最新翻译概论期末复习

翻译概论期末复习

1. 基本概念(互译)

补偿compensation

不可译性untranslatability(untranslatable)

达/易懂intelligibility/expressiveness

等效原则principle of equivalent effect

等值翻译equivalent translation

动态对等dynamic equivalence

读者反映论reader’s response

读者为中心的翻译标准reader-centered for translation

对等物(词语)equivalent

对应(部分对应/完全对应)(partial /full )correspondence

翻译程序/步骤translation procedures

翻译体/翻译腔translationese

翻译学translatology/Translation Studies

风格style

佛经Buddhist Scriptures/sutra

符际翻译intersemiotic translation

改变说法rewording

功能对等functional equivalence

归化domestication/naturalization/adaptation/endogenization/target-accommodating translation 机器翻译machine translation(MT)

交际翻译communicative translation

交替口译consecutive interpreting

解码decode

可译性translatability(translatable)

理解understanding/comprehension

流畅fluency

乱译/胡译excessively free translation

明析化explicitation

模仿imitation

目的论skopostheorie

诗学poetics

视点转换shift of perspective

释义法/解释法explanation/paraphrase

死译/硬译mechanical translation

套译/仿译/仿拟imitation

通顺smoothness

同声传译simultaneous interpreting

透明(度)transparency

歪译(意义扭曲)distortion

伪译pseudotranslation

文本text

文本等值textual equivalence

文本为中心的翻译标准text-centered criteria for translation

文化沟(空缺/非对应)cultural gap

误译mis-translation

信/忠实faithfulness/fidelity

形合hypotaxis

形式对等formal equivalence

形式对应formal correspondence

雅/优美elegance/gracefulness

异化foreignization/alienation/exoticization/ exogenization/source-oriented translation 译本/译著translated text/translational work

译借(语义转借)calque(loan translation)

译文target text, translation, target version, rendering, rendition

译语/译入语target language(TL), receptor language, receiving language

译语读者target-language reader/TL reader/receiving audience

译语文化target-language culture/target culture/receiving culture

译者为中心的翻译标准translator-centered criteria for translation

译者隐形translator’s invisibility

意合parataxis

意识形态ideology

意译free translation/liberal translation/semantic translation

音译法transliteration

语际翻译interlingual translation

语境context

语内翻译intralingual translation

语义翻译semantic translation

原文/原著source text (ST), SL text, original text, original version/original work

原作者SL author, original author

源语/译出语source language(SL), original language

源语读者source-language reader/SL reader

源语文化source-language culture/source culture

约定俗成convention

再现reproduction/representation

赞助patronage

直译literal translation/direct translation

逐字译word-for-word translation/word-to-word substitution/verbatim translation

注释性翻译annotated/commented translation

专业人士professionals

转换transformation

自然naturalness /idiomaticity

综合法mixture of methods

2. 翻译理论家及其理论

信达雅faithfulness，expressiveness and elegance

长期被我国广大译者视为翻译标准。这是严复在《天演论》译例言(1898)中提出来的，他称：“译事三难：信、达、雅。求其信，已大难矣!顾信矣不达，虽译犹不译也，则达尚焉。”又说：“《易》曰：‘修辞立诚。’子曰：‘辞达而已。’又曰：‘言之无文，行之不远。’三者乃文章正轨，亦即为译事楷模。故信达而外，求其尔雅。”

严复的“信”是指忠实于原文的意义，“达”是指译文通达。长期以来，虽然众说纷纭，各持一词，但“信达”仍为译界普遍遵循——“忠实、通顺”、“准确、流畅”、“在准确基础上通顺”等等提法，其意与“信、达”一致。唯有“雅”字，分歧较大。有的主张取消“雅”，把通常为“雅”所包含的译文风格和语言形式上的要求统统列入“信”之中，只提两条。严复的“求其尔雅”要“用汉以前的字法句法”显然不能为后人所接受。但有人从“修辞立其诚”、“言以文远”、“情欲信而辞欲巧”(内容要真实，文辞要美化)等观点出发，不断对“雅”作这样或那样的解释，提出这种或那种论证，以体现翻译标准的完整性。

“信、达、雅”构成一个系统。三者的重要程度以这三个词的排列先后为序，但在不同文体的翻译中，着力点各不相同。科技文体的翻译更加强调“信”，译文的内容不可有些微偏颇，差之毫厘，失之千里。文学文体的翻译，在“信、达”的基础上，要着力于“雅”，给人以美感。“信、达、雅”的总体目标是用一种语言代替另一种语言来传达相同的信息。不“信”，当然无所谓“达、雅”。不“达”，也会失之于“信”。不“雅”也有损于“信、达”。所以，既不能只顾“信”，而不注意译文的形式，也不能只求语句通顺和词藻华丽而不顾内容的忠实。只有从整体功能考虑，使三者融为一体，才能实现系统的总目标。

神似(傅雷语) alike in spirit／spiritual resemblance

与“形似”相对，本为我国古代诗画评语，指在形似的基础上诗、画表现出人、物的神态、气韵达到唯妙唯肖的传神的境地。在翻译上，神似是指：必要时摆脱原文语言形式的束缚，如词汇、语法、惯用法、修辞格等方面的羁绊，在准确理解原文的基础上，用地道的译文传达出原文的艺术意境。神似已成为中国译论体系中占主导地位的译论之一，最早由茅盾在《新文学研究者的责任与努力》(1921)一文中首先提出并在《译文学书方法的讨论》一文中译述。此后，郭沫若、闻一多在论及诗歌翻译时提出要译“风韵”、“精神”和“气势”；陈西滢、曾虚白、王以铸等也都著文论述过“神似”。傅雷着力提倡并实践“神似”论。1951年他在《高老头》重译本序中写道：“以效果而论，翻译应当像临画一样，所求的不在形似而在神似。”20世纪60年代，傅雷再次宣言式表明态度：“愚对译事看法实甚简单：重神似不重形似。”自此，“神似”的翻译主张迅速传播开来，并为我国译界普遍接受。

化境(钱钟书语)sublimation, reach the acme of perfection

1964年钱钟书在《林纾的翻译》中提出的文学翻译的最高标准。他说：“文学翻译的最高标准是‘化’。把作品从一国文字转变成另一国文字，既不能因语文习惯的差异而露出生硬牵强的痕迹，又能完全保存原有的风味，那就算得入于‘化境’。17世纪有人赞美这种造诣的翻译，比为原作的‘投胎转世’(the transmigration of souls)，躯壳换了一个，而精神姿致依然故我。换句话说，译本对原作应该忠实得以至于读起来不像译本，因为作品在原文里决不会读起来像经过翻译似的。”“化境”亦即出神入化。译界认为，钱钟书的“化境”是“神似”的进一步发展，把翻译从美学的范畴推向艺术的极致。

宁信而不顺(鲁迅语) rather to be faithful than smooth (“I’d rather be faithful than smooth”)

三美: 音美,形美,意美(许渊冲语) the three beauties: beauty in sound, beauty in form and beauty

in meaning

许渊冲在《毛主席诗词四十二首》英、法文格律体译文(1978)序言中提出诗词翻译“三美”论。认为译诗不但要传达原诗的意美，还要尽可能传达它的音美和形美。三美之间的关系是：意美最重要，音美次之，形美再次。也就是说，要在传达原文意美的前提下，尽可能传达原文的音美；还要在传达原文意美和音美的前提下，尽可能传达原文的形美；努力做到三美齐备。三美论的提法是根据鲁迅在《汉文学史纲要》第一篇《自文字至文章》中说的：“诵习一字，当识形音义三：口诵耳闻其音，目察其形，心通其义，三识并用，一字之功乃全。其在文章，……遂具三美：意美以感心，一也；音美以感耳，二也；形美以感目，三也。

信、达、切(刘重德语)faithfulness, expressiveness and closeness (to the original style)

Tytler’s three principles of translation:

1）A translation should give a complete transcript of the ideas of the original work;(译文应完全复写出原作的思想)

2) The style and manner of writing should be of the same character as that of the original;（译文的风格和笔调应与原文的性质相同）；

3) A translation should have all the ease of the original composition.（译文应和原作同样流畅）。

Eugene Nida (1964)：dynamic equivalence/functional equivalence: 在动态对等翻译中，译者所关注的并不是源语信息与译语信息在形式与内容上的一一对应关系，而是一种动态关系，即译语接受者和译语信息之间的关系(前者对后者的反应)应该与源语接受者和原文信息之间的关系(前者对后者的反应)基本相同。

“功能加忠诚”原则principle of function plus loyalty

摆布（操纵）学派manipulation school

即欧洲的比较文学派，把翻译研究看成是比较文学研究的一个分支，认为所有的翻译都意味着对源语文学作品的“摆布”，即译者势必会对原文进行意识形态和诗学方面的处理。该派强调文学的多元体系，认为翻译是译语文化不可或缺的一部分，而不仅仅是另一文本的再现。摆布学派与语言学派的宗旨大相径庭。前者着眼于文学文本的再创作，而后者着眼于等值。摆布学派的优点在于：在多元系统理论的指导下，将翻译置于文化活动这一大背景下进行研究，使翻译和原文以外的其他因素联系起来。这有助于翻译研究中的“文化转向”(cultural turn)。摆布学派的弱处在于：囿于比较文学范畴，忽视其他学科对翻译研究的指导；限于对文学文体翻译的研究，而不涉及广泛的翻译领域。

笔者的观点：

1. 在微观翻译层面

实用翻译可适用Peter Newmark的communicative translation

文学翻译根据目的性适用Peter Newmark的semantic translation或communicative translation，或者部分适用gloss translation

2. 在宏观翻译层面

翻译是一种文化活动，呈现出传播迁移变化的多元复杂性。

3．阐释学翻译观

结合翻译的实践性，折中采用语义翻译与解释性方法。

3. 个案研究

1) Black English in The Adventures of Huckleberry Finn by Mark Twin

"Pooty soon I'll be a-shout'n' for joy, en I'll say, it's all on accounts o' Huck; I's a free man, en I couldn't ever ben free ef it hadn' ben for Huck; Huck done it. Jim won't ever forgit you, Huck; you's de bes' fren' Jim's ever had; en you's de ONL Y fren' ole Jim's got now."

张万里译本：再等会儿，我就要高兴得使劲儿喊了，我就说, 这都是哈克的功劳；我成了自由人了。要是没有哈克，我永远也得不着自由，这都是哈克做的好事。我吉木一辈子也忘不了你的好处，哈克；你是我顶好的朋友；你是我老吉木独一无二的朋友。

成时译本：布(不)用陀久(多久)，我就会快活得叫起来，我约(要) 说：这陀跪(多亏)赫克。我史过(是个)自由人啦，要布史(不是)有赫克，我这一攀(辈)子也布(不)想自由，赫克帮了我的忙，杰姆我永世忘布(不)了你赫克，你史我杰姆顶好的奔(朋)友，我劳(老)杰姆此刻只有你这奔友。

2) I Love My Love

I love my love with an E, because she’s enticing; I hate my love with an E, because she’s engaged;

I took her the sign of exquisite, and treated her with an elopement; Her name’s Emily, and she lives in the east. (--David Copperfield by Charles Dickens)

1. 我爱我的爱人皆因一个爱，因为她有爱的魅力；我恨我的爱人亦因一个爱，因为她与别人有了爱的誓约；我用爱的美德来象征她，并与她共赴爱的港湾；她的名字叫爱美丽，住在东方爱斯特。

2. 我爱我的爱，因为她长得实在招人爱。我恨我的爱，因为她不回报我的爱。我带着她到挂着浮荡子招牌的一家，和她谈情说爱。我请她看一出潜逃私奔，为的是我能和她长久你亲我爱。她的名字叫爱弥丽，她的家住在爱仁里。（张谷若译）

3. 我爱我的那个“丽”，可爱迷人有魅力；我恨我的那个“丽”，要和他人结伉俪；她文雅大方又美丽，和我私逃去游历；她芳名就叫爱米丽，家住东方人俏丽。（马红军译）

4. 吾爱吾爱，因伊可爱；吾恨吾爱，因伊另有所爱。吾视吾爱，神圣之爱，吾携吾爱，私逃为爱；吾爱名爱米丽，吾东方之爱。（《中国翻译》）

5. 我爱我的心上人，因为她是那样地叫人入迷（Enticing）；我恨我的心上人，因为她已订婚将作他人妻（Engaged）。我的心上人花容月貌无可比拟（Exquisite），我劝她离家出走跟我在一起（Elopement），她的名字叫爱米莉（Emily），她的家就在东城里（East），我为我的心上人呀，一切都因为这个E！（陆乃圣译，《中国翻译》，1988年第2期）

6. 我爱我的那个伊，因为她的美貌让我依恋不已。我恨我的那个伊，因为她又依顺投奔他人门第。我们曾经依计而行乘风比翼，到过那依山傍水的秀美之地。我说的那位名字叫做伊米丽，她的府上依稀可记在东边某地。

3)原文：

"The disagreement subsisting between yourself and my late honoured father always gave me much uneasiness, and since I have had the misfortune to lose him I have frequently wished to heal the breach; but for some time I was kept back by my own doubts, fearing lest it might seem disrespectful to his memory for me to be on good terms with any one with whom it had always

pleased him to be at variance.''

王科一译：

“以前你为先父之间曾有些芥蒂，这一直使我感到不安。自先父不幸弃世以来，我经常想到要弥补这个裂痕；但我一时犹豫，没有这样做，怕的是先父生前既然对阁下唯恐仇视不及，而我今天却来与阁下修好，这未免有辱先人。”

孙致礼译：

“你与先父之间发生的龃龉，一直使我感到忐忑不安。自先父不幸弃世以来，我屡屡想要愈合这裂痕，但是一度却犹豫不决，心想：一个先父一向与之以仇为快的人，我却来与其求和修好，这未免有辱先人。”

张玲、张扬译：

“先生前与家父抵牾，念及常感不安。自家父不幸辞世，我常以弥合裂隙为怀，转念深思，又恐与家父向以仇之为快者修好，有辱其在天之灵，是以裹足不前。”

4）《论语》的两个译本：

Thomas Cleary The Essential Confucius

Arthur Waley The Analects of Confucius

季路问侍鬼神，子曰：“未能事人，焉能事贵？”曰：“未能知生，焉知死？”

柯立瑞

Someone asked Confucius how to serve ghosts and spirits.

Confucius said, “As long as you are unable to serve people, how can you serve ghosts?”

The inquirer also asked about death.

Confucius said, “ As long as you do not know life, how can you know death?”

威利

Tzulu asked how one should serve ghosts and spirits. The Master said, Till you have learnt to serve men, how can you serve ghosts? Tzulu then ventured upon a question about the dead. The Master said, Till you know about the living, how are you to know about the dead?

5）If each of us hires people who are smaller than we are, we shall become a company of dwarfs. (巴菲特Warren Buffett)

译法1：如果我们每个人都雇用比我们小的人，我们将成为一个矮子公司。

译法2：如果我们每个人雇用的人都不如自己，公司将不会有什么前途。

译法3：新招的员工如果一代不如一代，公司只会越做越小。

译法4：要只是招些庸人近来，本公司休矣。

6）宝玉叹道：“当初姑娘来了，那不是我陪着玩笑？凭我心爱的，姑娘要，就拿去；我爱吃的，听见姑娘也爱吃，连忙干干净净收着等姑娘吃。”

译文1

Pao-yu heaved another sigh. “Wasn’t I your playmate when you first came?”he demanded. “Anything that pleased me was yours, cousin, for the asking. If I knew you fancied a favourite dish of mine, I put it away in a clean place till you came.”（杨宪益、戴乃迭）

译文2

“Oh, the beginning!” said Bao-yu. “In the beginning, when you first came here, I was your faithful companion in all your games. Anything I had, even the thing most dear to me, was yours for the asking. I there was something to eat that I specially liked, I had only to hear that you were fond of it too and I would religiously hoard it away to share with you when you got back, not daring even to touch it until you came. (霍克斯)

David Copperfield

7）原文：

…as I knew she was anxious to get home, and, between fire, food, and pickpockets, could never be considered at her ease for half-an-hour in London,…

董秋斯译：

……因为我知道她急于回家，并且，介居于火、食品、扒手中间，她在伦敦不能有半点钟的安心,……

张谷若译：

……因为我知道她急于要回到家里，同时，又怕房子着火，又嫌吃的东西，又怕遇到扒手，她在伦敦，连半点钟的工夫都难说能把一颗心放下。……

8）朱自清《背影》选段：

译文一：

我与父亲不相见已二年余了，我最不能忘记的是他的背影。那年冬天，祖母死了，父亲的差使也交卸了，正是祸不单行的日子，我从北京到徐州，打算跟着父亲奔丧回家。到了徐州见着父亲，看见满院狼藉的东西，又想起祖母，不禁簌簌地流下眼泪。

It is more than two years since I last saw father, and what I can never forget is the sight of his back. Misfortunes never come singly. In the winter of more than two years ago, grandma died and father lost his job. I left Beijing for Xuzhou to join father in hastening home to attend grandma’s funeral. When I met father in Xuzhou, the sight of the disorderly mess in his courtyard and the though of grandma started tears trickling down my cheeks.

父亲说：“事已如此，不必难过，好在天无绝人之路!”

译文二：

Father said, “Now that things’ve come to such a pass, it’s no use crying. Fortunately, Heaven always leaves one a way out.”

Though it is over two years since I saw my father, I can never forget my last view of his back. That winter my grandmother died, and my father’s official appointment was terminated, for troubles never come singly. I went from Beijing to Xuzhou, to go back with him for the funeral. When I joined him in Xuzhou I found the courtyard strewn with things and could not help shedding tears at the thought of granny. “What’s past is gone,” said my father. “It’s no use grieving.

Heaven always leaves us some way out.

译文三：

It has been more than two years since the last time I saw my father, and the memory that has stayed with me the longest is the silhouette of his back. It was during the winter of that year; Grandmother had just died, and Father’s temporary appointment with the government had been terminated. Truly those were days when “calamities never come in ones”. I traveled from Beijing to Xuzhou, planning to return home with my father for the funeral. When I reached Xuzhou I met my father, and I noticed that his garden was in complete disarray. I thought again of Grandmother and was unable to hold back the flow of tears. Father said, “Things are as they are; you shouldn’t be sad, for happily there is nothing under Heaven that is hopeless.” (Howard Goldblatt)

4. 思考与讨论：

1）Derogatory metaphors of translation

2）请简要列出中国翻译史的分期及每一时期最重要的翻译成就。

3）翻译有可能实现完全等值吗？为什么？

4）你认为翻译的创造性与忠实的原则是一种怎样的关系？

5）译者的主体性在翻译活动中都有哪些体现？

6）简述翻译的过程及每一子过程中应该注意的问题。

7）你对辜正坤的“翻译标准多元互补论”有何看法？

8）你对韦努蒂的“归化”与“异化”翻译策略有何看法？

9）何谓语境？意识形态、诗学等语境因素对翻译有何影响？

10）你认为一部作品的风格是可译的吗？为什么？

5. 翻译实践

英译汉

汉译英