A Functional Approach to Linguistic Problems in Islamic Subtitling

Received: 17 Sept. 2021 Accepted: 12 Nov. 2021 Volume: 1 Issue: FALL DOI: 10.12345/bjtll.v1i1 This study examines the linguistic challenges encountered in subtitling Islamic TV programs from Arabic to English. The formal and cultural discrepancies between the two languages cause some gaps in translation between them given their different lexical and grammatical systems. Linguistic features such as polysemy, semantic change, idioms as well as description of grammatical rules are common pitfalls that cause mistranslations in this area. These difficulties are further complicated by the space and time constraints which limit the amount of text shown on the screen and, thus, prevent the subtitler from clarifying ambiguous sections of the ST. Christian Nord’s functional translation-oriented text analysis model is employed to analyze a sample of four real-life examples taken from programs broadcast on Al-Arabiya Channel and Iqraa TV. Findings show that documentary translation is suitable for the problems of lexical complexity while instrumental translation can overcome the difficulties of translating idioms and description of Arabic grammar to English-speaking viewers. Besides, the strategies of omission, condensation and compensation seem to be a necessity together with creative adaptations to maximize the communicativeness of the subtitles. KEYWORDS


Introduction
This research explores the applicability of Nord's (1997) functional model to analyzing linguistic challenges in Islamic subtitles from Arabic into English. These challenges do not only emanate from the discrepancies between the two languages, but also from the space and time constraints imposed by the medium which restrict the translator's freedom to relay the ST effectively. Some Islamic TV channels e.g. Iqraa TV started to translate their Arabic programs into English to address the needs of Muslims abroad, especially in the West, and to acquaint Westerners with Islam in order to establish communication bridges between the two cultures. Translators encounter a wide range of difficulties including technical, cultural, rhetorical and informational challenges, but the current article investigates the linguistic pitfalls that complicate the work of the subtitler.

Statement of the research problem
Arabic and English belong to different language families which entails a considerable distance between them at the formal and cultural levels. This makes it more difficult to communicate ideas and meanings between them than between languages which are closer linguistically and culturally (English and German, for example). Nornes (1999) argues that "The dissimilarity between languages creates differences that simply cannot be overcome, inevitably compromising the activity of translation" (p. 18). Linguistic phenomena such as polysemy, semantic change, idioms and special grammatical features are among the most common pitfalls encountered by subtitlers of Islamic programs in translating from Arabic into English. While translation strategies like explication, paraphrase and footnotes can help the traditional translator to overcome such difficulties, many of these strategies seem to be impossible in subtitling due to the space and time limitations. This requires more creativity on the part of the subtitler who is expected to translate faithfully, produce meaningful subtitles which must also be concise, simple and clear to the target viewers and meet the technical limitations of the medium.

Research questions
1-What is the nature of linguistic pitfalls involved in subtitling Islamic TV programs from Arabic to English?
2-Which translation strategies are most appropriate to overcome these pitfalls?
3-How far do technical constraints affect the efficiency of subtitles and translation decisions?
4-To what extent is the Functional Approach effective in analyzing the problems of subtitling and offering solutions to them?

Subtitling: A special form of translation
According to Gottlieb (1998), subtitling is a form of translation on the screen that has two features setting it apart from other forms of translation: "semiotic composition" and "time and duration" (p. 245). The first element refers to the shift of the channel of communication from "verbal auditory" (soundtrack of the original dialogue) to "verbal visual" (translated subtitles appearing on the screen). This shift leads to heavy loss in the semantic and cultural content of the original via translation, for no one can guarantee that "a film that is partly read can convey the same impression as the same film listened to" (ibid). The second element, i.e. time and duration, is one of the hardest challenges encountered by subtitlers. It refers to the duration of the subtitle on the screen, and this is a challenge because the subtitler has to convey as much as possible of the spoken dialogue in a written form, given the following considerations: First, the subtitle lasts for a few seconds on the screen (an average of 2-6 seconds).
Second, it cannot exceed two lines (each line consists maximally of 37 characters, including spaces and punctuation marks).
Third, it must be readable, in the sense that it should be concise enough for viewers to read during these few seconds regardless of the speed of the speaker(s). Gottlieb (1998)

maintains that
Most television broadcasters demand a two-line subtitle of 60-70 characters to stay on the screen for 5-6 seconds, and presentation rates of more than 12 characters per second (cps) are not acceptable. Given that the speech tempo on the screen, as in normal conversation, is usually higher than the equivalent of 12 cps, a quantitative dialogue reduction is necessary. Due to lexical and syntactic differences between languages, this average measure of reduction may vary, but in television subtitling the text volume is typically reduced by one third (p. 247).

The role of pragmatics
Because of the technical limitations of the medium, subtitlers do not have enough space to write everything uttered by the speakers. Therefore, they have to translate the gist of the dialog, and the speaker's intention is more important than the actual words. Furthermore, the speaker's body language, gestures, tone of voice, even silence, can be pregnant with significant meaning that is not stated explicitly, and only the interlocutors can understand. In translating this information on the screen, the subtitler has to be aware of the deeper and covert pragmatic implications of these features in order to spill them out efficiently not only to a different language/culture, but also in a totally different mode of expression that has space and time constraints. Gottlieb (1998) asserts: In subtitling, the speech act is always in focus; intentions and effects are more important than isolated lexical elements. This pragmatic dimension leaves the subtitler free to take certain linguistic liberties, bearing in mind that each subtitle must be phrased and cued as part of a larger polysemiotic whole aimed at unimpeded audience reception. (p. 247).

Method of data analysis
Nord's translation-oriented text analysis model outlined above is used to analyze the selected sample due to its comprehensiveness and relevance to the research questions of the study.   5-In case none of the TTs is adequate or there is a better way to rephrase any of them, the researcher suggests his own version at the end of the analysis.

Polysemous words
Arabic vocabulary items are so rich that a single word can carry a wide range of meanings, sometimes related (polysemous) and sometimes unrelated (homonymous), but they are described here as polysemous for simplification. One source of this multiplicity of meanings is the existence of 'technical', religious or specialized senses for words which also have 'general' senses. An example of this is the word ‫توحيد‬ which occurs in the following utterance taken from episode 29 of the program ‫على‬ As for the (i) translation brief, (1) the ST and TTs are equifunctional in the sense that all of them are informative (relating historical facts) and expressive (lauding the founders and judging the unity as "greatest", although the third subtitle is less expressive in TT-1 and TT-2 than the ST). In other words, the guest speaker used the same collocation, ‫راية‬ ‫تحت‬ (under the banner of) previously, and it is used in the subtitle in question as well, but he made it explicit that this unification of Saudi Arabia was achieved "under the banner of Islam" whose central doctrine is monotheism -the technical sense of the problematic word ‫.التوحيد‬ However, the TT-1 translator opted for the general sense unification, confused by the talk about the unification of people in one nation-state by the two leaders mentioned above, thus producing the awkward collocation "under the banner of unification". This mistranslation emanates from the translator's failure to ask himself: "Do I know the exact meaning of the words in this context?" (Gottlieb, 1994, p. 109). Di Giovanni also points to this problem, highlighting "the need to understand the context in order to bridge two cultures appropriately." (2016, p. 3).
(5) Some non-verbal elements are present with the utterance on the screen (e.g. background music; the speakers' tour in the ruins of the old city of Dir'iyya, etc.). Therefore, the TTs have favorable cps rates (10 and 9 cps), enabling the viewers to watch the video and enjoy other filmic material. (6) The problematic lexical item here is the polysemous word ‫التوحيد‬ which has a general sense i.e. unification and a technical, religious, specialized one, i.e. monotheism which is a central Islamic doctrine and is sometimes taken to mean Islam, hence the collocation ‫التوحيد‬ ‫دين‬ (literally, the religion of monotheism). The TT-1 translator did not realize this complexity of the term and opted for the general meaning. But whether he made this mistake because of his unawareness of this semantic complexity or because of his heedlessness to the macrostructure of the episode is unknown. It is clear, however, that he was distracted by the mention of the literal 'unification' and 'political unity' ‫سياسية(‬ ‫)وحدة‬ of the kingdom under the Saudi dynasty. In addition to this problematic word, a few ST lexical items, i.e. ‫اﻷمير‬ ‫سمو‬ ‫يا‬ (your Royal Highness) are omitted from the TTs because the addressee is known onscreen and this form of address does not bear meanings very significant to the message. They are deleted to abridge the subtitle and to make it more readable. (7) The sentence structure is quiet simple and there is nothing difficult about it except that the analyzed subtitle does not stand alone. Both the TTs have managed to link it to the previous utterance, and, thus, they run smoothly although the next subtitle does not seem to run naturally after them, so it needs to be reformulated. (8) There are no special suprasegmental features in these utterances perhaps due to the declarative tone which is typical of the informative function.
The third part of Nord's model is the (iii) functional hierarchy of translation problems detailed as follows: (1)

Semantic change
A polysemous word has different senses that function in modern day. However, there are some words which have undergone semantic change in the sense that they used to have one (or more) meaning(s) in the past, but it has been overshadowed by modern meanings. Because classical Arabic is still alive in religious discourse (Badawi, 1973, p (ii) The ST analysis is as follows. (1) The subject matter is historical and biographical accounts of great Muslim women.
(2) In terms of content, the sign is written in beautiful Arabic calligraphy (in the thuluth script) which is typical of such religious contexts, and it is used here as a token of veneration for the Prophet's wife -which is also expressed in the common formula ‫عنها‬ ‫ﷲ‬ ‫رضي‬ and the prefix ‫السيدة‬ both of which are deleted and compensated for as (iii-2) below demonstrates. The more significant part in terms of the informative function is ‫عائشة‬ ‫السيدة‬ ‫اسطوانة‬ ‫هذه‬ which is the central content for the TTs. In terms of cohesion, this part of the episode is self-contained semantically and syntactically although the translator should have also considered other parts of the episode to discern the intended meaning of the problematic word.  roller, (e) drum, among others. It is clear that CD is not an original meaning of the word, but only an extension of (c) above.
Baalbaki gives the meaning disc, a sense that outshined the others due to the proliferation of that technological device (the compact disc) that is simply referred to by its initials. Why the translator made this mistake is perhaps because she did not watch the video and was translating from the script only, and so she opted for the famous sense of the word. Or perhaps she was not aware that ‫اسطوانة‬ could have other meanings and thus did not look up this word in the dictionary to check its meanings. At any rate, the mistake resulted from a complete misunderstanding of the context in which this lexical item occurred. Although TT-2 above is more communicative for the target viewers, it is still longer than the ideal reading rate (13 cps), and viewers will thus find it difficult to read the entire 47-character subtitle in just 2.7 seconds. Therefore, a shorter version is suggested: "Column of Aisha, the Prophet's wife" (34 characters; 13 cps).

Arabic idioms
Linguistic challenges in translation are by no means confined to single words; they cover all aspects of linguistic analysis. Among these difficulties is the translation of idioms which lie at an intersection between language and culture and are sometimes regarded as culture-specific references (CSRs). The following example is excerpted from the 18 th episode of the 2010  The third component of Nord's model is (iii) the functional hierarchy of translation problems, described as follows: (1) Instrumental translation is adopted in TT-2 due to the adaptations made to align the message to TC norms as clear in: (2)  . This analysis is in harmony with Kabara's (2015) emphasis that although subtitling is reductive in nature, condensation can preserve the essence of the original denotative meaning but in fewer words to comply with the time and space restrictions. That is, omitting language does not necessary entail "omitting meaning" (p. 169).
(3) This also shows that the translation style is target-culture oriented. (4) Lower-level linguistic elements have been tackled in (ii-4, 6, 7 and iii-2) above.
Finally, TT-2 is recommended owing to its functionality, fluency and communicativeness. @Neves (2004) asserts that in audiovisual translation fidelity is particularly due to an audience that, like the receiver of simultaneous interpretation, is in need of communicative effectiveness, rather than in search of artistic effect -as is the case in literary translation -or of exact equivalence -as happens with technical translation (p. 135).

Description of Arabic grammar
Moving on to sentence structure, translation difficulties become more stubborn as the speaker explains the particularities (ii) The ST analysis is broken down to the following points: (1) The subject matter of the whole episode is religious preaching aiming at boosting the viewers' morale. However, these particular utterances present a joke based on a witty comment on a grammatical mistake. (2) The content of the utterances is centered around the mispronunciation of a word in a famous Qur'anic verse [Q69:27] that depicts the regret, sorrow and horror that will be experienced by wicked people on the Day of Judgment. Because God will call them to account for their crimes and throw them into Hellfire, every one of them will cry: "I wish that it would be my end", asking for death but it will not be granted to him. The speaker here is saying that Al-Walid ibn Abdul-Malik, an Umayyad Caliph, recited this verse in his Friday sermon to admonish his congregation so that they might do good deeds and avoid that fate. However, he made a morphological mistake, pronouncing the word ‫القاضية‬ as alqadiyatu while it should be pronounced as alqadiyata according to Arabic grammar. That Caliph was not a very just ruler, a fact that enraged his pious cousin, Umar ibn Abdul-Aziz, who seized this opportunity to vent his anger and resentment by projecting the Qur'anic verse on him as a curse, meaning to say, "May your end come soon!" (3) Morphological inflection of words is known in Arabic, and words take different inflections in the form of suffixes, some of which are written in Arabic as the diacritics َ◌, ُ◌ and ِ ◌ (pronounced as -a, -u and -i, respectively), depending on the case of the word and its function in the sentence. That is why the speaker explains this point to his Arab audience who learn the basics of Arabic grammar at school. However, because English does not use such case inflections, the subtitlers have presupposed that the TRs would not know them; therefore they omitted any reference to them in the TTs because they would not make any sense and would just consume more of the already limited space on the screen. However, the TT-2 subtitler compensated for this omission by stating that the original speaker made a grammatical mistake.
(4) The macrostructural composition of the three utterances is interesting in that it juxtaposes formal and informal discourse varieties: the first one is informal because it is the speaker's own words. The second utterance is in classical Arabic where he cites the Caliph and the Qur'anic verse. The last utterance is rather a mix between informal and classical Arabic because the vocabulary items are basically formal but his pronunciation is close to his local accent. This code-switching between different levels of Arabic adds to the comic effect of the utterances, a feature that disappears from the standardized TT. (5) Non-verbal elements include the giggle of the speaker and his congregation in the mosque. This puts pressure on the subtitler to make the translation funny in order to help the viewers understand why the congregation is laughing. (6) Besides the different registers and linguistic levels used in the utterances as underlined in (ii-4) above, the second utterance is the most lexically complex in that it contains religious terminology such as ‫العبد‬ and ‫القيامة‬ ‫يوم‬ because they are part of a sermon. It also contains the problematic word ‫القاضية‬ which is pronounced twice, the first in the ungrammatical way as part of a quotation, and the second in its correct pronunciation, as shown in (ii-3) above. These lexical items have undergone linguistic and cultural adaptations as explained in (iii-2) below. (7) Sentence structure has also undergone some adaptation: while the first sentence starts with an imperative verb ‫اسمع‬ and the other two are declarative statements, TT-2 has changed the imperative to a declarative to simplify the message and shorten the lines, resulting in rhetorical loss in the target version. (8) The ST is also rich in suprasegmental features that consolidate the rhetorical effect of the joke. For example, the first utterance which is the speaker's own words is articulated at a pitch lower than the following two ones which are quotations from the two historical characters he is talking about. This difference of pitch marks the transition from direct to reported speech. Moreover, in the second utterance, the speaker pronounces the second occurrence of the problematic word ‫القاضية‬ in a rising tone to draw the audience's attention that this is the correct pronunciation of the word. Again, all these features are missed in the TT due to the linguistic particularities of Arabic, a fact that endorses Nornes' claim that "The dissimilarity between languages creates differences that simply cannot be overcome, inevitably compromising the activity of translation" (1999, p. 18).
These idiosyncrasies necessitate a description of (iii) the functional hierarchy of translation problems which includes the following components: (1) The TT-2 employs instrumental translation due to the many (2) functional elements adapted to the TT addressee's situation. First, the imperative in the first utterance has been replaced with a declarative voice because it is shorter and simpler. Second, the TT-2 subtitler added the name of the person the speaker is quoting (Al-Walid) in order not to confuse the viewers as to who is saying what, especially there is another participant (Umar), and just saying he as in the ST could confuse the TRs. Third, the word ‫العبد‬ which literally means a slave is avoided in both TT-1 and TT-2 due to its negative connotations. In a religious context like this, this word simply means a person or an individual as TT-1 has put it since any individual is a slave of God in Islamic discourse even if he is a free person. Therefore, TT-1 has chosen a modern equivalent while TT-2 has deleted it altogether along with the whole context of who will say that quotation and when. TT-2 incurred a huge loss, but the translator felt it was necessary owing to the spatio-temporal restrictions according to which the TT-2 is still longer than the standard reading rate despite this reduction. Fourth, reference to the different inflections of the word ‫القاضية‬ which occurs twice in the ST is also omitted from both TT-1 and TT-2 because English has no equivalent for such a morphological feature.
The humor is reproduced through the second person's comment on the mistake made by the first person which takes the form of a curse against him. The subtitler has used addition and reformulation in the first subtitle; omission, compensation by explication in the second and transcreation, omission and adaptation in the third. Perhaps the TT-2 subtitler did not state the name of Umar ibn Abdul-Aziz in the last subtitle as he did with Al-Walid in the first because he did not want to associate that pious person (who is highly respected in Islamic history) with uttering a curse for fear that the TRs might have a negative impression about him, an effect completely different from, even contradictory to, the effect created by the mention of that name in the SC. In this case, omission is employed to retain a similar effect in the TC. These adaptations are justified by Gottlieb's assertion that In films and other artefacts from nondominant cultures, almost all such items will be known only to their original audiences. With subtitled productions from such minor speech communities, foreign audiences have to rely almost entirely on the informational content in the subtitles.… [S]ubtitling 'against the current' … would be expected to display more explicatory, adaptive and deletive strategies (2009, p. 27).
(3) It is obvious, therefore, that the TT-2 is target-culture oriented. (4) Lower level linguistic problems have been analyzed in (ii-2, 3, 6, 7, 8) and (iii-2) above. Finally, despite the functionality of TT-2 in the last subtitle, it is too far from the original. Therefore, because the time and space allotted to this subtitle allow more text to be inserted, I propose the following alternative translation which is more loyal to the ST: "Umar said: 'Your end will be a relief to us!' " (44/ 11.5 cps).

Findings and discussion
The detailed application of Nord's functional model has revealed a number of features typical of Islamic subtitling.
First, the ST comprises both formal and informal utterances, the latter is sometimes used to explain or comment on the former.
This code-switching is a common characteristic of spoken discourse. However, informalities are standardized in the subtitles which follow the conventions of written discourse. This is one source of the stylistic incongruence between the spoken ST and the written TT and the irreversibility of subtitling. Second, grammatical and morphological mistakes in the ST are corrected in the TT, for mistakes are not tolerated in written discourse. Third, one aspect of the reductive nature of subtitling is that the informative function is prioritized in the TT over other (expressive and/or appellative) functions both for subtitles to be communicative and simpler and to align them with the space and time constraints. Fourth, imperatives and direct speech in the ST are changed into declaratives and reported speech in the TT to simplify the structure, shorten the lines, and make the message more direct to facilitate the viewers' comprehension, given the fleeting subtitles on the screen.
Furthermore, omission and deletion are used together sometimes; the former to delete redundancies, less important details and information irrelevant to the TC, the latter to contextualize the subtitles, compensate the losses incurred by omission and to add background information necessary for the viewers to understand the translation.

Answering the research questions of the study
1-What is the nature of linguistic pitfalls involved in subtitling Islamic TV programs from Arabic to English?
This study does not claim to be exhaustive, but analysis of the sample has shown some of the most common pitfalls in this area of translation. Lexical complexity is one of these problems, and it can take the form of polysemy or semantic change both of which imply multiplicity of meanings. The former occurs when a word has more than one meaning who are still functional in modern day. One meaning can be technical and the other can be general. This is a pitfall because the subtitler can opt for a meaning which is not intended due to his unawareness of the other meaning(s), or because of inattention to the larger context or macrostructure of the episode. Semantic change occurs to a word that acquires new meanings that overshadow its original or classical ones. Mistranslations may occur if the subtitler opts for the new common meanings alone due to unawareness of the classical meanings and incompetence in classical Arabic which is still alive in religious discourse (Badawi, 1973). Although visual elements on the screen can provide clues to the intended meanings, some subtitlers ignore the complex, polysemiotic nature of subtitling and miss these clues because they translate from the script without watching the video. Therefore, all filmic components must be taken into consideration in the translation decisions.
Idioms, especially culture-specific ones, can also be a source of mistakes. Subtitlers who translate from their native tongue may take them for granted and translate them literally thinking that they exist in the TL with the same denotations and connotations. The moon, for instance is a symbol of beauty in Arabic while it is a symbol of "changeability and moodiness" in English (Tawfik, 2020, p. 63). Therefore, a literal translation of the moon idiom in the third example above could have mystified the meaning because the overall meaning of an idiom cannot be deduced from the separate words. Likewise, describing SLspecific grammatical rules in the ST is a major problem because they do not have a TL equivalent. These are actually untranslatable and their omission is inevitable, leading to translation loss which can cause viewers' dissatisfaction, especially if they form the backdrop of a certain situation or a joke. All these challenges are further complicated by the limited space on the screen which requires considerable summarization and condensation, and prevents the subtitler from providing necessary background information. Instrumental translation strategies like explicitation and paraphrase can be an efficient solution for culture-specific idioms although condensation is required to cope with the limited space on the screen. For the description of language-specific grammatical rules, instrumental techniques such as omission, compensation and explicitation are also effective since these rules do not exist in the TL. However, they can be referred to or explained in case the form the background of a certain situation described by the speaker.
In general, omission is necessary in most cases to delete irrelevant and less significant information and to comply with technical restrictions. Concise additions are useful in many cases to provide background information and context for the subtitles as a means of compensation. Reformulation of subtitles is indispensable to make them idiomatic, simple, legible and easily comprehensible for viewers. The subtitler is also expected to be flexible and creative in employing adaptations that suit the communicative situation s/he is reproduce in the TL. In short, "it is up to the translator… to reach a compromise between a desire to translate faithfully and the necessity of making alterations due to technical limitations" (Polcz, 2008, p. 294).

3-How far do technical constraints affect the efficiency of subtitles and translation decisions?
In order to produce viewer-friendly subtitles that can be read comfortably, the subtitler is forced to delete a considerable part of the ST message from the TT which causes translation loss. Examples of this include the omission of the expressive function from the TT where the informative one is prioritized to make the subtitles meaningful to the target viewers. However, this causes loss at the semantic, cultural, rhetorical and aesthetic levels. Compensation is recommended through adding some background information, but this is not always possible due to the limited space. That is why creativity is a big asset to close this gap, although it cannot be ensured. As a result, "A11 of us have, at one time or another, left a movie theater wanting to kill the translator. Our motive: the movie's murder by 'incompetent' subtitle" (Nornes, 1999, p. 17).
4-To what extent is the Functional Approach effective in analyzing the problems of subtitling and offering solutions to them?
Nord's translation-oriented text analysis model has three components: the first covers pragmatic aspects and highlights the functional elements in both the ST and TT (function, motive, participants, place and time, etc.). This is crucial for the subtitler to know at the beginning in order to compare both ST and TT audiences, identify the purpose of the translation and the adaptations that suit the target viewers. Identifying the place and time of reception helps the subtitler take the source and target cultures into account when making the translation decisions. The second part of the model analyzes smaller linguistic elements in the ST such as the subject matter, content, lexical elements, sentence structure and suprasegmental features. The analysis has shown that this is useful in finding solutions to the linguistic problems. Moreover, the model covers textual elements such as the composition with its microstructure and macrostructure which are crucial for understanding the intended meanings of complex lexis and to produce accurate translations. The third component of Nord's model identifies the ST elements that need to be adapted to the TRs' communicative situation. This enables the translator to make insightful decisions as to the translation type and style that are most appropriate for that situation. This comprehensive model provides the subtitler with a bird's-eye view of the whole text as one unit of communication (Nord, 1997, p. 67).

Conclusion
This study has investigated the linguistic challenges of subtitling Islamic TV programs from Arabic into English from a functional point of view. Using Nord's model to analyze the selected sample, translation problems tend to arise from polysemy, semantic change (especially when traditional meanings of lexical items become archaic), idioms as well as references to language-specific grammatical features. These translation traps are further complicated by the limited time and space allotted for subtitles on the screen -a limitation that restricts the translator's ability to explain certain information or compensate for losses caused by the technical constraints. Documentary translation has been found to be appropriate for lexical complexity while instrumental translation can solve the problems of translating idioms and SL-specific grammatical features. Omission, condensation and reformulation must be employed along the other strategies in a creative and flexible way to adapt the SL elements to the TL communicative situation and overcome the limitations of the medium.

Works Cited
Primary Sources