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1、第六章 国外翻译理论著作选段汉译,第一节 第二节 第三节 第四节,第一节,81-85,Original 81:,In their work over the past twenty years, Susan Bassenett and Andr Lefevere have consistently built bridges within the field of translation studies and developed interdisciplinary connections to fields of study outside the discipline. In 1990,
2、they were the first to suggest that translation studies take the cultural turn and look toward work of cultural studies scholars. In their new book Constructing Cultures, they present a strong case for moving the field of cultural studies closer to translation studies.,Original 81 (continued):,New s
3、trategies gleaned from translation histories, such as we see in Lefeveres discussion of Aeneid translations or Bassanetts discussion of Inferno translations that follow, not only give translators more insight into the actual practice of translation, but they also give cultural studies critics new in
4、sight into cultural manipulation by those in power.,Original 81 (continued):,Following Bassnett and Lefevere, translators have increasingly become more empowered and less self-effacing, a development that has allowed theorists to better view the process of mediating between cultures and /or of intro
5、ducing different words, forms, cultural nuances, and meaning into their own respective cultures. (Bassnett and Lefevere, 2000: ix),1) Analysis of the original:,A) Grammatical analysis B) Stylistic analysis,A) Grammatical analysis:,(1) Sentence structure (2) Additional complication,(1) Sentence struc
6、ture：,The selection consists of five sentences, of which the first is in a simple sentence; the second is a complex sentence, composed of a main clause and an object clause; the third is again a simple sentence; the fourth is a compound sentence, composed of two coordinate clauses, but the subject o
7、f the first coordinate clause has an attributive clause embedded; and the last is a simple sentence, followed by an appositive nominal phrase, in which there is an attributive clause embedded. For this reason, the fourth can be regarded as a compound complex sentence and the last can be regarded as
8、a complex sentence.,(2) Additional complication：,The first three sentences each begin with a prepositional phrase; in the fourth sentence, the part after the first comma assumes a parenthetic structure; and the last sentence begins with a present participle phrase and it has a long appositive phrase
9、 at its end with an attributive clause embedded.,B) Stylistic analysis:,(1) Periodicity (2) Structural complication (3) Parallel structure (4) Cohesive device (5) Structural and lexical formality,(1) Periodicity：,All the five sentences are periodic in structure either for the beginning with preposit
10、ional or participle phrases or for the embedding of the parenthesis.,(2) Structural complication:,AS can be seen from the grammatical analysis and the analysis of the periodicity, of the five, four are either complex or compound complex sentences, and all the five sentences are periodic in structure
11、. All this indicates that the selection is rather structurally complicated.,(3) Parallel structure：,In the selection, parallel structures are frequently used, for example, Susan Bassenett and Andr Lefevere; built bridges within the field of translation studies and developed interdisciplinary connect
12、ions to fields of study outside the discipline; take the cultural turn and look toward work of cultural studies scholars; Lefeveres discussion of Aeneid translations or Bassanetts discussion of Inferno translations; not only give translators more insight into the actual practice of translation, but
13、they also give cultural studies critics new insight into cultural manipulation; more empowered and less self-effacing; of mediating between cultures and /or of introducing different words, forms, cultural nuances, and meaning into their own respective cultures; and words, forms, cultural nuances, an
14、d meaning.,(4) Cohesive device：,In terms of cohesive device, examples could be found as follows: parallel structures are frequently used; Susan Bassenett and Andr Lefevere are repeated either singularly or in combination; the pronoun they is repeatedly used to refer to Susan Bassenett and Andr Lefev
15、ere; cultural turn and cultural studies are used in connection, with the latter repeated used; the field, interdisciplinary, field of study, disciple and translation studies are used either as synonyms or in contrast; translation and translators are repeatedly used in a related manner, and so on.,(5
16、) Structural and lexical formality：,Structurally, the selection is formal in that the sentences the selection is composed of are grammatically complete and free from colloquial structures. Lexically, formal words, including nominalizations, are frequently used, for example, consistently, translation
17、, develop, interdisciplinary, cultural, scholar, constructing, present, strategy, history, translator, practice, critics, insight, manipulation, increasingly, empower, and others.,2) Staged translation:,A. Translation 1 with comments B. Translation 2 with comments C. Translation 3 with comments,A) T
18、ranslation 1:,在过去20年的著述中，苏珊.巴斯内特和安德烈.勒菲弗尔坚持不懈地在翻译研究领域内架设桥梁，建立起通向翻译学科之外的其他研究领域的联系。1990年，他们率先提出翻译研究应该实现“文化转向”，审视文化研究学者们的著述。在他们的新作文化建构一书中，他们用有力的事例说明，文化研究领域正在向翻译研究靠拢。我们从后面勒菲弗尔关于翻译阿雷得的或巴斯内特关于翻译尹佛诺的讨论中会看到，新的翻译策略，从翻译历史中汲取营养，不仅为译者提供了洞察实际翻译操作的新视野，也为文化研究批评家们提供了审视掌权者进行文化操纵的新观点。接受巴斯内特和勒菲弗尔的观点，翻译家们越来越具有驾驭能力，越来越不
19、遮遮掩掩。这种发展趋势，使理论家们能更好地看清文化的中介过程，同时或者更清楚了将不同的词语、形式、文化的细微差异和意义引入他们自己的文化的过程。,Comments:,The present translation has two preeminent characteristics. First, it follows the original strictly, and consequently, some expressions are too long and clumsy, for example, 我们从后面勒菲弗尔关于翻译阿雷得的或巴斯内特关于翻译尹佛诺的讨论中会看到，新的翻译策略
20、，从翻译历史中汲取营养，不仅为译者提供了洞察实际翻译操作的新视野，也为文化研究批评家们提供了审视掌权者进行文化操纵的新观点 and这种发展趋势，使理论家们能更好地看清文化的中介过程，同时或者更清楚了将不同的词语、形式、文化的细微差异和意义引入他们自己的文化的过程. Secondly, the translations of Aeneid and Inferno into阿雷得and 尹佛诺are against translation conventions.,B) Translation 2:,在过去20年的著述中，苏珊.巴斯内特和安德烈.勒菲弗尔坚持不懈地在翻译研究领域内进行沟通，构建和翻
21、译研究领域外的各领域的联系。1990年，他们率先建议，翻译研究应实现“文化转向”，从文化研究学者们那里汲取营养。在他们的新著文化建构一书中，他们以有力的证据说明了文化研究正在向翻译研究靠拢。后面勒菲弗尔对埃涅依特的各种译本所作的讨论，或巴斯内特对地狱篇的各种译本所作的讨论可以看出，新的战略从翻译历史汲取营养，不仅为译者审视实际翻译过程提供了更敏锐的洞察力，而且为文化研究批评家们审视当权者如何进行文化操纵提供了新的视角。追随巴斯内特和勒菲弗尔，译者们越来越崭露头角，较少隐姓埋名。这一发展趋势，是理论家们更好地观照文化的中介过程，更好地观照将不同的词语、形式、文化差异和意义引入他们自己的文化之中的
22、过程。,Comments:,In the present translation, all the weak points are eliminated. However, the meaning of the first sentence is not made explicit, and 后面勒菲弗尔对埃涅依特的各种译本所作的讨论，或巴斯内特对地狱篇的各种译本所作的讨论可以看出，新的战略从翻译历史汲取营养，不仅为译者审视实际翻译过程提供了更敏锐的洞察力，而且为文化研究批评家们审视当权者如何进行文化操纵提供了新的视角 is still a clumsy translation.,C) Tra
23、nslation 3:,在过去20年中，苏珊.巴斯内特和安德烈.勒菲弗尔不断著书立说，努力在翻译研究领域内进行沟通，架设通向翻译研究领域之外的桥梁。1990年，他们率先提出，翻译研究应“转向文化”，从文化研究学者那里汲取营养。在其新著文化建构中，他们以有力的证据说明了文化研究正在向翻译研究靠拢。本书的后面，勒菲弗尔将对埃涅依特的各种译本进行讨论，巴斯内特将对地狱篇的各种译本进行讨论。从中可以看出，新的研究策略从翻译历史汲取营养，不仅使译者能更洞察翻译的实际过程，而且为文化研究批评家研究当权者进行文化操纵提供了新的视角。以巴斯内特和勒菲弗尔的观点武装自己，译者的主人翁意识日益增强，隐姓埋名的做法
24、日渐减少。,Translation 3 (continued):,这一发展趋势，使理论家更清晰地认识作为文化中介的翻译过程，更好地认识将不同的词语、形式、文化差异和意义引入自家文化的过程。 古罗马诗人维吉尔用拉丁文写的一部史诗，分为十二册，叙述特洛伊陷落以后的情况。埃涅依特是约定俗成的译名。 但丁所作的神曲的第一部，传统上译为地狱篇。,Comments:,Compared with the previous translation, the present translation has included two great changes. First, 在过去的20年中，苏珊.巴斯内特和安
25、德烈.勒菲弗尔不断著书立说，努力在翻译研究领域内部进行沟通，架设通向翻译研究领域之外的桥梁and本书的后面，勒菲弗尔将对埃涅依特的各种译本进行讨论，巴斯内特将对地狱篇的各种译本进行讨论。从中可以看出，新的研究策略从翻译历史汲取营养，不仅使译者能更洞察翻译的实际过程，而且为文化研究批评家研究当权者进行文化操纵提供了新的视角are substituted for the corresponding parts in the previous translation. Secondly, two notes are added for the convenience of the reader.,O
26、riginal 82:,We also need to learn more about the texts that constitute the cultural capital of other civilizations, and we need to learn about them in ways that try to overcome, or bypass the kiss of death bestowed by acculturation through analogy. Haikus are not epigrams, Chinese novels have their
27、own rules, both the textual and conceptual grids of other civilizations should not be reduced to those of the West. We need to find out how to translate the cultural capital of other civilizations in a way that preserves at least part of their own nature, without producing translations that are so l
28、ow on the entertainment factor that they appeal only to those who read for professional reasons.,Original 82 (continued):,Perhaps this is another area in which different forms of rewriting need to cooperate: we could imagine the translated text, translated by a long introduction which sets out to sh
29、ow how the original text works on its own terms, within its own grid, rather than to tell readers only what it is like or even most like in their own cultures. This kind of attempt is mot likely to bring us up against the limits of translation, a necessary confrontation, for without such a challenge
30、, how else are we ever to overcome such limits and move on? (Bassnett and Lefevere 2000: 11),1) Analysis of the original:,A) Grammatical analysis B) Stylistic analysis,A) Grammatical analysis:,(1) Sentence structure (2) Additional complication,(1) Sentence structure：,The selection consists of two pa
31、ragraphs, of which the first is composed of two sentences while the second paragraph is composed of three sentences. In the first paragraph, the first is a compound sentence, composed of two coordinate clauses, each with an attributive clause embedded. In this sense, the sentence can be regarded as
32、a compound complex one. The second is also a compound sentence, composed of three coordinate clauses. In the second paragraph, the first is a complex sentence, composed of a main clause and an elliptic object clause, which in turn has an attributive clause embedded; and at the end of the sentence, t
33、here is a prepositional phrase, in which there is an attributive clause embedded, which is in the so that pattern with the clause introduced by that serving as adverbial of result.,Sentence structure (continued):,The second is a compound sentence, composed of two coordinate clauses, connected by a c
34、olon; in the first coordinate clause, there is another clause embedded serving as the prepositional object; the second coordinate clause is composed of a clause and a past participle phrase, which has an attributive clause embedded, and in the attributive clause, there are two coordinate infinitive
35、phrases connected by rather than, and each infinitive phrase has an object clause embedded. The third is a compound sentence, composed of two coordinate clauses connected by for.,(2) Additional complication：,The two sentences in the first paragraph do not present any additional complication. In the
36、second paragraph, however, the first sentence has a long prepositional phrase positioned at the end of the sentence; the second sentence begins with an adverb; the third sentence has a parenthetic structure embedded after the first comma.,B) Stylistic analysis:,(1) Periodicity (2) Structural complic
37、ation (3) Parallel structure (4) Cohesive device (5) Structural and lexical formality,(1) Periodicity：,In the first paragraph, the two sentences are loose in structure; in the second paragraph, the first sentence is loose in structure if the prepositional phrase at the end of the sentence is not reg
38、arded as parenthetic; the second sentence begins with an adverb and can be regarded as periodic; the third sentence has a parenthetic structure embedded and is periodic in structure.,(2) Structural complication:,Generally speaking, the selection is structurally complicated. Specifically, all the sen
39、tences are either compound or compound complex in structure; two sentences have either a parenthesis embedded or a complicated beginning.,(3) Parallel structure：,In the selection, parallel structures are frequently used, for example, overcome, or bypass; Haikus are not epigrams, Chinese novels have
40、their own rules; textual and conceptual; on its own terms, within its own grid; to show, rather then to tell; and like or even most like.,(4) Cohesive device：,In terms of cohesive device, examples could be found as follows: parallel structures are frequently used; we, cultural capital, translated, o
41、wn, like and limits are repeated; the pronoun them is used to refer to other civilizations; cultural, acculturation and culture are used as cognates; textual is used as a partial repetition of text; and there are others.,(5) Structural and lexical formality：,Structurally, the selection is formal in
42、that the sentences the selection is composed of are grammatically complete and free from colloquial structures. Lexically, formal words, including nominalizations, are frequently used, for example, constitute, cultural, capital, civilization, learn, overcome, bypass, bestow, acculturation, analogy,
43、epigram, novel, textual, conceptual, reduce, translate, preserve, nature, producing, translation, entertainment, appeal, professional, and many others.,2) Staged translation:,A. Translation 1 with comments B. Translation 2 with comments C. Translation 3 with comments,A) Translation 1:,我们还必须学会更多地了解构成
44、异文明的文化资本的文本，我们要学会了解这些文明试图征服或逃脱类比产生的文化蚕食带来的劫难的方式。哈库斯不是短诗，中文小说有自己的规则，异文明的文本与概念网络不应该简化成西方的文本与概念网络。 我们必须发现如何将异文明的文化资本翻译成至少能部分地保留它们自己的本色，而不翻译成令人索然无味只有专业人士才去阅读的低劣译作。也许，这是各种形式的改写需要彼此合作的另一个领域：我们可以想象，翻译过的文本，带上一个很长的引言，以揭示原文文本在自己的网络系统中是如何别具一格的，而不是告诉读者，在他们自己的文化里，原文“像”个什么样子的或“酷似”什么样子的。这种尝试最有可能使我们去反对翻译的极限，这是我们必须面
45、对的，因为，如果没有这样的挑战，我们将如何超越极限勇往直前呢？,Comments:,Through translation, we have produced basically a readable, coherent and authentic text except for a mistake that Haiku is a form of Japanese poetry and Haikus is the plural form of Haiku. However, some sentences are too long, and the coherence between sente
46、nces is not sound enough. For example, 我们还必须学会更多地了解构成异文明的文化资本的文本，我们要学会了解这些文明试图征服或逃脱类比产生的文化蚕食带来的劫难的方式; 我们必须发现如何将异文明的文化资本翻译成至少能部分地保留它们自己的本色，而不翻译成令人索然无味只有专业人士才去阅读的低劣译作; and也许，这是各种形式的改写需要彼此合作的另一个领域：我们可以想象，翻译过的文本，带上一个很长的引言，以揭示原文文本在自己的网络系统中是如何别具一格的，而不是告诉读者，在他们自己的文化里，原文“像”个什么样子的或“酷似”什么样子的are too long for t
47、he Chinese reader and the parts before and after the colon in the above translation are not coherent enough.,B) Translation 2:,我们还得学会了解构成他域文明的文化资本的文本，了解这些文本是如何战胜或逃避通过类比实现文化同化所带来的劫难的。俳句不是隽语，中国小说有自己的规则，他域文明的文本网格和概念网格不应简化成西方的文本网格与概念网格。 我们还得找到翻译他域文明的文化资本的方法，译文至少部分地保留他域文明的原貌，而不至于生成兴味索然、人们为了求知才去阅读的译文。这或许已
48、经进入了另一个领域，在这个领域中，不同的改写形式得相互合作：我们能够设想出一种译文文本，翻译时有一个很长的导言，以说明原文文本是如何以自身的条件、在自己的网格之内运作的，而不是以自己的文化为参照来告诉读者，原文“像”什么样的，甚至“酷似”什么样的。这种尝试最有可能使我们挑战翻译的极限，因为，如果没有这种挑战，我们又怎能跨越这种极限而勇往直前呢？,Comments:,In the present translation, the mistake is put right now. Moreover, the first sentence of the original is translated
49、 shorter by omitting the repeated part我们还得学会; in the translation of the second paragraph of the original such translation techniques as insertion of a phrase or two for better coherence, making implied meaning more explicit and so on are employed. For example, 在这个领域中and 翻译时有are inserted; 为参照; 这种尝试; and跨越这种极限are more explicit expressions.,C) Translation 3:,文本是构成他文化的文化资本的有机成分，我们还得学会更多地了解文本。通过类比夷平文化差异，这是死亡之吻。我们还得了解这些文本是如何战胜或逃避这一劫难的。俳句不是隽语，中文小说有自己的规则，他文明的文本网络和概念网络不应简化成西方的文本网络与概念网络。 我们还得找到翻译他文明的文化资本的方法，用这种方法翻译至少部分地保留他文明的原貌，而