 22). For example, referring to 

―Lord Voldemort‖ as ―You-Know-Who‖. 

c)  Inversion. Such as inverting the syllables of ―warthog‖ to make the 

school name ―Hogwarts‖. 

d) Parallelism: it refers to the repetition of a structure between 

sentences such as words and sounds etc. But here McDonough used 

it to refer to repetition of themes in names e.g. the repetition of 

―Hog‖ in place names as in ―Hogwarts‖ and ―Hogsmead‖. 

e) Puns: ―the contrast of linguistic structures with different meanings on 

the basis of their formal similarity‖ (Delabastita, 1996, p. 128). 

There are different types of puns, one of which is paronymy. 

According to McDonough, paronymy means words that are similar 



22 
 

but have a ―slight difference in spelling and sound‖ (McDonough, 

2004, p. 28). For example, ―Pepper Imps‖ which sounds similar to 

peppermints. 

In addition, through collecting data, it was noted that, in this book, 

there are also cases of assonance and consonance: 

f) Assonance: refers to the repetition of vowel sound between two or 

more words such as ―Fizzing Whizzbees‖ and ―Broomstick 

Servicing Kit‖.  

g) Consonance: two or more words that have repeated consonant 

sounds. For instance, ―Ice Mice‖. 

Nilsen and Nilsen (2005) point out that there are six functions of 

wordplay in Harry Potter series: 

i) Creating humor: this function is the most notable in Rowling‘s 

wordplay. Through wordplay, Rowling creates humor even in serious 

moments in the plot. She uses elements of surprise and incongruity 

which are considered among the features that many scholars agree 

are necessary conditions for humor. Anything that is seen as funny 

will likely have an element of surprise (Nilsen, 2005).  For example, 

―Whomping Willow‖ is the name of a magical tree that beats those 

who touch it.  



23 
 

ii) Creating a parallel world: Rowling used different techniques to play 

on words by changing the spelling of some existing words or by 

blending or compounding words in order to create world that can be 

―side-by-side with the everyday world of her readers‖ (Nilsen, 2005, 

p. 66). For instance, Diagon Alley instead of diagonally (Delabastita, 

1996).  

iii) Providing adequate characterization: Rowling chooses the names of 

her characters in a way that names reflect the characters‘ traits. For 

example, Sirius Black who is an Animagus and can transform himself 

into a black dog, his first name, Sirius, is the name of the Dog Star while 

his surname describes his color as a black dog. It also describes the dark 

history of his family that is involved in dark magic. Thus his name 

foreshadows that he is the black dog that Harry sees in the first chapter of 

Harry Potter and the Prisoner of Azkaban, but he does not find out it is 

Black until almost the end of the novel. 

iv) Aiding the reader‘s memory: This works especially with descriptive 

characters names. For example, the nickname of Sirius Black is 

Padfoot which means large dog in English; hence, both his name and 

his nickname refer to his ability to transform into a dog. 

v) Delivering 'smart' allusions that draws the attention of readers. For 

instance, Rowling referred to many mythical creatures that are taken 

from old Folklore such as ―Hippogriffs‖.   



24 
 

vi) Effective plot development: This applies to the names of spells and 

potions especially when an explanation is provided for their 

meanings. Furthermore, wordplay is used to foreshadow some plot 

threads. This is the case with professor Lupin whose name means ―of 

a wolf‖ in Latin. Thus it foreshadows that Lupin is a werewolf which 

was only revealed later in the novel.  

Several factors affect the strategy chosen for the translation of 

humour. Vandaele (2002) sees that understanding the intention of the 

author behind humour can be an issue, and the reader or the translator may 

have an agenda that is different which might affect their understanding. 

Further, the context of the text may be unavailable in the target language, 

or the text may have new unforeseen contexts. Lastly, the other functions 

of humour (explained above) affect the translator‘s choice of his/her 

translation strategy. 

This section discussed the wordplay in proper names and how it is 

vital in Harry Potter since it has several functions. Sometimes, the choice 

of a translation strategy may affect the wordplay employed that may 

become unnoticeable the target language. Thus, a translator should translate 

names that have elements of wordplay carefully in order to preserve their 

significance. 

  



25 
 

2.5 Theoretical Models to the Translation of Proper Names in 

Children’s Literature: 

2.5.1 Gote Klingberg’s Model (1986): 

     Gote Klingberg (1986), in his book Children's Fiction in the Hands 

of the Translators, builds a scheme for dealing with cultural references, 

including names. Although Klingberg is a strong supporter of literal 

translation, he thinks that cultural adaptation is essential for cultural 

references in children‘s literature to facilitate a better understanding. 

Klingberg suggested nine 'ways to affect cultural context adaptation' (p.18), 

and he applies them on examples from Swedish-English translations. These 

procedures are: 

•  Added explanation: the cultural elements in the source text are 

preserved, but one should add a short explanation within the text. 

For example, in the Swedish Pappa Pellerin's Daughter (1975) by 

Maria Gripe, there are flags along the streets since it was "the sixth 

of June". The English translation adds extra information to indicate 

that "the sixth of June [is] the Swedish National Day" (p. 39). 

•  Rewording: expressing what the source text says but without using 

cultural elements. For example, in the Pappa Pellerin's Daughter 

(1975), the lyrics of a famous Swedish Christmas song are replaced 

by ''the crackling roar of some Christmas song" (p. 22) 



26 
 

•  Explanatory translation: providing the function of the cultural 

element instead of replacing it with a foreign name. This strategy is 

useful since it provides the connotative meaning while avoiding 

cultural interference. 

•  Explanation outside the text: the explanation is given as a footnote 

or a preface. 

•  Substitution with an equivalent from the target culture. For 

instance, in the source text Pappa Pellerin's Daughter (1975), a 

Swedish rhyme is sung while a child jumps on the knees of an adult 

is changed in  the English translation to "Ride a cock-horse to 

Banbury Cross", which functions as an equivalent (p. 22). 

•  Substitution with a rough equivalent from the target language. For 

example, in Pappa Pellerin's Daughter, a known Swedish 

children's prayer is replaced in the English translation to a prayer 

that is not used for children which is ―Our Father which art in 

heaven‖ (p. 23) 

•  Simplification: It refers to the use of a more general concept instead 

of a specific one. For example the general word plants instead of a 

specific kind of trees or herbs.  

•  Deletion of words, sentences, paragraphs or chapters. 

•  Localization which means replacing the cultural setting of the 

source text by a setting closer to the target text readers. 



27 
 

Klingberg (1986), in his model, provided a detailed scheme for 

cultural references and how to translate them according to their kinds. He 

does not provide specific explanation for proper names alone; he includes 

them as part of cultural references. Thus, this model can be applied on 

proper names. For the purpose of this study, the model is summarized in 

terms of what is related to the analysis of the data from Harry Potter and 

the Prisoner of Azkaban. 

Klingberg (1986) suggests, in terms of books, that if the title exists in 

the target culture, it should be translated to TL. Nevertheless, when it is 

unknown in the target culture, an equivalent translation or rewording must 

be sought. Although, it might be problematic in some cases. The last resort 

can be literal translation. 

Additionally, when translating names of buildings and foods, 

Klingberg suggests that translators should keep them as in the original text 

since they provide a better understanding of the source culture (p. 36). 

Nevertheless, using an added explanation is possible where the cultural 

adaptation seems essential. Klingberg sees that replacing a specific food 

name (e.g. cheddar Cheese) with its generic (Cheese) is not a good strategy 

(p.38).  

Klingberg suggests, in the case of animals and plants, that ―natural 

concepts must be retained‖ (Klingberg, 1986, p. 41). Unless the name is 

unknown in the TL, it can be preserved or translated literally. The names of 

everyday language ―should not be altered‖ (Klingberg, 1986, p. 43). 



28 
 

Nonetheless, the personal name should be translated if it is not part of 

everyday language and has a function in the text. Also, if the name has a 

―melodious ring‖, then the translator should preserve the ―melodious ring‖ 

(Klingberg, 1986, p.45). When it comes to the personal titles, Klingberg 

suggests that translators choose transliteration in translating personal names 

and even titles in mythical worlds and the use of the standard form that is 

available in TL in translating geographical names. Klingberg suggests 

cultural context adaptation or added explanation when translating 

ambiguous names (p.51). 

Finally, in the case of names that have mythological references or 

parts of the popular belief, Klingberg suggests that translators replace them 

with an equivalent name if these names have an equivalent in the target 

language. Nevertheless, a translation must be provided for these names if 

they are ―intelligible‖ in the target language (Klingberg, 1986, p. 30). In 

translating words invented by the author, Klingberg suggests that 

translators either keep the form of the SL or use equivalence from the 

popular belief of the target culture (p. 31). 

Klingberg‘s model is related to the long debate in translation by 

either bringing the target reader to the source culture by keeping the 

characteristics of the original or by moving the text to the target culture. 

These two strategies have been referred to many names over the years such 

as domestication and foreignisation by Venuti (1995).  

  



29 
 

2.5.2. Lawrence Venuti’s Model: 

The choice of the translator, whether to use adaptation and change 

the alien proper name into a more comprehensible equivalent or to keep the 

foreign elements of the text and render them as they are, means that s/he 

uses domestication or foreignisation strategies. According to Venuti, the 

former refers to "an ethnocentric reduction of the foreign text to target-

language cultural values, bring the author back home, while the latter is "an 

ethnodeviant pressure on those (cultural) values to register the linguistic 

and cultural difference of the foreign text, sending the reader abroad." 

(Venuti, 1995, p.20). On the other hand, ―In the context of children's 

literature, the choice between foreignising and domesticating translation 

strategies is often linked to didactic and pedagogic norms‖ (Coillie.J and 

Verschueren.W,2006, p.Viii). The distinction between domestication and 

foreignisation goes back to Friedrich Schleiermacher, who summarises 

foreignisation and domestication as follows: 

 The translator can either leave the writer in peace as much as 

possible and bring the reader to him or leave the reader in 

peace as much as possible and bring the writer to him 

(Schleiermacher, 1838, cited in Hatim, 2001, p.45). 

Those strategies are related to what Venuti has called the 

‗translator‘s invisibility‘. The term ‗invisibility‘ describes how much the 

translation can tolerate the intervention of the translator in the translation 

process (Hatim, 2001, p. 44). In terms of domestication, Venuti argues that 



30 
 

translation, in general, has always been dominated by ―the translator‘s 

invisibility‖ (Venuti, 1995, p.1). Accordingly, the translator feels that 

his/her translation of the source text should conform to the rules of the 

target text.  

Foreignisation, on the other hand, produces "something that cannot 

be confused with either the source-language text or a text written originally 

in the target language" (cited in Yang, 2010, p.78). Venuti argues that 

foreignisation is a method that puts pressure on the target-language culture, 

which forces the reader to go abroad (Venuti 1995, p. 20). Hence, it should 

defy reading the text smoothly by disrupting the linguistic and cultural 

expectations of the target culture. 

 

  



31 
 

 

 

Chapter Three 

 Data analysis: The Translation of Proper Names 

3.1. The Translation of Proper Names Related to English and 

Western Culture  

3.2. Translation of Invented Names 

  



32 
 

Chapter Three 

 Data analysis: The Translation of Proper Names 

This chapter focuses on evaluating and analyzing the data collected 

from Harry Potter and the Prisoner of Azkaban. It investigates the various 

procedures the translator, Mohammed, used for dealing with different kinds 

of proper names. Furthermore, it reviews the effectiveness of those 

procedures in dealing with translation problems. The treatment of 

procedures will be according to Klingberg‘s model to see how Mohammed 

deals with the different types of proper names. Also, the use of some 

procedures aimed at keeping those names close to the British culture and 

English language; other procedures neglected those aspects such as 

simplification and rewording which are two of the strategies Klingberg 

suggested for cultural context adaptation in the TL. This offers the chance 

to examine those strategies in terms of Venuti‘s domestication and 

foreignisation.  For the analysis of these names, this chapter is divided into 

two main sections. The first section includes the treatment of the proper 

names that are related to English and western culture, which includes seven 

subheadings. The second section deals with the invented proper names, 

which includes eleven subheadings. Each subheading focuses on one type 

of invented names.  

3.1. The Translation of Proper Names Related to English and Western 

Culture:  

This section deals with the analysis of proper names borrowed from 

English and some other European languages such as Latin. Proper names 



33 
 

in Harry Potter include many kinds varying from personal names, titles 

and nicknames, names of places, objects, creatures and animals, and food. 

They refer to aspects of British and Western culture as well as some 

features of the magical world. A translator might face some challenges with 

such names due to the differences between the culture of the source text 

and target text. Further, the translator must bear in mind that this book is 

child-oriented; hence, the translation has to attract children‘s attention by 

the humour that is employed in the source language. Accordingly, the 

translator must use a strategy that transmits these names to the target 

culture without taking away their value. Furthermore, the translator must be 

aware that some strategies might cause obscurity for children and affect 

their ability to follow up the text, unlike adults who can overcome this 

obscurity by realizing that it is a translation. This section contains seven 

subheadings; each subheading deals with one type of proper names. 

3.1.1 Personal Names:  

This book of the series, Harry Potter and the Prisoner of 

Azkaban, contains many personal names. As explained earlier, some 

personal names have extra connotative meaning by referring to literary 

references or mythological ones, some also have wordplay. Accordingly, 

their translation strategy must be chosen carefully. For this study, three 

examples are provided for each type of personal names since Mohammed 

used a similar strategy in his translation of them.  

 



34 
 

Table (1): The Translation of Personal Names  

Personal Names Arabic translation Procedure 

Harry Potter  ٘بهٞ ثٛرو Transliteration 

Sirius Black ١ٍو٠ًٛ ثالن Transliteration 

Neville Longbottom  َٛ١ٔف١ً ٌٛٔغجٛر Transliteration 

The first name is for the protagonist, Harry Potter; thus, providing 

analysis of this name is essential. Harry Potter‘s first name and surname are 

neither descriptive nor loaded names; they are British names which reflect 

his identity as a child who used to live a normal life in the UK‘s suburbs 

and find out suddenly that he is a wizard in book one. Sirius Black was first 

introduced in this book of Harry Potter, and he is the main antagonist in 

this book. Sirius Black has a loaded first name while his surname is 

descriptive; both names were transliterated. Finally, Neville Longbottom is 

an example of a character‘s name that has a loaded surname that is also 

humorous in English. Mohammed used transliteration for all personal 

names to preserve the characters‘ names. 

3.1.2 British Places Names: 

Places names were used in the first chapter, ―Owl Post‖, while Harry 

was still in the real world spending his summer vacation with his Muggle 

relatives, the Dursley. As previously mentioned, the book has two worlds, 

the normal world and the wizarding world. For the normal world, Rowling 

used names of places that exist in the UK: ―London‖ and ―King‘s Cross 

Station‖. Mohammed used transliteration for ―London‖ (p.13) as "ٌْٕل" 

(p.15). He used transliteration and added explanation for ―King‘s Cross 

Station‖ (p.15) as "و١ٕغي ووًٚ" "ِؾطخ  (p.17). Thus, the procedures 



35 
 

Mohammed used are similar to Klingberg‘s model of translating famous 

place names. In doing so, Mohammed remained close to the source text 

culture; hence, he used foreignisation. 

3.1.3. British Food Names: 

Table (2): The Translation of British Food Names 

British 

food names 

Page No. 

English/Arabic 

Arabic 

Translation 

Procedure Suggested 

Translation 

Bath Buns 273/274 اٌْطبئو Substitution 

with a rough 

equivalent 

 وؼه اٌجبس

Christmas 

cake 

وؼىخ  222/223

 "اٌىو٠َّبً"

Literal 

translation 

 

British food names are translated using different strategies. In the 

case of ‗Bath buns, which are traditional British sweets, Mohammed 

chooses a strategy of substituting for a rough equivalent that replaces the 

cultural connotation of the source text by translating them as ―sandwiches‖. 

As for ‗Christmas cake‘, Mohammed provides a literal translation. It can be 

noted that in the case of ‗Bath buns‖ which is unfamiliar in the target 

culture, Mohammed provides a translation that makes the reader 

understand that this is food but without a specific reference whatsoever to 

the nature of this sweet and its culture. While in the case of ‗Christmas 

cake‘, Mohammed seems to believe that children have a general knowledge 

about Christmas; thus, to keep the cake associated with this occasion would 

not obscure the target reader‘s understanding. To sum up, in the case where 

the food name is unfamiliar to the target culture, Mohammed used 

domestication. While in the case where the name is more familiar, he used 

foreignisation and preserved that name. 



36 
 

3.1.4. British Title Names and Nicknames: 

Table (3): The Translation of British Title Names and Nicknames 

Titles and 

Nicknames  

Page No. 

English/Arabic 

Arabic 

translation 

Type Procedure Suggested 

translation 

Prefects  51/67 

124/169 

72/99 

هئ١ٌ 

 اٌزالِنح/

اٌطٍجخ 

 اٌّضب١١ٌٓ/

هؤٍبء 

 اٌزالِنح

British 

title 

Substitution 

with rough 

equivalent / 

literal 

Translation 

هؤٍبء 

ِنحاٌزال  

Head Boy 13/11 

51/67 

72/99 

124/169 

 اٌز١ٍّن اٌّضبٌٟ

اٌطبٌت 

 اٌّضبٌٟ/

 فزٝ ِضبٌٟ/

اٌٖجٟ 

 األِضً

British 

title 

Mistranslation   ػو٠ف

 اٌطالة

Head Girl 72/99 فزبح ِضب١ٌخ British 

title 

Mistranslation   ػو٠فخ

 اٌطبٌجبد

Madam 

(Marsh) 

ا١ٌَلح  32/39

 "ِبهُ"

Title Substitution 

with an  

equivalent in 

TL   

ِلاَ 

 "ِبهُ"

Mrs.(Weasly) 12/10  ا١ٌَلح

 "٠ٚيٌٝ"

Title Substitution 

with an  

equivalent in 

TL   

ا١ٌَلح 

 "٠ٚيٌٟ"

Mr. 

)Weasley( 

 Title Substitution األٍزبم 12/9

of an  

equivalent in 

TL   

ا١ٌَل 

 "٠ٚيٌٟ"

Mr. )Moony( 211/286 ١ٌَلا  ا١ٌَل"ِٟٛٔ" 

Professor 

(Snape) 

 Title Substitution األٍزبم 8/4

of an  

equivalent in 

TL 

األٍزبم 

 "ٍٕبة"

Padfoot 211/286 "ثبكفٛد" Nickname Transliteration  

Prongs 211/286 "ثوٚٔغي" Nickname Transliteration  

Moony 211/286 "ِٝٔٛ" Nickname Transliteration ٞلّو 

There are eight English titles used in this book. The titles either 

precede the proper names of it function as a supplement for proper names. 

The titles of ―Prefects‖, ―Head Boy‖, and ―Head Girl‖ are strictly used in 

the English society and English schools. ―Prefects‖ has an equivalent title 



37 
 

in the Arabic language and Arab culture which is " ٛالة َِإ١ٌٚٓ /ػوفبء

 which is a "اٌطٍجخ اٌّضب١١ٌٓ" However, it is translated sometimes as ."اٌٖفٛف

mistranslation, but in other cases, it is given the appropriate equivalent 

which is "هؤٍبء اٌزالِنح". Accordingly, the translation is inconsistent. 

Moreover, the titles of ―Head Boy‖ and ―Head Girl‖ do not have an exact 

translation in Arabic.  Since those who are ―Head Boy‖ and ―Head Girl‖ 

have duties and responsibilities to represent their classes and the school, 

then they can be translated as "ػو٠ف اٌطالة" and"ػو٠فخ اٌطبٌجبد" respectively. 

Nonetheless, in this case, Mohammed mistranslated them by translating 

them as "فزٝ ِضبٌٟ ٚفزبح ِضب١ٌخ"- ―Perfect boy and Perfect Girl‖. Such 

translation not only neglected the cultural reference but also did not provide 

a correct translation that is understood in the target language. 

i)  ―I want the Prefects to stand guard over the entrances to the hall and 

I am leaving the Head Boy and Girl in charge.‖ (p.124) 

الصثي األمثل أْ ٠مفٛا وؾوً ػٍٝ ِلافً اٌجٙٛ,١ٍٚىْٛ  الطلثح المثاليين"أه٠ل ِٓ -

 (p.169) ٕ٘ب َِإ١ٌٚٚٓ ػٓ اٌّىبْ" والفتاج المثاليح

Another problem with titles is with ―Mr.‖ and ―Mrs.‖ In the case of 

―Mr.‖, Mohammed translates it in some contexts as "ا١ٌَل" which is an 

equivalent for the title in Arabic, and he translates it as "األٍزبم" in other 

contexts, which means teacher. By doing so, he gives ―Mr.‖ a translation 

similar to what he translates ―Professor‖. Mohammed also translated ―Mrs‖ 

the same as ―Madam‖; both are translated as "ا١ٌَلح". See example (ii) and 

(iii): 



38 
 

ii)  ―Mr. Prongs agrees with Mr. Moony, and would like to add that 

Professor Snape is an ugly git.‖(p.213) 

 األستاذ "سناب"ػٍٝ هأ٠ٗ ١ٚ٠ٚف أْ  األستاذ "مىنى"٠ٛافك  األستاذ "تسونجص"" -

 -(p. 286)   "وبئٓ ِم١ذ

iii)  ―Plump little Mrs. Weasley; tall, balding Mr. Weasley‖ (p. 11) 

 (p.10)-"٠ٚيٌٟ" األٍٕغ ٠ًٛٛ اٌمبِخ" السيد"٠ٚيٌٟ" اٌم١ٖوح ِّزٍئخ اٌغَُ ٚ السيدج"-

   Mohammed also transliterated nicknames. However, such technique 

dismisses the wordplay embedded in nicknames and their function. For 

example, ―Moony‖, in example (ii), is professor ―Lupin‖. His nickname 

refers to the fact that he transfers into a werewolf in full moon. 

Accordingly, the wordplay in his nickname is supposed to aid the reader‘s 

memory. 

  



39 
 

3.1.5. Animal Names and Names of Creatures from Mythology: 

Table (4): Animal Names and Names of Creatures from Mythology 

Animal Names & 

Names of 

Creatures 

Page No. 

Eng/ 

Arabic 

Arabic 

Translation 

Mythology (The 

Harry Potter 

Lexicon) 

Procedure 

Red Caps 107/147  َاألليا

 اٌموِي٠خ/

اٌىبئٕبد ماد 

 اٌمجؼبد اٌؾّواء

Scottish folktales Literal 

Translation/ 

Explanatory 

Translation 

Kappas 107/147 ًاٌىبثب Sprites from 

Japanese folklore 

Transliteration 

Hinkypunks 128/178 ٌٕ٘ىٌ ثبٔى European folklore Transliteration 

Grim  82/114 وٍت اٍٛك English folklore 

(the church grim) 

Simplification 

Errol (owl) 11/9 "ا٠وٚي" A Scottish name Transliteration 

Hermes (owl) 56/76 "ٌ١٘و١ِ" Greek Mythology Transliteration 

Hedwig(owl) 10/7 "١٘ل٠ٚظ" Scandinavian 

name 

Transliteration 

Ripper (pit- bull 

dog) 

 Pet name Transliteration "ك٠جو" 19/20

Norbert (a dragon) 164/222 "ٔٛثود" Germanic name Transliteration 

     Rowling relied on the English and European folklores in his use of 

magical creatures. Mohammed mainly used transliteration technique for 

animals and creatures‘ names except in two cases, ―Red Caps‖ and the 

―Grim‖. In the case of ―Red Caps‖, he provided an equivalent translation 

once as "االلياَ اٌموِي٠خ"―Crimson Dwarfs‖, and an explanatory translation as 

ؾّواء"اٌىبئٕبد ما اٌمجؼبد اٌ  ―creatures wearing red caps‖. Such different 

translations are problematic since they cause confusion and do not give 

clear reference to the type of creature spoken about in the novel. The 

second creature is the ―Grim‖. Mohammed provided a general reference for 

the creature, deleting the cultural reference and the connotative meaning for 

this creature as an omen of death in English folklore. This is shown in the 

example below: 

i) ― You have the Grim.‖ (p.82)                            ( p.114) وٍت أٍٛك"  " ٌل٠ه-   



40 
 

3.1.6. Names of Spells: 

Table (5): Names of Spells from Foreign Languages 

Spells and 

charms  name 

Page No. 

English/ 

Arabic 

Arabic 

translation 

Origins (Harry 

Potter Wiki) 

Back translation 

Lumos  30/35 ًِٛال Latin lumen Transliteration 

Riddikulus  102/140 ًٌٛٛه٠لٚو From English 

ridiculous and Latin 

―ridiculum‖ 

Transliteration 

Impervius 133/185 ًٛاِجو٠غ From English word 

―impervious‖ 

meaning ―not 

penetrable" 

Transliteration 

‗Dissendium‘ 145/201 َٚك١َ٠ٕل Uncertain Transliteration 

‗Mobiliarbus 150/206 ٌِٛثب٠ٍو٠ Latin mobilis 

meaning ―movable‖ 

Transliteration 

Fidelius 

Charm 

 Latin fidelis, which رؼ٠ٛنح 152/210

means "faithful" 

Simplification 

Patronus 

Charm 

175/237 ---- Patronus means 

―protector‖ in Latin 

Deletion 

Expecto 

Patronum 

ٛ اوَج١ىز 176/237

 ثبروٚٔبَ

Expecto means ―I 

await for‖ in Latin 

Transliteration 

Cheering 

Charm(s) 

217/293 

217/294 

 رؼ٠ٛنح عل٠لح

 /رؼب٠ٚن ِجٙغخ

 Simplification/ 

Literal Translation 

Expelliarmus 248/335 ِٛاوَج١اله"

"ً 

A combination of 

Latin expello, 

meaning "to drive 

out", and arma, 

meaning "weapon". 

Transliteration 

Confundus 

Charm  

 Latin confundre ٍؾو 283/383

meaning ―to 

confuse‖ 

Simplification 

Alohomora  302/408 اٌِٛ٘ٛٛها From West African 

Sidiki dialect 

meaning ―Friendly 

to thieves‖ 

Transliteration 

Hurling Hex 181/245 ؼ٠ٛنح فف١خر   Substitution for a 

Rough Equivalent 

Waddiwasi 100/000 ---- Combination of a 

Swedish word Vadd" 

meaning"wadding" 

and  the French word 

"vas-y" meaning "go 

ahead" 

Deletion/ 

abridgment 



41 
 

     Spells or charms are created by referring to Latin and other 

languages such as West African Sidiki and French. Also, Rowling‘s use of 

Latin is sometimes in a form of imitation which is called dog Latin 

(Norton, 2017).  This is the case in ―Expelliarmus‖, ―Expecto Patronum‖. 

By using Latin, West African Sidiki, Swedish, and French to name these 

spells, Rowling makes these words unfamiliar to the source reader 

regardless of age. In Harry Potter and the Prisoner of Azkaban, 

Mohammed transliterated all spells and charms that are in foreign 

languages. There are also two spells that are in English ―Cheering Charms‖ 

and ―Hurling Hex‖. The ―Cheering Charm(s)‖ is translated literally at first 

as a "رؼ٠ٛنح عل٠لح", then "رؼب٠ٚن ِجٙغخ"which preserves the function but 

dismisses the use of alliteration as wordplay. In addition, he mistranslated 

―Hurling Hex‖ as a "رؼ٠ٛنح فف١خ "-―a hidden spell‖. ―Hurling Hex‖ is a spell 

used to jinx a flying broom which causes the rider of the broom to be 

thrown away. It can be said that the overall translation for spells is a good 

strategy in terms of keeping its foreignness. 

3.1.7. Names of Holidays: 

    There are three holidays mentioned in this book which are known in 

the British and Western society. These are ‗Christmas‘, ‗Hallowe‘en‘, and 

‗Easter‘ holidays which are celebrated in the wizarding world as well. The 

first and second time ‗Christmas‘ and Easter‘ appeared, they were both in 

the same sentence (p. 38). In those cases, Mohammed translated them as 

 Yet, when they appeared separately, he  .(p. 48)"هأً إٌَخ"/ "أػ١بك هأً إٌَخ"



42 
 

rendered ‗Christmas‘ (p.141), using transliteration, "ًاٌىو٠َّب"(p.197), and 

he translated ‗Easter‘(p.80),  substituting it with its Arabic Equivalent, as 

 On the other hand, ‗Halloween‘ is translated using four .(p.111) "ػ١ل اٌفٖؼ"

strategies: deletion, substitution, transliteration, and transliteration with 

added explanation as shown in the examples below: 

 i) ―First Hogsmeade weekend,‘ said Ron, pointing at a notice that had 

appeared on the battered old notice-board. ‗End of October. 

Hallowe’en.‘‖ (p.109) 

"أعبة هْٚ ٚ٘ٛ ١ْ٠و اٌٝ اػالْ ِؼٍك "أٚي اعبىاد "٘ٛع١َّل" فٟ ٔٙب٠خ اوزٛثو"  -

(p.151) 

ii)  ―you should hand Hogsmeade permission forms to me before 

Hallowe’en‖(p.113) 

 (p.156)"أهعٛ أْ رملِٛا رٖو٠ؾبد اٌّٛافمخ ػٍٝ اٌي٠بهح لجً ٔٙب٠خ اوزٛثو"  -

iii)  ―You know, the Hallowe’en feast, in the evening‖ (p.114)                                

 (p.158)٘نا اٌَّبء"  الهالىيين"١ٍىْٛ ٕ٘بن ١ٌّٚخ... ١ٌّٚخ  -

iv)   ―Didn‘t realise it was Hallowe’en. Otherwise he‘d have come 

bursting in here.‘‖ (p.123)  

 (p.170)ىبْ الزؾُ اٌّىبْ كْٚ أْ ٠ْؼو ثٗ أؽل" ٚئال ٌ عيد "الهالىيين""فب١ٌٍٍخ  -

     The translation of holidays‘ names can be seen problematic since all 

of these holidays are Christian holidays. Accordingly, since the majority of 



43 
 

the Arab world are Muslim, children may not be familiar with these 

holidays so explanatory translation or an explanation outside the text may 

be required to introduce these holidays for them.   

3.2. Translation of Invented Names: 

    Harry Potter is first introduced in the first book, The Sorcerer’s 

Stone, as a normal child living with his aunt Petunia‘s family in a regular 

dull neighborhood in the UK called ―Privet Drive‖. Then he learns that he 

is a wizard and there is a whole other world for wizards. Thus anything he 

encounters in the magical world is new to him just as it is new to the 

reader. This wizarding world also exists in Britain along with the non-

magical British society; henceforth, there are some common features 

between them such as the names of British titles, British sweets, and 

holidays like Christmas that are also used in the wizarding world. 

Nevertheless, the magical world has also its unique features. For this 

purpose, Rowling created the new world that has a school for wizards, 

Hogwarts, and has places that are only for wizards, such as Hogsmead‘s 

village. It even has its own sport called Quidditch. In order to make this 

world even more unique, Rowling manipulated the language to invent new 

words. She sometimes even coined some words such as ―Quidditch‖, 

―Hogwarts‖, and ―Azkaban‖.  

    Invented names are neologisms. Neologism can be old words that 

have a new meaning or words that have a morphological or syntactic 

change to designate real things or fictional things. Von Hilsheimer (2011) 



44 
 

states that ―from a linguistic perspective, the term neologism encompasses 

a wider range of word-formation processes, including borrowing, calque, 

compounding, blending, semantic shift, and others in addition to coining 

(creating a word without using any of the other processes)‖( p. 13). When 

creating these new proper names, Rowling used wordplay on a larger scale. 

Such use has different functions which were explained in 2.4. These are 

creating humour, aiding the reader‘s memory, effective plot development, 

providing adequate characterization, delivering smart allusions that draw 

the attention of adults and young readers, and creating a parallel world. 

According to Benjamin Whorf, ―language divides the world into different 

categories. Whether one language chooses to distinguish one thing versus 

another affects how an individual perceives reality‖ (cited in von 

Hilsheimer, 2011,p 65). Also, it can be said that these names are like a 

signature of the author, J.K. Rowling, since they distinguish her work from 

all other fantasy books. 

     In The Prisoner of Azkaban, the invented names range from 

invented names of foods and drinks, places, books and school subjects, 

magical plants, magical creatures, wizard‘s games, objects, potions, and 

Wizards‘ coins. Mohammed adopted different procedures according to the 

kind of name and the function it plays in the context. For this study, this 

section is divided into eleven subheadings according to the category to 

which these invented names belong.  

  



45 
 

3.2.1 Invented Foods and Drink Names: 

    Foods and drinks are proper names when they refer to the names 

of products. For example, soda is not a proper name, but Diet Coke 

is. Harry Potter and The Prisoner of Azkaban contains twelve invented 

food names and two drink names; all of which refer to foods and drinks 

that are special for wizards and are not eaten by non-magical people 

(Muggles). All of these foods are bought from one of the main settings in 

this book, ‗Hogsmead‘, which is a village where no non-magical people 

live. While Rowling uses foods and drinks that are part of the British 

culture for the natural world such as ‗lemon meringue pie‘ (p. 27), she 

employs these invented foods and drinks for the wizarding world. Thus, 

they play a role in differentiating between the ordinary world and the 

magical one. Furthermore, the wordplay in these names creates humour. A 

source reader can identify the reference of some of these foods and drinks 

by their given proper names, but some names are unique that the author had 

to explain them. When these proper names were translated, Mohammed 

adopted four strategies: deletion, explanatory translation, simplification, 

and literal translation. Table (6) shows proper names of foods and drink, 

and the procedure used: 

  



46 
 

Table (6): The Translation of invented Foods and Drinks  

Food & Drink 

Names 

Page No. 

English/Ar

-abic 

Arabic 

Translation 

Procedure Suggested 

Translation 

Acid Pops 149/205 ---- Deletion اٌّٖبٕبد اٌؾبهلخ 

Pepper Imps 61/83 ---- Deletion  ؽٍٜٛ اٌفٍفً اٌٍّزٙت

)رغؼً ِٓ ٠زٕبٌٚٙب 

 ٠ٕفش اٌٍٙت ِٓ فّٗ(

Cockroach 

Cluster 

147/203 ---- Deletion  ٍٜٛاٌفٛي اٌَٛكأٟ ؽ

 اٌْج١ٙخ اٌٖوا١ٕو 

Drooble‘s Best 

Blowing Gum 

 اٌٍجبْ اٌنٞ لل 146/203

٠ّأل اؽلٜ 

ىوح ال اٌؾغواد ث

رٕفغو ٌّلح أ٠بَ   

Explanatory 

Translation 

 

Toothflossing 

Stringmints 

Deletion/simplific ؽٍٜٛ/---- 147/202

ation 

ؽٍٜٛ رٕظ١ف األٍٕبْ 

 ثٕىٙخ إٌؼٕغ

Ice Mice 147/202 ---- Deletion  ٍٜٛؽ

اٌفبهإٌٙبى)رغؼً 

األٍٕبْ 

 رٖلهٕو٠وا(

Fizzing 

Whizzbees 

147/202 ---- Deletion  ٍٜٛاٌفٛاه اٌط١به) ؽ

اٌنٞ ٠غؼً ِٓ 

٠زٕبٌٚٙب ٠ورفغ ػٓ 

 األهٗ ل١ٍال(

Chocolate Frog 177/239  ِٓ لطؼخ

 ا١ٌْىٛالرٗ

Simplification  ّٛوالرخ ّج١ٙخ

 اٌٚفبكع

Gillywater 150/207 ٍِٟبء ع١ Literal translation  

Butterbeer 119/165 

119/165 

149/206 

149/206 

150/207 

ّْوٚثبد اٌ

 اٌَبفٕخ/

----- 

 ِْوٚة كافئ

 أٚػ١خ ٍبفٕخ

 وٛة

Simplification 

Deletion/ 

Simplification 

Simplification 

 

 ِْوٚة "ثبروث١و"

Cauldron 

Cake(s) 

/حاٌىؼه 63/86  Simplification 

 

 وؼىخ اٌّوعً

Chocoballs 61/83  ١ّىٛالرخ

ثبٌفواٌٚخ 

 ٚاٌىو٠ّخ اٌّزغّلح

Explanatory 

translation 

وواد اٌْىالرخ ثٕىٙخ 

 اٌفواٌٚخ ٚاٌىو٠ّخ

Jelly Slugs 149/205 ---- Deletion ع١ٍٟ اٌجيالخ 

Every Flavor 

Beans 

147/202 --- Deletion  ٟؽجٛة اٌفب١ٌٕٛبء اٌز

 رأرٟ ثىً إٌىٙبد

peppermint 

creams shaped 

like toads/ 

Peppermint 

Toad 

146/203 

 

 

197/266 

---- Deletion  ؽٍٜٛ اٌٚفلع اٌمبفي

) ٟٚ٘ ثٕىٙخ إٌؼٕغ 

ٚرمفي وبٌٚفبكع فٟ 

 اٌّؼلح(



47 
 

 The main strategy Mohammed employed was deletion. He used it 

for the translation of 8 names out of 14. Also, he used it along with 

simplification for the translation of the same proper name as in the case of 

‗Toothflossing Stringmints‘, and ‗Butterbeer‘. As a result, such excessive 

use affects the source text value. For example: 

1) ―There were shelves upon shelves of the most succulent-looking 

sweets imaginable…There was a large barrel of Every Flavour 

Beans, and another of Fizzing Whizzbees,) the levitating sherbet 

balls (…. Drooble‘s Best Blowing Gum (which filled a room with 

bluebell-coloured bubbles that refused to pop for days (, splintery 

Toothflossing Stringmints, tiny black Pepper Imps) ‗breathe fire for 

your friends(, Ice Mice (‗hear your teeth chatter and 

squeak!‘(,peppermint creams shaped like toads)‗hop realistically in 

the stomach!)‖.(p. 146) 

وبْ اٌّؾً ١ٍِئب ثبألهفف اٌزٟ اوزظذ ثأّٙٝ أٛاع اٌؾٍٜٛ ٚ ِئبد اٌمطغ ِٓ ِقزٍف  . 1

رخ...ِضً مٌه اٌٍجبْ اٌنٞ لل ٠ّأل اؽلكٜ اٌؾغواد ثىوح ال  رٕفغو ٌّلح أ٠بَ ٚ أٔٛاع اٌْىٛال

 (p. 202-203)غ١و٘ب 

     The author, in this example, explained the meaning behind these 

strange names. Mohammed decides not to translate any of them except for 

one, ‗Drooble‘s Best Blowing Gum‘. When so many names appear in one 

sentence, it might be acceptable not to translate them all. Nonetheless, 

Mohammed‘s choice of which sweet to translate is problematic. ‗Drooble‘s 

Best Blowing Gum‘ appears only once in the novel, which is in this 



48 
 

sentence, so it is less significant. Nevertheless, other sweets have appeared 

in other contexts where Mohammed chooses not to translate them at all 

such as ―Pepper Imps‖: 

2) ‗Thanks,‘ said Harry, picking up a packet of tiny black Pepper Imps. 

‗What‘s Hogsmeade like?(p 115) 

 (p.165)لبي ٘بهٞ: " ّىواً ٌىّب...و١ف وٕذ "٘ٛع١َّل؟" 3

   Another strategy Mohammed employs is simplification as 

Klingberg (1986) names it. By using this strategy, Mohammed provides the 

subordinate equivalent for a specific name. This strategy is used when 

translating, ‗Cauldron Cakes‘ which is translated as"اٌىؼه". Accordingly, he 

does not provide any specific description to explain what kind of cake this 

is. Henceforth, he loses the effect of the original text. 

    Mohammed also uses ‗explanatory translation‘ by giving the 

function of the name without translating the name. Accordingly, 

―Drooble‘s Best Blowing Gum‖ is translated by the explanation provided 

by the author, ―Drooble‘s Best Blowing Gum (which filled a room with 

bluebell-coloured bubbles that refused to pop for days‖, as ― اٌٍجبْ اٌنٞ لل ٠ّأل

 The same strategy is used with .‖اؽلكٜ اٌؾغواد ثىوح ال رٕفغو ٌّلح أ٠بَ

―Chocoballs‖. 

    Another problematic part of the translation is the inconsistency in 

translating two names. The first one is ―Toothflossing Stringmints‖ which 



49 
 

is simplified once and deleted the second time. On the other hand, 

Butterbeer is translated using several techniques:  

(3) ―Zonko‘s Joke Shop, into the Three Broomsticks for foaming mugs 

of hot Butterbeer and many places besides‖(p.119) 

       (p.165)   ―  المشسوتاخٌّىبٌٔ اٌزٟ رؾزٛٞ ثغبٔجٙب ػٍٝ اِبوٌٕ ٌٛٙغ ػٖٝ ا-

 اٌَبفٕخ

-‗Butterbeer!‘ said Harry, without thinking. ‗Yeah, I like that stuff!‘(182) 

 (p.246) فمبي ٘بهٞ ِٓ كْٚ رفى١و " ٔؼُ أٔب اؽت مٌه ثبٌفؼً" -  

-―Ron and Hermione had both placed hands on the top of Harry‘s head and 

forced him off his stool and under the table. Dripping with Butterbeer and 

crouching out of sight‖ (p.150) 

ِٓ  كىتههفغ هْٚ ١٘ٚوِْٛ ٠ل٠ّٙب ٚأففٚب هأً ٘بهٞ ١ٌقزفٟ أٍفً إٌّٚلح صُ أىاؽب  -3

 (p. 207)فٛلٙب

      ‗Butterbeer‘ is a famous alcoholic drink for wizards. So the 

deletion of this drink can be ideologically motivated since Alcohol is 

forbidden in the Arab and Islamic culture. However, since it appears in 

other books of Harry Potter, it should have a more explicit reference. 

    Finally, Mohammed uses literal translation for the translation of 

Gillywater as ―ٍِٟبء ع١‖.  



50 
 

    The use of deletion, explanatory translation, and dynamic 

equivalence causes some significant loss. First, the humorous effect, 

wordplay and the lines between the ordinary world and the wizarding world 

are blurred and lost. Accordingly, an alternative translation was provided 

for the proper names that seemed problematic as shown in table (6).   

3.2.2 Invented Place Names: 

    Harry Potter and The Prisoner of Azkaban has thirteen invented 

place names. They are names that refer to geographical locations, street 

names, buildings, and shops. Place names play a significant role in 

identifying the setting of the novel in the magical world. The invented 

names are for places in the magical world only except for ―Private Drive‖, 

the neighborhood that Harry lives in with his Muggle relatives, The 

Dursley. The invented names of shops are all in one main setting, which is 

‗Hogsmead‘; thus, they function as a means to differentiate between the 

setting of the real world and wizarding one. They also have a humorous 

effect created by wordplay such as ‗Shrieking Shack‘ where there is 

alliteration employed. Mohammed employed different strategies for the 

translation of these names. See table (7) which shows place names, their 

translation, and the procedures adopted: 

  



51 
 

Table (7): The Translation of Invented Place Names 

Place Name 

Page No. 

English/ 

Arabic 

Arabic 

Translation 
Procedure used 

Suggested 

Translation 

Privet Drive  9/4  ّبهع "ثو٠فذ

 كها٠ف"

Transliteration  

Shrieking 

Shack  

61/83 

 

114/158 

149/206 

260/351 

309/416 

 ِجٕٝ ّو٠ىٕظ ّبن

 

اِبوٓ رَزؾك 

 اٌي٠بهح

 ّو٠ىٕظ ّبن

 إٌّيي

/----- 

 

Transliteration 

with added 

explanation / 

Simplification 

Transliteration/ 

Simplification/ 

deletion 

 اٌىٛؿ اٌٖبهؿ

Flourish and 

Blotts 

44/56 

45/58 

 اٌّىزجخ

ٍٛه٠ٌٕ ٚثٍٛرٌف  

 

Simplification/ 

Transliteration 

 

Hogwarts 8/4 ٌ٘ٛعٛٚهر Transliteration  

Azkaban 

Fortress 

  Transliteration ٍغٓ أىوبثبْ 33/40

Gringotts 

Wizarding 

Bank 

12/9 

29/34 

ثٕه "عو٠ٕغٛرٌ 

 اٌَؾوٜ"

ٖوف ِ

"عو٠ٕغٛرٌ" 

 ٌٍَؾوح

Transliteration  

Zonko‘s Joke 

Shop 

ِزغو"ىٚٔىٛ"  Transliteration ِؾً ىٚٔىٛ 114/158

 ٌٍقلع اٌَؾو٠خ

Hogsmead  16/16 "لو٠خ "٘ٛع١َّل Transliteration  

Gryffindor 

Tower  

ه"عو٠فٕلٚ"ثوط  94/102  Transliteration  

Leaky 

Cauldron  

36/45 

36/45 

 

----/  

 اٌّوعً اٌواّؼ

Deletion 

Literal translation 

 

Honeydukes 61/83 

119/165 

----/  

 ٘بٟٔ ك٠ٛن

Deletion/ 

Transliteration 

 

Three 

Broomsticks 

119/165 

156/213 

 

163/221 

183/247 

205/279 

 ػٖٝ اٌّىبٌٔ

/صالس ِىبٌٔ 

 ٍؾو٠خ

 

---- 

 اٌّؾً

 /اٌؾبٔخ

Substitution for an 

equivalent in TL 

/literal translation 

/deletion/ 

localization 

/simplification 

ِمٙٝ اٌضالس 

َؾو٠خِىبٌٔ اٌ  

Dervish and 

Banges 

  Transliteration ك٠وف١ِ ثبٔغي 119/165

 



52 
 

     The invented names for places are mostly transliterated. It can be 

noted that these place names are treated just as other place names in the 

novel such as London which is translated as ٌْٕل. Mohammed did not 

provide any further explanation unless it originally existed in the source 

text. However, two place names are not transliterated, ‗Leaky Cauldron‘ 

and ‗Three Broomsticks‘. ‗Leaky cauldron‘ is a place that has a significant 

role in the series of Harry Potter, and the fourth chapter in this book bears 

its name. Nevertheless, Mohammed was inconsistent in his translation of 

this chapter. This name refers to a pub and inn where wizards go to have 

drinks and has rooms where they can spend a night there. Further, it exists 

in the ―Diagon Alley‖ in London. Such a place is not exactly common in 

the Arab culture; in fact, it is even considered as a forbidden place in the 

target language. Thus it has a negative connotation in the Arab ideology. It 

is translated in two different ways: 

i) ―The Knight Bus skidded to a halt in front of a small and shabby-looking 

pub, the Leaky Cauldron, behind which lay the magical entrance to 

Diagon Alley‖. (p.36) 

 (deleted) (p.45)رٛلفذ اٌؾبفٍخ اِبَ "ؽبهح ك٠بعْٛ"     -

ii) ― He and I need to step inside the Leaky Cauldron now . . .‖ (p.37) 

 (p.46)االْ  المسجل الساشحٍٕلفً اٌٝ  -

In the first time the name appeared, Mohammed chooses to delete 

the place and its name. In the second time the name appeared, he chooses 



53 
 

to translate it literally without giving any explanation for the kind of place. 

Then it is deleted again the third time. Then he continued to translate it 

as"اٌّوعً اٌواّؼ" without any explanation. This way, he left it for the reader 

to understand from the context that this is a place where wizards come 

without referring to its nature. ―Three Broomsticks‖, which is also a pub 

name, is translated by equivalents as "ٌٔػٖٝ اٌّىب" – ―Broom stick‖. Then 

it is translated literally once as ―Three Broom sticks‖. Then it is deleted. It 

is localized two times by translating it as "ًاٌّؾ" –―Shop‖. Finally, it is 

simplified one time as"اٌؾبٔخ" ―Bar‖.  

-―Zonko‘s Joke Shop, into the Three Broomsticks for foaming mugs of 

hot Butterbeer and many places besides‖(p.119) 

 (p.165)اٌزٟ رؾزٛٞ ثغبٔجٙب ػٍٝ اِبوٓ ٌٛٙغ اٌّْوٚثبد اٌَبفٓ"  سعصى المكان" - 

-―The door of the Three Broomsticks opened again‖ (p.156) 

   (p.213)"ثالث من المكانس السحسيحٚٛبهد "-

-―Gotta walk past ‘em ev‘ry time I want a drink in the Three Broomsticks. 

‘S like bein‘ back in Azkaban‖.(p163) 

  (.221p)"٘إالء اٌؾواً وٍّب هأ٠زُٙ ّؼود ٚوإٟٔٔ ٍأم٘ت ألىوبثبْ" -

-―He would have liked to have told Lupin about the conversation he‘d 

overheard about Black in the Three Broomsticks, about Black‖ (p.183) 

 (p.247)" ثالن ػٓ ف١بٔخ المحلٍّؼٙب فٟ وبْ ٠وغت ثأْ ٠قجوٖ ثبٌّؾبكصخ اٌزٟ "-



54 
 

     There was inconsistency in the translation of other place names 

such as ―Flourish and Blotts‖ and ‗Shrieking Shack‖. In the case of 

―Shrieking Shack‖, Mohammed adopted transliteration in addition to 

deletion and simplification.  

    It can be noted here that, in the case of invented place names, 

Mohammed chose transliteration. Hence, he kept the form of the SL. Such 

renderings only affect the humorous effect of the text. There were also five 

cases of inconsistency in the translation of place names. Such inconsistency 

affects the text negatively since it makes the reference to the setting unclear 

in all of these contexts, especially in the case of deletion that was used for 

‗Leaky Cauldron‘, ‗Honeydukes‘, and ‗Three Broomsticks‘. 

3.2.3 Invented Titles and Nicknames: 

     There are five names of invented titles given to wizards in the 

wizarding world. Mohammed used several strategies for their translation as 

shown in table (8): 

Table (8): Translation of Invented Title Names and Nicknames  

Titles and 

Nicknames name 

Page no. Arabic 

translation 

Back 

translation 

Suggested 

translation 

International 

federation of 

warlock 

إٌّظّبد  33/41

 اٌَؾو٠خ اٌل١ٌٚخ

Literal  

Translation 

 

First Class 155/218 --- Deletion ٌٍٝٚبؽو ِٓ اٌلهعخ األ 

Order of Merlin 155/218 --- Deletion  ٓهرجخ عّبػخ ِو١ٌ

 اٌفقو٠خ

Wormtail 211/286 "ًٚٚهِز١" Transliteration  

Muggle 7/3 اٌؼبِخ Simplification ( "أٞ "اٌّبعٍي

االّقبٓ اٌن٠ٓ ال 

 ٠ٍّىْٛ لٜٛ ٍؾو٠خ"

 



55 
 

     Mohammed used literal translation for the translation of 

‗International Federation of warlock‘; he changed the name, but he kept its 

function in the target language.  The other two titles, ―First Class‖ and ― 

Order of Merlin‖, were deleted in the three times they appeared in the 

novel. The deletion strategy is the last method that a translator must seek 

when the name is untranslatable. However, in this case, the two titles can 

be understood from the original context that they are prestigious titles in 

the wizarding world. This is shown in the following example: 

I) ―You know what Pettigrew‘s mother got back after Black had 

finished with him? Dad told me — the Order of Merlin, First Class, 

and Pettigrew‘s finger in a box‖ (p.155) 

i)" رؼوف ِب اٌنٞ ؽٍٖذ ػ١ٍٗ اَ "ث١ز١وعٛ" ثؼل أْ لٚٝ ػ١ٍٗ "ثالن"؟ ٌمل أفجؤٟ أثٟ أٙب ً٘

 (p. 218)"ؽٍٖذ ػٍٝ إجؼٗ فٟ ٕٕلٚق.

     The use of such strategy affects the text in terms of the function that 

it is supposed to play in the original text. ‗Order of Merlin‘ and ‗First 

Class‘ are honorific titles given to a wizard who does a heroic action. In 

example (i), Pettigrew presumed to be killed while he was fighting a 

criminal wizard. Thus, I provided and alternative translation as "كهعخ عّبػخ 

 .‘First Class Wizard‗"ٍبؽو ِٓ اٌطواى األٚي"  Group of Merlin‘ and‗ِو١ٌٓ" 

    Mohammed also used transliteration in the translation of invented 

nickname ―Wormtail‖. He also used simplification for the translation 

―Muggle‖ by providing a common noun instead of a specific one. 



56 
 

3.2.4. Invented Animal Names and Magical Creatures: 

Table (9): Translation of Invented Animals and Magical Creatures 

Magical 

Creatures Names 

Page 

No. 

Arabic 

translation 
Procedure 

Suggested 

translation 

Dementor(s) 76/91  ًؽوا

 "اىوبثبْ"/ؽبهً

Simplification  وبئٕبد

اٌل١ّ٠ٕزٛه)ؽواً 

 ٍغٓ اىوبثبْ(

Flobberworms 

 

92/128 

108/148 

233/317 

----/ 

 ٍِٛة ٚهً

 "فٍٛثو ٚٚهَ"

Deletion/ 

Mistranslation 

Transliteration 

 

Scabber (a rat) 12/9 "ٍىبثوى" Transliteration  

Crookchanks (a 

cat) 

  Transliteration "ووٚوْبٔىٌ" 49/64

Buckbeack (a 

Hippogriff) 

  Transliteration "ثبن ث١ه" 88/122

Fang (a large-sized 

dog) 

 Substitution for a اٌؾ١ٛاْ اٌٖغ١و 92/126

Rough Equivalent 

 ٔبة

The names of magical creatures are translated by following different 

strategies. Mohammed translated ―Dementor‖ using simplification. In 

doing so, he provided a different connotation than the original name of the 

creature has. "ًؽبه" means ―guard‖ in Arabic which doesn‘t have a 

negative connotation. Also, it is a word that is associated with humans 

mostly not creatures. Therefore, such translation is problematic. 

i)  ―That thing – the Dementor – stood there and looked around..‖(p.76) 

 (p.91)"٘نا اٌْٟء اٚ اٌؾبهً ٚلف ٕ٘بن ٚٔظو ؽٌٛٗ.." -

     Another invented creature is ―Flobberworms‖. For its translation, 

Mohammed used two procedures, deletion, and transliteration as 

"ٍِٛة  ‖He also mistranslated it in one case as ―Mlob Wors ."فٍٛثوٚٚهِي"

  .which is not an exact transliteration ٚهً" 



57 
 

ii)  ―They were now spending lesson after lesson learning how to look 

after Flobberworms, which had to be some of the most boring 

creatures‖ –(p.108) 

"ٚوبٔٛا ٠مْٚٛ اٌلهًٚ فٟ رؼٍُ اٌؼٕب٠خ ة "ٍِٛة ٚهً" ٚ٘ٛ أوضو اٌىبئٕبد  -

 (p.148)-ئصبهح ًٌٍٍّ"

     Invented animal names were transliterated. This strategy affects the 

wordplay in those names. Also, for ―Fang‖, he used Substitution for a 

rough equivalent as a strategy by translating it as ―small animal‖. However, 

―Fang‖ is the name of a dog whose size is very big, thus; the irony in its 

name is lost when translating it as "اٌؾ١ٛاْ اٌٖغ١و" ―Small animal‖. 

3.2.5. Invented Ghost Names: 

Table (10) : The Translation of Invented Ghost Names 

Ghost Names 
Page No. 

Eng/Arabic 

Arabic 

translation 
Procedure 

Suggested 

translation 

Nearly 

Headless Nick 

"١ٔه ّجٗ  206/279

 ِمطٛع اٌوأً"

Transliteration and 

Literal Translation 

 

Professor Binns 14/13 

175/236 

 ٍٕبة

/----  

Deletion/mistranslation  اٌجوٚف١َٛه

 "ث١ٕي"

Peeves the 

Poltergeist  

ث١في اٌوٚػ  121/168

 اٌْو٠وح

Transliteration and 

literal translation 

 

Mohammed used two main techniques for ghost names. ―Nearly Headless 

Nick‖ and ―Peeves the Poltergeist‖ were transliterated with the names ―Nick‖ 

and ―Peeves‖ while translating the descriptive part literally. Another ghost is 

―Professor Binns‖. This is a professor who died while he was asleep and woke up 

as a ghost the next day. Then he continued his job as a professor even though he 

is a ghost. His name appeared twice in this book. For the translation of this name, 



58 
 

Mohammed seemed to be confused between his name and Professor ―Snape‖ as 

he translated him as "ٍٕبة". The second time he chose to delete it.  

3.2.6. Translation of Invented Magical Plants: 

Table (11): The Translation of Invented Names of Potions 

Magical Plant 

Names 

Page No. 

Eng/Arabic 

Arabic 

translation 
Procedure 

Suggested 

translation 

Shrivelfig 95/131 األٚهاق Simplification "ّو٠فً ف١ظ" 

Whomping 

Willow 

136/189 

255/344 

"١ِٕٚظ ٠ٍٚٛ"/ 

 اٌْغوح اٌؼّاللخ

Transliteration/ 

Simplification 

 

Puffapod 111/154  ٍُكهً ػ

 األػْبة

Substitution for a 

rough equivalent 

ٔجزخ 

 اي"ثٛفبثٛك"

The translation of invented plants seemed to be problematic for 

Mohammed. For ―Shrivelfig‖, he chose to provide a general reference as 

―leaves‖. By doing so, he took away from its connotation as a magical plant and 

became an ordinary plant. In the case of ―Whomping Willow‖, Mohammed is 

inconsistent in his translation. He translated it using simplification as ―Big 

Willow‖ "اٌْغوح اٌؼّاللخ"- , and he translated it using transliteration. He also 

deleted it in some contexts. Finally, Mohammed seemed to mistake ‗Puffapod‘ as 

a name of a school subject by translating it as ―Herbology class‖.  

3.2.7. Invented Names of Potions: 

Table (12): The Translation of Invented Names of Potions 

Potions name Page No. 
Arabic 

translation 
Procedure 

Suggested 

translation 

Confusing 

Concoction 

 ٕٚفخ اإلهثبن Simplification ٕٚفخ 233/315

Wolfsbane Potion 258/349 ٕٚفخ Simplification ٕٚفخ فبٔك اٌنئت 

Two potions are introduced in this book. For potions, Mohammed gave a 

general meaning for them by merely translating them both as ―potion‖. 

Nevertheless, this translation is not efficient since each potion has a different 

https://harrypotter.fandom.com/wiki/Shrivelfig


59 
 

function. Moreover, potions names are, as Nlisen (2005) said, help to move the 

plot from their meanings. For example, ―Wolfsbane Potion‖ is made from 

wolfsbane plant which is known in fantasy literature as a plant that hurts 

werewolf. This potion is created not to hurt Professor Lupin but to make his 

transformation into a werewolf not dangerous to others or himself, and it is also 

mentioned in Harry Potter and The Order of The Phoenix, so a more specific 

translation is needed. Hence I suggested to translate it as "ٕٚفخ فبٔك اٌنئت" which 

refers to the function of the potions that weakens a werewolf. 

3.2.8. Invented Book Title and School Subjects Names: 

Table (13): The Translation of Invented Book Title and School 

Subjects Names 

Books and  School 

Subjects’ names 

Page No. 

Eng/Ara-bic 
Arabic translation Procedure 

A History of Magic 8/3 "وزبة "ربه٠ـ اٌَؾو Literal Translation 

A Charm to Cure 

Reluctant Reversers 

 Simplification وزبة 27/30

Handbook of do-it-

yourself broom 

 

15/14 

 

24/30 

وزبة ٠ّىٓ اٌَّزقلَ ِٓ 

 اٌؼٕب٠خ ثبٌؼٖب ّق١ٖب

 /وزبة هػب٠خ اٌؼٖب اٌَؾو٠خ

Explanatory 

Translation/ 

Literal Translation 

Numerology and 

Gramatica 

وزبة كهاٍخ ِؼبٟٔ األػلاك  232/313

 اٌَؾو٠خ

Literal Translation 

The study of Ancient 

Runes 

 Literal Translation كهاٍخ اٌوِٛى اٌمل٠ّخ 47/61

Home Life and Social 

Habits of British 

Muggles 

وزبة ثؼٕٛاْ "اٌؾ١بح األٍو٠خ  195/265

ٚاٌؼبكاد إٌّي١ٌخ ٌؼبِخ 

 اٌجو٠طب١١ٔٓ"

Literal Translation 

Divination 44/56 ػٍُ اٌزٕجإ Literal Translation 

The Monster book of 

monster 

 Literal Translation وزبة "ٚؽِ اٌٛؽُٛ" 44/56

The invisible book of 

invisibility  

 وزبة "اإلففبء اٌقفٟ" 45/57

 

Literal Translation 

Care of Magical 

Creature 

وزبة اٌؼٕب٠خ ثبٌّقٍٛلبد  47/61

 اٌَؾو٠خ

Literal Translation 

Unfogging the future  45/57 "ًوزبة "ر١ٙٛؼ اٌَّزمج Literal Translation 

Predicting the 

Unpredictable: 

Insulate Yourself 

Against Shocks 

"اٌزٕجإ ثّب ال ٠ّىٓ اٌزٕجإ  45/57

ف١ٗ", "ؽٖٓ ٔفَه ٙل 

 اٌٖلِبد"

Literal Translation 



60 
 

Books and  School 

Subjects’ names 

Page No. 

Eng/Ara-bic 
Arabic translation Procedure 

Broken Balls: When 

Fortunes Turn Foul 

 Literal Translation "ػٕلِب رقطئ  اٌزٕجإاد" 45/57

Death Omens: What 

to Do When You 

Know the Worst Is 

Coming 

"ٔن٠و اٌْإَ.. ِبما رفؼً ػٕلِب  45/57

 رؼٍُ ثملَٚ األٍٛأ؟"

Literal Translation 

Intermediate 

Transfiguration  

 Literal Translation وزبة "رغ١١و اٌْىً ا١ٌٍٜٛ" 45/58

The Standard Book of 

Spells, Grade Three. 

وزبة "ّٔبمط اٌزؼب٠ٚن" ٌٍَٕخ  45/58

 اٌضبٌضخ

Literal Translation 

Arithmancy 47/61 

85/105 

----/  

 ػٍَٛ ؽَبة

Literal Translation 

Charms  218/294 كهً اٌزؼب٠ٚن Literal Translation 

Muggle Studies 47/61 كهاٍبد اٌؼبِخ Literal Translation 

Potions  49/130 كهً إٌٛفبد Literal Translation 

Defense Against the 

Dark Arts of Magic 

 Literal Translation ِبكح اٌلفبع ٙل اٌَؾو االٍٛك 34/42

The Handbook of 

Hippogriff 

Psychology 

وزبة " ػٍُ ٔفٌ  221/299

 ا١ٌٙجٛعو٠ف"

Literal Translation 

Fowl or Foul? A 

Study of Hippogriff 

Brutality 

"كهاٍخ فٟ ٚؽ١ْخ  221/299

 ا١ٌٙجٛعو٠ف"

Literal Translation 

Astronomy  233/315 اٌفٍه Literal Translation 

When it comes to the translation of books and school subjects, 

Mohammed used literal translation for all of them. Such technique 

preserves the name of these books and school subjects as they are. In some 

cases, he was able to preserve the wordplay in those book titles. For 

example, ―The Monster Book of Monsters‖ and ―The invisible book of 

invisibility‖ have elements of wordplay by using repetition. Mohammed 

kept this repetition in Arabic as well by translating them as ― ِوزبة ٚؽ

 respectively. There is also a case where he "وزبة اإلففبء اٌقفٟ" and "اٌٛؽُٛ

did not translate all the title. For instance, in the case of ―Broken Balls: 

When Fortunes Turn Foul‖, Mohammed chose not to translate ―Broken 

Balls‖ and only gave a translation for the rest of it as ―ػٕلِب رقطئ اٌزٕجإاد‖-



61 
 

―when predictions are wrong‖. He also used quotation marks with book 

titles. Overall, the translation of book titles and school subjects preserved 

the intended purpose behind these names. 

3.2.9. Invented Names of Objects: 

Table (14): The Translation of Invented Objects’ Names 

Objects and 

tools   name 

Page no. 

English/Arabic 

Arabic 

translation 
Procedure 

Suggested 

translation 

Fleetwood‘s 

High-Finish 

Handle Polish 

ٚه١ِٔ اٌز١ٍّغ  15/13

 ػبٌٟ اٌغٛكح

Explanatory 

translation 

 

 Tail-Twig 

Clippers 

  Simplification اٌّمٖبد 15/13

Broomstick 

Servicing Kit 

ػلح "ػٖب اٌّىبٌٔ  15/13

 اٌَؾو٠خ"

Literal 

Translation 

 

Invisibility 

Cloak 

 Literal ػجبءح االففبء 29/35

Translation 

 

The Marauder's 

Map 

131/191  

203/276 

 فو٠طخ ِبهاكٚه

قو٠طخاٌ  

 

Transliteration 

and literal 

translation/ 

Simplification 

 

Pocket 

Sneakoscope 

 

13/11 

60/82 

167/227 

عٙبىاٍزْؼبه 

 ٌٍغ١ت

 /عٙبى اٌزغٌَ

 عٙبى االٔناه/

Substitution 

for a rough 

equivalent in 

the TL 

عٙبى اٌىْف 

 ػٓ اٌّقبكػ١ٓ

Sorting Hat 

 

 Literal لجؼخ اٌز١َٕك 71/98

Translation 

 

Nose-Biting 

Teacup 

205/279 ---- Deletion  ٞأوٛاة اٌْب

اٌزٟ رؼ٘ 

 األٔف

Frog Spawn 

Soap 

205/279 ---- Deletion  ٕ٘بثْٛ ث١

 اٌٚفبكع

Dungbomb(s) 143/199 فلػخ Deletion/ 

simplification 

لٕبثً هٚس 

 اٌؾ١ٛأبد

Hiccough 

Sweets 

205/279 ---- Deletion ٍ٠ٛبد ؽ

 اٌؾبىٚلخ

Howler 200/272 ٔبثؼ Literal 

Translation 

 

Stink Pellets 109/151 ---- Deletion  وو٠بد ما

 هائؾخ وو٠ٙخ

Belch Powder 

 

115/160 ---- Deletion  َِؾٛق

 اٌزغْإ

Whizzing 

Worms 

115/160 ---- Deletion  ٟاٌل٠لاْ اٌز

 رٖله أى٠ي



62 
 

Objects and 

tools   name 

Page no. 

English/Arabic 

Arabic 

translation 
Procedure 

Suggested 

translation 

Hogwarts 

Express 

14/13 

16/16 

 "٘ٛعٛٚهرٌ"/

لطبه ٘ٛعٛٚهرٌ 

 اوَجو٠ٌ

Mistranslation 

Literal 

Translation 

and added 

explanation 

 

The Knight Bus 30/36 ًؽبفٍخ اٌفبه Literal 

Translation 

 

Time-Turner 289/393 ِٟٕاٌّؾٛي اٌي Literal 

Translation 

 

The Quidditch 

Cup 

 Literal وأً"و٠ٛلرِ" 109/149

Translation+ 

Transliteration 

 

The Fire Bolt 43/55 )ٜاٌَُٙ إٌبه( Literal 

Translation 

 

Nimbus Two 

Thousand 

/Mistranslation ػٖب اٌّىبٌٔ 15/14

localization?? 

١ٔ2000ّجًٛ   

Nimbus Two 

Thousandand 

One 

"2001"١ّٔجًٛ  181/244  Literal 

Translation 

 

Cleansweeps 185/250 ٛواى و١ٍٓ ٠ٍٛت  Transliteration

+ added 

explanation 

 

Silver Arrows 188/255 االٍُٙ اٌف١ٚخ Literal 

translation 

 

There are twenty-nine invented magical objects names. Mohammed 

used different strategies varying from simplification, explanatory 

translation, substitution for an equivalent in the target culture, 

transliteration, literal translation, added explanation, and deletion. The 

main procedure is literal translation as he used it for ten names of objects.  

Deletion is also used for seven objects names, and those are ―Nose-Biting 

Teacup‖, ―Frog Spawn Soap‖, ―Dungbombs‖, ―Hiccough Sweets‖, ―Stink 

Pellets‖, ―Belch Powder‖, ―Whizzing Worms‖. Interestingly, all of these 

objects that are deleted are used to make pranks and jokes. So their primary 

function as objects is humour. This function is also reflected in the 

wordplay in their names, such as using alliteration in most of them. 



63 
 

Accordingly, the use of deletion is problematic. Further, ‗Dungbombs‘ is 

also simplified as "فلػخ" which only provides a general meaning for its 

type but not its function.  

    There is inconsistency in the translation of ―Pocket Sneakoscope‖ 

which is given three different translations as a ―pocket sensor‖, ―a spying 

device‖, and ―an alarming device‖ respectively: 

1- "― This is a Pocket Sneakoscope. If there‘s someone untrustworthy 

around, it‘s supposed to light up and spin‖-( p.13) 

 فاما ِب وبْ ٕ٘بن اؽل غ١و ِٛصٛق ثٗ فٟ ِىبْ ِب ف١َٟٚء جهاش استشعاز للجية ٘نا -

 (p.11)-٠ٚلٚه ؽٛي ٔفَٗ"

2- ―he had pulled the Pocket Sneakoscope out from between Harry‘s 

robes‖(p.60) 

 (p.82)"عنة عٙبى اٌزغٌَ ِٓ ث١ٓ ِالثٌ "٘بهٜ" -

3- A shrill, tinny whistling was filling the room. The Pocket 

Sneakoscope had become dislodged‖ (p.167) 

  .p) (227.." جهاش اإلنراز "أطٍك ٕف١و-

Such translation is problematic since it does not provide a clear 

reference for this object.  

    There is also one case of mistranslation of ―Nimbus Two Thousand‖ 

which is the of name a magical broom model. Mohammed translated it as    



64 
 

 The Brooms stick‖. What is interesting is that he― "ػٖب اٌّىبٌٔ"

transliterated a similar model of broom name ―Nimbus Two Thousand and 

One‖ as "2001 ًٛ١ّٔج".  Furthermore, the translator used this translation, 

 .(p.165)"ػٖٝ اٌّىبٌٔ" for the pub ―The Three broomstick‖ as ,"ػٖب اٌّىبٌٔ"

Accordingly, such similar translation is problematic since it causes 

confusion for what the name refers to.  

     It can be concluded here that although Mohammed preserved the 

names of several objects, there were a number of issues resulted from the 

choice of some strategies such as deletion and inconsistency in translation. 

Moreover, some strategies lead to the loss of wordplay in the names of 

these objects. 

3.2.10. Invented Wizard’s Currency: 

Table (15):  The Translation of Invented Wizards’ Currency  

Names of 

Wizards’ 

Currency 

Page No. 

English/ 

Arabic 

Arabic 

translation 
Procedure 

Suggested 

translation 

Galleons 

gold Galleons  

13/10 

42/54 

 لطؼخ م٘ج١خ/

 ٔمٛك م٘ت

Simplification "ْٛػٍّخ اي"عب١ٌ 

 عب١ٌْٛ م٘جٟ

silver Sickles 

 

eleven Sickles  

42/54 

 

31/38 

 ٔمٛك فٚخ

 

 اؽلٜ ػْو كل١مخ

Simplification 

 

Mistranslation 

ػٍّخ "ا١ٌَىً" 

 اٌف١ٚخ

اؽلٜ ػْو 

 "١ٍىً"

bronze Knuts 42/54 ٔمٛك ثوٚٔي Simplification ٔٛد" ػٍّخ اي "

 اٌجوٚٔي٠خ

Simplification is used for the translation of the wizard‘s currency or 

money. Mohammed preserved the adjective describing each coin as gold, 

bronze, and sliver, but he referred to all coins as ―money‖. Such translation 

affects the pur