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One of the elements present in almost all literary texts causing intercultural gaps is allusion. This study addresses allusion, as a form of intertextuality, in translation. An attempt has been made to look into the strategies the translators have used in translating into Persian four types of allusive PNs(proper names) and KPs (key-phrases) (religious, political, historical and mythological) in A Portrait of the Artist as a Young Man. This comparative study is done on the basis of the strategies of translating allusions suggested by Leppihalme (1997) to find whether the Persian translations follow these strategies or not and to find the frequency and efficiency of each strategy. The three Persian translations are by Manouchehr Badi'ei (1380), Parviz Dariush (1370) and Asghar Jooya (1382). The strategy of ‘retention of the given name’ was of the highest and ‘omission’ of the lowest frequency in the translations studied. Badi’ei’s translation proved to be the most attentive to allusions and the most successful in rendering them

Translating Political Allusions: A Survey of A Portrait of the Artist as a Young Man by James Joyce