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当代国外翻译理论

当代国外翻译理论导读

作者:谢天振编者:谢天振

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目录

前言

第一章语言学派翻译理论

1.罗曼·雅科布逊论翻译的语言学问题

2.彼得·纽马克交际翻译与语义翻译(Ⅱ)

3.约翰·卡特福德论翻译转换

4.尤金·奈达论对等原则

5.巴兹尔·哈蒂姆互文介入:利用翻译中缺省语篇的理论体系

6.玛丽·斯奈尔—霍恩比翻译:一种跨文化活动

第二章阐释学派翻译理论

7.乔治·斯坦纳阐释的步骤

8.安托瓦纳·贝尔曼翻译及对异的考验

第三章功能学派翻译理论

9.凯瑟琳娜·莱斯翻译的抉择:类型、体裁及文本的个性

10.汉斯·弗米尔翻译行为中的目的与委任

11.克里斯汀娜·诺德目的、忠诚及翻译中的惯例

第四章文化学派翻译理论

12.詹姆斯·霍尔姆斯翻译学的名与实

13.伊塔玛·埃文—佐哈翻译文学在文学多元系统中的地位

14.吉迪恩·图里描述性翻译研究的理论基础

15.安德烈·勒菲弗尔大胆妈妈的黄瓜:文学理论中的文本、系统和折射

16.苏珊·巴斯奈特文化研究的翻译转向

17.西奥·赫曼斯翻译研究及其新范式

第五章解构学派翻译理论

18.瓦尔特·本雅明译者的任务

19.雅克·德里达巴别塔之旅

20.保罗·德曼评本雅明的《译者的任务》

21.劳伦斯·韦努蒂文化身份的塑造

第六章女性主义翻译理论

22.雪莉·西蒙翻译理论中的性别化立场

23.劳丽·钱伯伦性别与翻译的隐喻

24.巴巴拉·格达德女性主义话语/翻译的理论化

25.冯·弗罗托女性主义翻译理论批评

第七章后殖民翻译理论

26.道格拉斯·罗宾逊后殖民研究与翻译研究

27.特佳斯维妮·尼南贾纳翻译的定位

28.盖亚特里·斯皮瓦克翻译的政治

29.埃尔斯·维埃拉解放卡利班们——论食人说与哈罗德·德·坎波斯的超越/越界性创造诗学

第八章苏东学派翻译理论

30.安德烈·费奥多罗夫翻译理论的任务

31.吉维·加切奇拉泽文学翻译中的创造性原则

32.吉里·列维翻译是一个作选择的过程

33.安娜·丽洛娃翻译研究的范畴

Translation Theory

(2007-09-29 14:13:41)

标签:

学习公社

translati

on

english

theory

Translation Theory

By Juan Daniel Pérez Vallejo

Translation teacher,

University of Cd. Del Carmen, Campeche, Mexico

The study of proper principle of translation is termed as translation theory. This theory, based on a solid foundation on understanding of how languages work, translation theory recognizes that different languages encode meaning in differing forms, yet guides translators to find appropriate ways of preserving meaning, while using the most appropriate forms of each language. Translation theory includes principles for translating figurative language, dealing with lexical mismatches, rhetorical questions, inclusion of cohesion markers, and many other topics crucial to good translation. Basically there are two competing theories of translation. In one,the predominant

purpose is to express as exactly as possible the full force and meaning of every word and turn of phrase in the original, and in the other the predominant purpose is to produce a result that does not read like a translation at all, but rather moves in its new dress with the same ease as in its native rendering. In the hands of a good translator neither of these two approaches can ever be entirely ignored. Conventionally, it is suggested that in order to perform their job successfully, translators should meet three important requirements; they should be familiar with: the source language

the target language

the subject matter

Based on this premise, the translator discovers the meaning behind the forms in the source language and does his best to produce the same meaning in the target language - using the forms and structures of the target language. Consequently, what is supposed to change is the form and the code and what should remain unchanged is the meaning and the message. (Larson, 1984)

One of the earliest attempts to establish a set of major rules or principles to be referred to in literary translation was made by French translator and humanist étienne Dolet, who in 1540 formulated the following fundamental principles of translation ("La Manière de Bien Traduire d’une Langue en Aultre"), us ually regarded as providing rules of thumb for the practicing translator:

The translator should understand perfectly the content and intention of the author whom he is translating. The principal way to reach it is reading all the sentences or the text completely so that you can give the idea that you want to say in the target language because the most important characteristic of this technique is translating the message as clearly and natural as possible. If the translation is for different countries besides Mexico, the translator should use the cultural words of that country. For example if he/she has to translate ”She is unloyal with her husband” in this country it can be translated as “Ella le pone los cuernos” but in Peru it can be translated as “Ella le pone los cachos”. In this case it is really important the cultural words because

if the translator does not use them correctly the translation will be misunderstood. The translator should have a perfect knowledge of the language from which he is translating and an equally excellent knowledge of the language into which he is translating. At this point the translator must have a wide knowledge in both languages for getting the equivalence in the target language, because the deficiency of the knowledge of both languages will result in a translation without logic and sense. For example if you translate the following sentence “Are you interested in sports?” as “?Estás interesado en deportes?” the translation is wrong since the idea of this question in English is “?Practicas algún deporte?”

The translator should avoid the tendency to translate word by word, because doing so is to destroy the meaning of the original and to ruin the beauty of the expression_r. This point is very important and one of which if it is translated literally it can transmit another meaning or understanding in the translation.

For example in the sentence.- “In this war we have to do or die”, if we translate literally “En esta guerra tenemos que hacer o morir” the message is unclear. The i dea is, (.) “En esta guerra tenemos que vencer o morir.”

The translator should employ the forms of speech in common usage. The translator should bear in mind the people to whom the translation will be addressed and use words that can be easily understood.Example. “They use a sling to lift the pipes” if the translation is to be read by specialists we would translate it “Utilizan una eslinga para levantar la tubería”. If the text is to be read by people who are not specialists we would rather translate it “U tilizan una cadena de suspension para levantar los tubos”.

Flip to Text Version La Trobe University

Harry Aveling

A Short History of Western Translation Theory

1. Traditional Translation Theories

There is a continuity of intellectual expression from Ancient Greece, Rome, the

Middle Ages, through to the Renaissance, the Reformation, and the rise of the early European nation states. The central language of scholars and other readers was Latin, while the core of this tradition was classical literature and Judeo-Christianity. There was a profusion of economic and political contacts throughout Europe and the Middle East, and this must have involved an abundance of linguistic transactions. Nevertheless, Lefevere"s words provide an accurate background to understanding the social position of the subjects of traditional translation theory: "In such a culture, translations were not primarily read for information or the mediation of the foreign text. They were produced and read as exercises, first pedagogical exercises, and later on, as exercises in cultural appropriation - in the conscious and controlled usurpation of authority." (Lefevere 1990: 16).

2. German Romanticism

At the beginning of the nineteenth century, a second, more philosophical and less empirical, formation began to open within discourses on translation theory (Munday 2001: 27). This formation was connected, in one direction, with the rise of philology as a university discipline, and in another with the literary movement of Romanticism. Philology provided a range of new and exotic texts and allowed the experts to produce translations aimed primarily at other experts, not the general culture of which these scholars were a part (Lefevere 1990: 22). Romanticism exalted the translator "as a creative genius in his own right, in touch with the genius of his original and enriching the literature and language into which he is translating" (Bassnett-McGuire 1980: 65). The stress on both the original author and the translator as being artists was not part of traditional discourse formations.

3. The Early and Middle Twentieth Century

Discussion in English of translation theory during the first half of the twentieth century continued to be dominated by the themes of Victorian discourse on translation, "literalness, archaizing, pedantry and the production of a text of second-rate literary merit for an elite minority" (Bassnett-McGuire 1980: 73). In his list of major contributors to the area of translation theory, Steiner recognises only the names of Dryden, Quine and Pound among English-speakers. Quine and Pound both belong to the twentieth century and challenged the dominant discourse. Willard V. Quine (b. 1908), a major American philosopher, wrote on "the indeterminacy of translation" within the field of linguistic philosophy (Quine 1960). Ezra Pound (1885-1972) was a poet and critic. Ronnie Apter has argued that Pound made three major innovations to thinking about "the nature and intent of literary translation…he discarded the Victorian pseudo-archaic translation diction; he regarded each translation as a necessarily limited criticism of the original poem; and he regarded good translations as new poems in their own right" (Apter 1987: 3).

More radical, and more decisive, developments in translation theory took place in Europe. These begin with the Russian Formalist movement, which focused on the "what makes literary texts different from other texts, what makes them new, creative, innovative" (Gentzler 1993: 79). One of their answers was that literary texts rely on a process of "defamiliarisation", using language in new and strikingly different ways

from ordinary speech. This led the Formalist to focus on "surface structural features" and "to analyse them to learn what determines literary status" (Gentzler 1993: 79). In so doing, they began the search for descriptive rules, which would help scholars understand the process of translation, and not normative rules, in order to study and assess the work of other translators (Bell 1991: 12). Their work was extended and refined by the Prague school of linguistics, founded by Roman Jakobson, who had earlier worked in Moscow. In his essay "On the Linguistic Aspects of Translation" (1959), Jakobson expanded traditional discourse of "equivalence" into the theme of "equivalence in difference". In so doing, he argued that words should be seen within their (arbitrary) semiotic context, and that "the grammatical pattern of a language (as opposed to its lexical stock) determines those aspects of each experience that must be expressed in the given language" (Venuti 2000: 114).

4. Translation Studies

Three factors worked to limit this sharp focus on descriptive linguistics as the major form of discourse on translation. The first was the questioning of Chomsky"s linguistic theories by linguists themselves. The second was the development of a number of new and dynamic fields within linguistics, such as "discourse analysis, text linguistics, sociolinguistics, computational linguistics, prototype semantics, and other assorted wonders" (Pym 1992: 184). These "wonders" took in prior fields such as British social anthropology and American cultural anthropology, as well as contemporary and parallel developments in philosophy, information and communication theories, computational linguistics, machine translation, artificial intelligence, and the ideas of socio-semiotics as developed within French structuralist and post-structuralist thought (Nida 2001: 110). The sense increased that: "Language is not the problem. Ideology and politics are…" (Lefevere 1990: 26). This has led to a separation between linguistic and cultural approaches to translation in the last quarter of the twentieth century. For some translation scholars, indeed, it has seemed that "strictly linguistic theories have been superseded, [as] translation has come to be considered in its cultural, historical and sociological context" (Woodsworth 1998: 100).

Basic Knowledge of Translation Theory

I.Translation

1.Definition

1)The definition in the old days

●“译即易,谓换易言语使相解也。”——贾公彦(618-907)唐朝

●“夫翻译者,谓翻梵天之语转成汉地之言。音虽似别,义则大同。”——法云(960-1279)

宋代

It means that translation is a rendering from nbone language (Source Language) into another (Target Language), remaining the meaning.

●The British scholar Dr. Samuel Johnson once said: “To translate is to change into another

language, remaining the sense.”

2)The current definition

●The American translation theorist Eugene A. Nida wrote in 1964: Translation consists in

reproducing in the receptor language the closest natural equivalence of the source language, first in terms of meaning and secondly in terms of style.(所谓翻译,是在译语中用切近而又最自然的对等语再现原语的信息,首先是意义,其次是文体。)

1)再现原文的信息(message)而不是保留原文的形式结构(formal structure)

2)对等(equivalence)不是同一(identity)

3)对等是最贴近、自然的对等

4)意义是优先考虑的因素

5)文体很重要

●The British translation theorist Tytler’s definition in 1970 about translation: “A good

translation is one which the merit of the original work is so completely transfused into another language as to be as distinctly apprehended and as strongly felt by a native of the country to which that language belongs as it is by those who speak the language of the original work.”

●Prof. Huang Long Translatology

Translation may be defined as follows:

The replacement of textual material in one language (SL) by equivalent textual material in another language (TL)

(翻译可以作以下界定:用一种语言(目的语)的文本材料对等地再现另一种语言(源出语)的文本材料。)

1)部分地替代

2)对等概念

In summary

1)Translation is the information transferring between two languages and the cultural

communication between two language families.

2)Translation is a rendering from one language into another. Translation is a science, an

art, a bilingual art, a craft, a skill, an operation and communication.

3)Translation is a representation or recreation in one language of what is written or said

in another language.

4)Translation is a kind of science because it was a whole set of rules governing it and

certain objective laws to go by in the process of translating.

2.Varieties of translation

1)Interpretation and written translation

2)In terms of SL and TL, Interlingual translation语际(不同语言之间),

Intralingual translation语内(同一语言rewording),Intersemiotic translation

符际(eg.把语言符号用图画、手势、数字或音乐来表达)

3)In terms of style, political essay政论,practical writing应用文,science

and technology科技,literary translation

II.Translation Criteria or Principle

●Tytler’s: Essay on the Principles of Translation, 1791

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。

●Yanfu’s: Faithfulness, Expressiveness and Elegance (信、达、雅)

1.“Faithfulness” means the full and complete conveying of the original

content of thought.

2.“Expressiveness” demands that the version should be c lear and flowing

without any grammatical mistakes or confused logic and sense.

3.“Elegance” refers to the use of classical Chinese before the Han Dynasty.

In summary, the first two words as translation criteria are acceptable. The original

meaning of “Elegance” is unacceptable for today, but we can give it new sense

-----elegant style in translation.

●Others:

Lu Xun’s (鲁迅)translation principle:

Rather be faithful (in thought) than smooth (in language) in opposition to Liang

Shi-qiu’s transl ation principle in 1930s. (宁信不顺)

Fu Lei’s付雷translation criteria:TL should be similar to SL both in Form and in

Spirit. (形似、神似)

Liu Chongde’s刘重德translation criteria: faithfulness, expressiveness and closeness.

(信、达、切) faithfulness: to be faithful to the content of the original; expressiveness: to

be as expressive and smooth as the original; closeness: to be as close to the original style

as possible.

Liang Shiqiu ‘s and Zhao Jingshen’s (梁实秋,赵景深) translation principle in

1930s:“It’s better to have a smooth version than a faithful one.”宁错务顺

Eugene A. Nida’s translation principle: Dynamic equivalence or Functional

equivalence or Equivalent-effect theory.The main idea is that the translator is to

produce as nearly possible the same effect on his readers as was produced on the readers

of the original.

Peter Newmark’s translation principle:From the angle of contextual analysis, he puts

forward two translation approaches: Semantic translation and Communicative

translation.

Semantic translation: The translator attempts, within the bare syntactic and semantic

constraints of the TL, to produce the precise contextual meaning of the author. Semantic

translation focuses primarily upon the semantic content of the source text.

Communicative translation: The translator attempts to produce the same effect on the

TL readers as was produced by the original on the SL readers. Communicative

translation focuses essentially upon the comprehension and response of receptors.

●In summary, translation criteria: faithfulness and smoothness忠实与通顺.

Faithfulness refers to that content and style of TL should be faithful to the SL.

Smoothness requires that version should be clear and distinct, flowing and easy to

read without signs of the mechanical word-for-word translation, of obscure

language, of grammatical mistakes, confused structure and logic.

III.Prerequisites of a translator

As Zhou En-lai said: To be a good translator we should strengthen our “basic training” in the three essential aspects:

1)The enhancement of our political consciousness

2)The betterment of our command of the relevant languages

3)The broadening of the range and scope of our general knowledge.

IV.Translation strategies: foreignization and domestication

Foreignization:If the translator’s pre ference is placed on preserving the language and cultural differences of the Source Text, we call this kind of approaches or its translation foreignizing or foreignization.

Domestication:It refers the method or practice of adapting the translation to the norms and values of the Target Language and culture is called domesticating or domestication.

For example,

C-E

谋事在人,成事在天。(曹:95)

Man proposes, Heaven disposes. (Yang: 90)

Man proposes, God disposes. (Hawkes: 152)

注:杨宪益利用了一个英语谚语,但把其中的“God”改成了“Heaven”,从而保留了原有的宗教色彩。而Hawkes直接引用了英语谚语,未作任何改动,这样,他把原文的佛教色彩变成了基督教色彩。这样英美读者更为自然、更容易接受。当然,这样一来,Hawkes把一个信佛的人变成了一个信耶稣的人了。

E-C

He made you for a high way to my bed; but I, a maid, die maiden ---widowed. (W. Shakespeare: Romeo and Juliet, 3, 3, 134-135)

译文1:他要借着你做牵引相思的桥梁,可是我却要做一个独守空阁的怨女而死去。(朱生豪译)(归)

译文2:他要借你作捷径,登上我的床;可怜我这处女,守活寡,到死是处女。(方平译)(异)Unless you’ve an ace up your sleeve, we are dished.

误译:除非你有锦囊妙计,否则我们是输定了。(归)

改译:除非你手中藏有王牌,否则我们是输定了。(异)

注:英语中ace是西方玩牌赌博时藏于袖中的“王牌”,而“锦囊妙计”则是中国古代宫廷争斗或疆场征战时封在“锦囊”中的神妙计策,彼此有截然不同的文化背景和内涵。Among Wolves one must howl.

入乡随俗(归)

在狼群中你就得嗥(异)

注:异化的翻译方法为汉语表达同一意思提供了一个新颖别致的语言形式。

Go to law for a sheep, you lose a cow.

捡了芝麻,丢了西瓜。(归)

为一只羊打官司,却损失了一头牛。(异)

注:异化的翻译策略表示律师借打官司之际,向原告和被告收取尽可能多的钱财,反映了西方民族习惯于通过法律途径解决纠纷的文化习尚。

V.Two basic translation methods: Literal Translation and Liberal (Free) Translation Literal Translation means word-for-word translation. It takes sentences as its basic units and the whole text into consideration at the same time in the course of translation. It strives to reproduce both the ideological content and the style of the entire literary work and retain as much as possible the figures of speech.

Liberal Translation is also called Free Translation.It is a supplementary means to mainly convey the meaning and spirit of the original without trying to reproduce its sentence pattern or figures of speech.

For example,

E-C

To kill two birds with one stone.

直译:一石二鸟

意译:一箭双雕,一举两得

The worst wheel of a cart creaks most.

直译:最坏的车轮最会嘎吱响。

意译:才学最差,叫喊最响;出力最少,抱怨最忙;能猫不叫,叫猫不能。

C-E

树倒猢狲散

直译:When the tree falls, the monkeys scatter.

意译:Members run away when the family falls. / Rats leave a sinking ship.

VI.Terms

●Polysemy:One word has various parts of speech and various meaning. Firth

said: “Each word when used in a new context is a new word.”

Eg. Dry

I want my martini dry. (not sweet)

我的马丁尼酒不要甜的。

There are still some dry states in the United States.

在美国尚有几洲禁酒。

She prefers dry bread. (without butter)

她喜欢无奶油的面包。

The cows are dry. (not supplying milk)

这些母牛缺奶。

He gave us a dry lecture yesterday.

昨天他给我们作了一个枯燥无味的讲演。

I am sure what he presented was a dry fact. (plain, undisguised)

我相信,他所列举的是铁一般的事实。

●Commendatory and derogatory words: Commendatory word means a

praising word, or a word in good sense. Derogatory word means a word to lessen

or impair the power or authority or a word in bad sense.

Eg.

Many people think that he is one of the most ambitious politicians of our times.

很多人认为他是现今最有野心的政客之一。

Although he is very young, he is very ambitious in his research work.

他虽然很年轻,但是在研究工作中很有雄心壮志。

They incited him to go into further investigation

他们鼓励他做进一步的调查。

The plotters incited the soldiers to rise against their officers.

阴谋家煽动士兵们造军官的反。

●Diction:It means proper choice of words in translation on the basis of accurate

comprehension of the original.

Eg. Context

We can make out the meaning of the word from the context.

我们可以从上下文判断出这个词的意思。

We should settle the disputes in the context of the Five Principles of Peaceful Coexistence.

我们应当在和平共处五项原则的基础上解决这些争端。(in the context of以……为精神,在……的基础上)

It is in this context that the tragedy of Sahara was born.

撒哈拉沙悲剧正在这种情况下发生。

We must operate within the context of the Olympian Spirit.

我们必须按照奥林匹克精神办事。

In this context, I’ve to call your attention to the fact that the peaceful trend in the Indo-China Peninsula is essential to peace in the world.

就此而论,我不得不提醒大家注意这样一个事实:印度支那半岛局势的稳定对世界和平来说是至关重要的。

The traditional pattern of classroom experience at the college level brings the professor and a group of 20 to 30 students together for a 45-to-50 minute class session two or three times a week. The most common mode of instruction is the lecture.

由一位教授和二三十名学生每周会晤两三次,每次授课时间45分钟到50分钟,是大学程度课堂教学的传统方式。最普遍的教学方式是讲课。

●Repetition:In translation we are required to repeat words over and over again

for clearness, for the sake of emphasis and for attractiveness (vividness).

Eg.

Big families had their own difficulties.

大家庭有大家庭的难处。

Ignorance is the mother of fear as well as of admiration.

无知是羡慕的根源,也是恐惧的根源。

●Amplification:It means supplying necessary words in our translation work so

as to make the version correct and clear. Words thus supplied must be indispensable

either syntactically or semantically.

The number of children being excluded in the area is getting out of hand.

该地区学生被开除的现象已到了无法控制的地步。

“According to Dr. John,” he said, “the patient’s life is still in danger. The first aid must be rendered as soon as possible.”

“根据约翰大夫的诊断,”他说,“这位患者的生命仍然处于危险之中,必须尽快采取急救措施。”

Then a little over decade ago, Professors Hoyle, Bondi, and Gold, working at Cambridge, proposed an entirely different scheme.

然而三十多年前,剑桥大学的霍伊尔、邦迪和哥尔德三位教授却提出了完全不同的学说。

●Omission:In the process of translation we may make proper omission of some

individual words in accordance with the corresponding laws inherent in the two

languages concerned in order to retain and better express the original meaning. Eg.

He who has never reached the Great Wall is not a true man.

不到长城非好汉。

As the temperature increases, the volume of water becomes greater.

温度增高,水的体积就会增大。

●Conversion:It means that in translation a word in one language belonging to a

certain part of speech is not necessarily to be turned into one of the same part of

speech in another language.

Eg.

The turning point of my life was my decision to give up a promising business career and study music.

我生活的转折点是我决定不做发迹有望的商人而专攻音乐。

A glance through his office window offers a panoramic view of the Washington Monument

and the Lincoln Memorial.

从他的办公室窗口可以一眼看到华盛顿纪念碑和林肯纪念馆的全景。

●Inversion:By inversion in translation we mean that the constituent elements of

a sentence are arranged in way different from the general rules of word order of the

language in question.

Eg.

It’s good you’ve so considerate.

你想得这样周到很好。

Formerly a worker himself, he was now an engineer.

他过去是工人,现在当了工程师了。

Send us a message in case you have any difficulty.

万一有什么困难,请给我们一个信。

●Negation:It means in translation some words, phrases or sentences with

negative expression in SL may be transformed into affirmative expression in TL.

Vice versa, some affirmative expression in SL may be transformed into negative

expression in TL, to make the version clearer and more explicit.

Eg.

I wrote three books in the first two years, a record never reached before.

我头两年写了三本书,打破了以往的记录。

The machine is far from being complicated.

这部机器一点也不复杂。

Don’t lose time in cleaning this machine.

赶快把这部机器擦好。

●Division:It means the necessary splitting of a long sentence into shorter ones. Eg.

There are many wonderful stories to tell about the places I visited and the people I met.

我访问了一些地方,遇到不少人,要谈起来,奇妙的事可多着呢。

After singing a concert in this city, he said he wanted to greet his admirers backstage as he always does.

他在那个城市演唱了一场音乐会。音乐会结束以后,他提出要向往常那样到后台去见见他的崇拜者。

Change of the voice:There are two kinds of voices: the active and the passive. The passive voice is much less used in Chinese than in English. In E-C translation we may usually change the passive voice into active voice, but in C-E translation we may usually change the active into the passive, especially in EST (English for Science and Technology)科技英语.

Eg.

The happy man cannot be harried.

吉人自有天相。

He is said to be the most respected teacher in our department.

据说他是我们系上最受尊敬的老师。

Basic Knowledge of Translation Theory

I.Translation

1.Definition

1)The definition in the old days

●“译即易,谓换易言语使相解也。”——贾公彦(618-907)唐朝

●“夫翻译者,谓翻梵天之语转成汉地之言。音虽似别,义则大同。”——法云(960-1279)

宋代

It means that translation is a rendering from one language (Source Language) into another (Target Language), remaining the meaning.

●The British scholar Dr. Samuel Johnson once said: “To translate is to change into another

language, remaining the sense.”

2)The current definition

●The American translation theorist Eugene A. Nida wrote in 1964: Translation consists in

reproducing in the receptor language the closest natural equivalence of the source language, first in terms of meaning and secondly in terms of style.(所谓翻译,是在译语中用切近而又最自然的对等语再现原语的信息,首先是意义,其次是文体。)

1)再现原文的信息(message)而不是保留原文的形式结构(formal structure)

2)对等(equivalence)不是同一(identity)

3)对等是最贴近、自然的对等

4)意义是优先考虑的因素

5)文体很重要

●The British translation theorist Tytler’s definition in 1970 about translation: “A good

translation is one which the merit of the original work is so completely transfused into another language as to be as distinctly apprehended and as strongly felt by a native of the country to which that language belongs as it is by those who speak the language of the original work.”

●Prof. Huang Long Translatology

Translation may be defined as follows:

The replacement of textual material in one language (SL) by equivalent textual material in another language (TL)

(翻译可以作以下界定:用一种语言(目的语)的文本材料对等地再现另一种语言(源出语)的文本材料。)

1)部分地替代

2)对等概念

In summary

1)Translation is the information transferring between two languages and the cultural

communication between two language families.

2)Translation is a rendering from one language into another. Translation is a science, an

art, a bilingual art, a craft, a skill, an operation and communication.

3)Translation is a representation or recreation in one language of what is written or said

in another language.

4)Translation is a kind of science because it was a whole set of rules governing it and

certain objective laws to go by in the process of translating.

2.Varieties of translation

1)Interpretation and written translation

2)In terms of SL and TL, Interlingual translation语际(不同语言之间),

Intralingual translation语内(同一语言rewording),Intersemiotic translation

符际(eg.把语言符号用图画、手势、数字或音乐来表达)

3)In terms of style, political essay政论,practical writing应用文,science

and technology科技,literary translation

II.Translation Criteria or Principle

●Tytler’s: Essay on the Principles of Translation, 1791

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。

●Yanfu’s: Faithfulness, Expressiveness and Elegance (信、达、雅)

1.“Faithfulness” means the full and complete conveying of the original

content of thought.

2.“Expressiveness” demands that the version should be clear and flowing

without any grammatical mistakes or confused logic and sense.

3.“Elegance” refers to the use of classical Chinese before the Han Dynasty.

In summary, the first two words as translation criteria are acceptable. The original

meaning of “Elegance” is unacceptable for today, but we can give it new sense

-----elegant style in translation.

●Others:

Lu Xun’s (鲁迅)translation principle:

Rather be faithful (in thought) than smooth (in language) in opposition to Liang

Shi-qiu’s translatio n principle in 1930s. (宁信不顺)

Fu Lei’s付雷translation criteria:TL should be similar to SL both in Form and in

Spirit. (形似、神似)

Liu Chongde’s刘重德translation criteria: faithfulness, expressiveness and closeness.

(信、达、切) faithfulness: to be faithful to the content of the original; expressiveness: to

be as expressive and smooth as the original; closeness: to be as close to the original style

as possible.

Liang Shiqiu ‘s and Zhao Jingshen’s (梁实秋,赵景深) translation principle in

1930s:“It’s better to have a smooth version than a faithful one.”宁错务顺

Eugene A. Nida’s translation principle: Dynamic equivalence or Functional

equivalence or Equivalent-effect theory.The main idea is that the translator is to

produce as nearly possible the same effect on his readers as was produced on the readers

of the original.

Peter Newmark’s translation principle:From the angle of contextual analysis, he puts

forward two translation approaches: Semantic translation and Communicative

translation.

Semantic translation: The translator attempts, within the bare syntactic and semantic

constraints of the TL, to produce the precise contextual meaning of the author. Semantic

translation focuses primarily upon the semantic content of the source text.

Communicative translation: The translator attempts to produce the same effect on the

TL readers as was produced by the original on the SL readers. Communicative

translation focuses essentially upon the comprehension and response of receptors.

●In summary, translation criteria: faithfulness and smoothness忠实与通顺.

Faithfulness refers to that content and style of TL should be faithful to the SL.

Smoothness requires that version should be clear and distinct, flowing and easy to

read without signs of the mechanical word-for-word translation, of obscure

language, of grammatical mistakes, confused structure and logic.

III.Prerequisites of a translator

As Zhou En-lai said: To be a good translator we should strengthen our “basic training” in the three essential aspects:

1)The enhancement of our political consciousness

2)The betterment of our command of the relevant languages

3)The broadening of the range and scope of our general knowledge.

IV.Translation strategies: foreignization and domestication

Foreignization:If the translator’s prefere nce is placed on preserving the language and cultural differences of the Source Text, we call this kind of approaches or its translation foreignizing or foreignization.

Domestication:It refers the method or practice of adapting the translation to the norms and values of the Target Language and culture is called domesticating or domestication.

For example,

C-E

谋事在人,成事在天。(曹:95)

Man proposes, Heaven disposes. (Yang: 90)

Man proposes, God disposes. (Hawkes: 152)

注:杨宪益利用了一个英语谚语,但把其中的“God”改成了“Heaven”,从而保留了原有的宗教色彩。而Hawkes直接引用了英语谚语,未作任何改动,这样,他把原文的佛教色彩变成了基督教色彩。这样英美读者更为自然、更容易接受。当然,这样一来,Hawkes把一个信佛的人变成了一个信耶稣的人了。

E-C

He made you for a high way to my bed; but I, a maid, die maiden ---widowed. (W. Shakespeare: Romeo and Juliet, 3, 3, 134-135)

译文1:他要借着你做牵引相思的桥梁,可是我却要做一个独守空阁的怨女而死去。(朱生豪译)(归)

译文2:他要借你作捷径,登上我的床;可怜我这处女,守活寡,到死是处女。(方平译)(异)Unless you’ve an ace up your sleeve, we are dished.

误译:除非你有锦囊妙计,否则我们是输定了。(归)

改译:除非你手中藏有王牌,否则我们是输定了。(异)

注:英语中ace是西方玩牌赌博时藏于袖中的“王牌”,而“锦囊妙计”则是中国古代宫廷争斗或疆场征战时封在“锦囊”中的神妙计策,彼此有截然不同的文化背景和内涵。Among Wolves one must howl.

入乡随俗(归)

在狼群中你就得嗥(异)

注:异化的翻译方法为汉语表达同一意思提供了一个新颖别致的语言形式。

Go to law for a sheep, you lose a cow.

捡了芝麻,丢了西瓜。(归)

为一只羊打官司,却损失了一头牛。(异)

注:异化的翻译策略表示律师借打官司之际,向原告和被告收取尽可能多的钱财,反映了西方民族习惯于通过法律途径解决纠纷的文化习尚。

V.Two basic translation methods: Literal Translation and Liberal (Free) Translation Literal Translation means word-for-word translation. It takes sentences as its basic units and the whole text into consideration at the same time in the course of translation. It strives to reproduce both the ideological content and the style of the entire literary work and retain as much as possible the figures of speech.

Liberal Translation is also called Free Translation.It is a supplementary means to mainly convey the meaning and spirit of the original without trying to reproduce its sentence pattern or figures of speech.

For example,

E-C

To kill two birds with one stone.

直译:一石二鸟

意译:一箭双雕,一举两得

The worst wheel of a cart creaks most.

直译:最坏的车轮最会嘎吱响。

意译:才学最差,叫喊最响;出力最少,抱怨最忙;能猫不叫,叫猫不能。

C-E

树倒猢狲散

直译:When the tree falls, the monkeys scatter.

意译:Members run away when the family falls. / Rats leave a sinking ship.

VI.Terms

●Polysemy:One word has various parts of speech and various meaning. Firth

said: “Each word when used in a new context is a new word.”

Eg. Dry

I want my martini dry. (not sweet)

我的马丁尼酒不要甜的。

There are still some dry states in the United States.

在美国尚有几洲禁酒。

She prefers dry bread. (without butter)

她喜欢无奶油的面包。

The cows are dry. (not supplying milk)

这些母牛缺奶。

He gave us a dry lecture yesterday.

昨天他给我们作了一个枯燥无味的讲演。

I am sure what he presented was a dry fact. (plain, undisguised)

我相信,他所列举的是铁一般的事实。

●Commendatory and derogatory words: Commendatory word means a

praising word, or a word in good sense. Derogatory word means a word to lessen

or impair the power or authority or a word in bad sense.

Eg.

Many people think that he is one of the most ambitious politicians of our times.

很多人认为他是现今最有野心的政客之一。

Although he is very young, he is very ambitious in his research work.

他虽然很年轻,但是在研究工作中很有雄心壮志。

They incited him to go into further investigation

他们鼓励他做进一步的调查。

The plotters incited the soldiers to rise against their officers.

阴谋家煽动士兵们造军官的反。

●Diction:It means proper choice of words in translation on the basis of accurate

comprehension of the original.

Eg. Context

We can make out the meaning of the word from the context.

我们可以从上下文判断出这个词的意思。

We should settle the disputes in the context of the Five Principles of Peaceful Coexistence.

我们应当在和平共处五项原则的基础上解决这些争端。(in the context of以……为精神,在……的基础上)

It is in this context that the tragedy of Sahara was born.

撒哈拉沙悲剧正在这种情况下发生。

We must operate within the context of the Olympian Spirit.

我们必须按照奥林匹克精神办事。

In this context, I’ve to call your attention to the fact that the peaceful trend in the Indo-China Peninsula is essential to peace in the world.

就此而论,我不得不提醒大家注意这样一个事实:印度支那半岛局势的稳定对世界和平来说是至关重要的。

The traditional pattern of classroom experience at the college level brings the professor and a group of 20 to 30 students together for a 45-to-50 minute class session two or three times a week. The most common mode of instruction is the lecture.

由一位教授和二三十名学生每周会晤两三次,每次授课时间45分钟到50分钟,是大学程度课堂教学的传统方式。最普遍的教学方式是讲课。

●Repetition:In translation we are required to repeat words over and over again

for clearness, for the sake of emphasis and for attractiveness (vividness).

Eg.

Big families had their own difficulties.

大家庭有大家庭的难处。

Ignorance is the mother of fear as well as of admiration.

无知是羡慕的根源,也是恐惧的根源。

●Amplification:It means supplying necessary words in our translation work so

as to make the version correct and clear. Words thus supplied must be indispensable

either syntactically or semantically.

The number of children being excluded in the area is getting out of hand.

该地区学生被开除的现象已到了无法控制的地步。

“According to Dr. John,” he said, “the patient’s life is still in danger. The first aid must be rendered as soon as possible.”

“根据约翰大夫的诊断,”他说,“这位患者的生命仍然处于危险之中,必须尽快采取急救措施。”

Then a little over decade ago, Professors Hoyle, Bondi, and Gold, working at Cambridge,

proposed an entirely different scheme.

然而三十多年前,剑桥大学的霍伊尔、邦迪和哥尔德三位教授却提出了完全不同的学说。

●Omission:In the process of translation we may make proper omission of some

individual words in accordance with the corresponding laws inherent in the two

languages concerned in order to retain and better express the original meaning. Eg.

He who has never reached the Great Wall is not a true man.

不到长城非好汉。

As the temperature increases, the volume of water becomes greater.

温度增高,水的体积就会增大。

●Conversion:It means that in translation a word in one language belonging to a

certain part of speech is not necessarily to be turned into one of the same part of

speech in another language.

Eg.

The turning point of my life was my decision to give up a promising business career and study music.

我生活的转折点是我决定不做发迹有望的商人而专攻音乐。

A glance through his office window offers a panoramic view of the Washington Monument

and the Lincoln Memorial.

从他的办公室窗口可以一眼看到华盛顿纪念碑和林肯纪念馆的全景。

●Inversion:By inversion in translation we mean that the constituent elements of

a sentence are arranged in way different from the general rules of word order of the

language in question.

Eg.

It’s good you’ve so considerate.

你想得这样周到很好。

Formerly a worker himself, he was now an engineer.

他过去是工人,现在当了工程师了。

Send us a message in case you have any difficulty.

万一有什么困难,请给我们一个信。

●Negation:It means in translation some words, phrases or sentences with

negative expression in SL may be transformed into affirmative expression in TL.

Vice versa, some affirmative expression in SL may be transformed into negative

expression in TL, to make the version clearer and more explicit.

Eg.

I wrote three books in the first two years, a record never reached before.

我头两年写了三本书,打破了以往的记录。

The machine is far from being complicated.

这部机器一点也不复杂。

Don’t lose time in cleaning this machine.

赶快把这部机器擦好。

●Division:It means the necessary splitting of a long sentence into shorter ones. Eg.

西方翻译理论

一.The North American Translation Workshop(早期北美翻译学派) Development: ①The North American Translation Workshop began to study the human’s brain function in the translation . ②It also put forward the nature and the definition of the translation ③It purposed many questions about epistemology which made a difference in the translation study and practice. ④It also doubt the standard of translation evaluation. ⑤The scholars in NATW subverted many traditional translation school and expressive form. ⑥It believed that translation is a kind of literary criticism. While opening up new perspectives, the general approach as practiced in the North American Translation Workshop might be characterized by a theoretical naive and subjective methodologies that tend to reinforce whatever theoretical values individual translators hold. 1.I. A. Richards Richards is a critic, linguist, poet, founder of New Criticism. He is often labeled as the father of the New Criticism, largely because of the influence of his first two books of critical theory, The Principles of Literary Criticism and Practical Criticism. Richards’s initial premises remain intact: he still believed that the field consists of texts containing a primary body of experience that readers could discern; with the proper training, a consensus could be reached regarding what that experience might be. Richards’s aims were threefold: (1) to introduce a new kind of documentation into contemporary American culture; (2) to provide a new technique for individuals to discover for themselves what they think about poetry; (3) to discover new educational methods. 2. Ezra Pound Ezra Pound’s theory of translation focused upon the precise rendering of details, of individual words and of single or even fragmented images; Pound’s theoretical writing fall into two periods: an early imagist phase that, while departing from traditional forms of logic, still occasionally contained abstract concepts and impressions; and a second late imagist or vorticist phase that was based on words in action and luminous details; Pound's emphasis was less on the "meaning" of the translated text or even on the meaning of specific words. Instead, he emphasized the rhythm, diction, and movement of words; Pound supposes that we can have a creative translation besides literal translation and free translation.

中国现当代文学复习资料

现当代文学复习资料 1.闻一多《死水》的三美赏析: 全诗隔行压韵,最后都以双音节词收尾,读来抑扬顿挫,琅琅上口,节奏感和韵律感很强。全诗共五节,每节四行,每一行都是九个字。汉字被称为方块字,每个字都是一个四四方方的建筑体。这样每一行就形成了一个长方体;而四和长方体又构成了一个大的长方体;而全诗是五个大长方体,这就是构成了一个更大长方体。从整体外形上看,结构工整、章法整饰,节与节之间匀称,行与行之间均齐。这样的外形,与中国传统的律诗非常相象。再说绘画美。诗中“绿酒”、“白沫”、“翡翠”、“罗绮”等词汇,错彩镂金,色彩斑斓,让人产生一种眩目的视觉效果。而且作者还不满足于此,他充分运用了诗歌的语言特性,不但写了翡翠等静止的意象,而且写了青蛙的叫声这样的动的意象,动静结合使意象相互反衬,产生张力,画面更加活泼起来。这样的“三美”手法的运用使《死水》形成了总体的整齐凝重的风格,作者的那种传统儒家知识分子的人格特征更是跃然纸上。 2.“中国现代文学”学科的建构历史 1922年,胡适的《五十年来中国之文学》的最后一节,是“略述文学革命的历史和新文学的大概”,可视为最早的以“史”的角度研究现代文学的尝试。 20年代末期始,少数高校以开设了新文学研究的课程和讲座。陈子展、周作人、朱自清、李何林等都讲授过现代文学的课程,并出版过文学史著作,如周作人的《中国新文学之流源》、李何林的《近二十年来中国文艺思潮论》等。因此,现代文学的早期研究有很强的“当代性”。现代文学作为一个完整的学科,是1951年王瑶《中国新文学史稿》(上册)的出版和他在北京大学所开的课。王瑶可以说是中国现代文学学科的奠基者。 但随即遭到激烈的批评 1955年,作家出版社出版了丁易的《中国现代文学史略》。这本文学史建构了一种激进的写作框架。在文学运动部分,用革命运动统摄文艺运动和现象;在作家作品部分,简单地使用了阶级划分的方法。 同年10月,作家出版社出版了东北大学张毕来的《新文学史纲》第一卷。作家都被纳入“革命作家”、“进步作家”、“小资产阶级作家”、“右翼作家”等范畴进行评价。 1956年,作家出版社又出版了刘绶松的《中国新文学史初稿》上下卷,作者阐发了研究现代文学的三大目的:第一,叙述“五四”以来先驱者使用文艺武器与统治阶级进行不屈不挠的斗争的实况;第二,把各个历史时期的战斗史实和经验加以正确的叙述和总结;第三,全面深入地考察和研究各个历史时期的重要作家和作品。 文学史的“历史建构”在这样一种政治文化背景下有了“主流”和“非主流”的区别。“非主流”的作家在不断的过滤和批判的过程中被逐渐淘汰。 3.中国现代文学的含义 1、1917年1月《新青年》杂志刊出的胡适的《文学改良刍议》为标志,发生的文学革命,在中国文学史上树起一个鲜明的界碑,标志着古典文学的结束,现代文学的起始。 2、现代文学不仅是时间概念上所划定的1917——1949年这一通常所说的“现代”阶段的文学,更是“现代”性质意义上所指的区别于传统文学的新的文学。即是用现代文学语言与文学形式,表达现代中国人的思想、感情、心理的文学。从性质来看,“现代”是相对于“传统”中国文学而言的。“现代”作为时间的标志,表明了中国现代文学与中国传统文学的联系性,说明了中国现代文学是中国文学发展到20世纪出现的一种形态的文学;“现代”作为性质的标志,则

北外翻译学考博参考书目

MUNDAY, Jeremy. 2001. Introducing Translation Studies: Theories and Applications. London: Routledge. 2、Gentzler, Edwin. 1993. Contemporary Translation Theories. London: Routledge. 3、Pym, Anthony. 2010. Exploring Translation Theories. London & New York: Routledge. 4、Colina, Sonia. 2003. Translation Teaching from Research to the Classroom. Toronto: McGraw Hill. 5、Hatim, Basil. 2005. Teaching and Researching Translation. Beijing:FLTRP. 6、陈福康. 2000.《中国译学理论史稿》(修订本),上海:外语教育出版社。 7、马会娟苗菊. 2009.《当代西方翻译理论选读》,外语教学与研究出版社。 8、泛读书目:外研社、外教社翻译研究文库、John Benjamins Publishing Company出版的翻译系列丛书;《中国翻译》和外语类核心期刊发 北大 、翻译研究方向参考书目: (请注意:下面给出的仅是一个框架性的书目,并非博士考试的出题范围,英语系只是提供一个可供参考的文本资源) 马祖毅等:《中国翻译通史》(5卷本),湖北教育出版社,2006。 罗新彰编:《翻译论集》,商务印书馆,1984。 Bassnett, S. Translation Studies(3rd ed.). London and New York: Routledge, 2002. Gentzler, E. Contemporary Translation Theories. London and New York: Routledge, 1993. Hermans, T. ed. The Manipulation of Literature: Studies in Literary Translation. Beckenham, Kent: Croom Helm Ltd, 1985. Newmark, P. Approaches to Translation. Shanghai: Shanghai Foreign Language Education Press, 2001. Nida, E. A. Toward a Science of Translation. Leiden: E. J. Brill, 1964. Steiner, G. After Babel: Aspects of Language and Translation. Shanghai: Shanghai Foreign Language Education Press, 2001. Toury, G. Descriptive Translation Studies and Beyond. Shanghai: Shanghai Foreign Language Education Press, 2001. Venuti, L. The Translator’s Invisibility: A History of Translation. London and New York: Routledge, 1995.

浅谈许渊冲“三美”译诗理论中的“音美”

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谢天振当代国外翻译理论总结

《当代国外翻译理论》期末总结 本学期,我们主要从西方翻译学的各个学派学习了有关西方翻译学的一些理论。所以,在进行期末总结时,我按照课本上所划分的学派,从学派简介、代表人物、主要理论、评价这四个方面做了简要总结,最后简单的谈几点在本学期的学习之后我的个人感想。 在本学期,我们主要学习了语言学派翻译理论、阐释学派翻译理论、功能学派翻译理论、文化学派翻译理论、解构学派翻译理论、女性主义翻译理论、后殖民主义翻译理论和苏东学派翻译理论。 语言学派翻译理论 20 世纪50 年代,翻译的独立学科性凸显出来,一些学者开始引用语言学理论研究翻译,这批学者被称为西方翻译研究中的语言学派(结构主义),他们从语言学的相关理论视角出发,为翻译研究开辟新途径。 该学派的代表人物有尤金?奈达、约翰?卡特福德、彼得?纽马克、巴兹尔?哈蒂姆、罗曼?雅克布逊、斯奈尔-霍恩比、费奥多罗夫(本书中将其理论放在了苏东学派中的语言学派)。 在这次总结中,我按照时间顺序对语言学派发展过程中各阶段的翻译理论进行了简单概括: 1、20世纪50至90年代,对等概念是翻译研究的主要思想。以语言为中心,从语言的结构特征出发研究翻译的对等问题,对等是语言学派翻译理论的思想核心(例如:奈达:功能对等?动态对等;纽马克:交际翻译?语义翻译;卡特福德:等值?转换) 2、20世纪80年代,语言学派开始从语篇语言学和话语分析的角度进行翻译研究,并开始注重语境的研究,在此阶段,语言学派的翻译研究开始逐渐接受文化意识形态对翻译学研究的影响,对翻译的文化转向起了过渡作用。 3、20世纪90年代,随着认知语言学研究的逐渐升温,翻译迎来了“认知转向”“认知翻译”逐渐形成 在语言学派之前,语文学式的翻译研究没有形成系统的理论,人们对于翻译

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葛浩文的“隐”与“不隐”:读英译《丰乳肥臀》 史国强 胡安江教授在《中国文学“走出去”之译者模式及翻译策略研究》一文中提到葛浩文(Howard Goldblatt)的翻译策略,指出:“实际上,葛氏的归化译法几乎见于他的每一部作品。”胡教授以葛浩文一九八六年译的《杀夫》(The Butcher’s Wife)、二〇〇二年的《尘埃落定》(Red Poppies:A Novel of Tibet)和《香港三部曲》(City of the Queen:A Novel of Co-lonial Hong Kong)为例,得出结论:“就英语世界而言,这样的书名在很大程度上迎合了西方对于中国的所谓‘东方主义想象’。事实上,这三部书在西方世界不俗的销售业绩,再次证明了葛氏遵守译入语文化规范的归化式译法起了重要的作用。”①胡文指出了葛浩文在翻译当代汉语小说方面的一个特点,但因为作者在文中着重研究的是中国文学“走出去”的问题,对葛浩文的翻译策略不过是稍带提及,所以拙文试图就这个话题再说几句,或可为葛浩文的行文风格勾画出一个轮廓。 阅读葛浩文的译文后能发现,“归化式译法”不是他的重要特点,更不是他的唯一特点。 至于“不俗的销售业绩”,因为胡文没有说明印数,所以这里不好推测,但据葛浩文自己说,他翻译的中国小说读者极其有限,几乎无钱可赚。② 翻译者在译文上总要留下即所谓的“个人印记”(idiosyncrasy)。无论译者如何朝原文靠拢,都无法做到韦努蒂所说的纯粹的“隐身”和“透明”。③高明的译者隐得深一些,不过如此。资深译家如葛浩文,也不例外。但对葛浩文这样经验丰富的翻译家来说,绝不是归化或异化能限定的。 要指出的是,葛在使用归化策略时是极其慎重的,尤其是书名翻译,他的异化策略反而用得更多。如,萧红的《生死场》和《呼兰河传》译成The Field of Life and Death(一九七九)和Tales of Hulan River(一九七九)。再如,黄春明的《溺死一只老猫》(The Drowning ① ② ③ 见胡安江《中国文学“走出去”之译者模式及翻译策略研 究》,《中国翻译》2010年第6期。 葛浩文亲口对季进说:“目前美国出版的当代中国文学作 品主要是小说,每年大概也就出版三五本的样子。肯定不 会很畅销,像莫言的《生死疲劳》能够卖一两千本就算是 好的了。莫言的小说,除了《红高粱》,一直都卖不好,连 苏童的东西也不太好卖。余华的《兄弟》可能好一些,海 外也得到好评,但是我不知道会有多少人买。”见季进《我 译故我在———葛浩文访谈录》,《当代作家评论》2009年第 6期。 Venuti Lawrence,The Translator’s Invisibility:A History of Translation,上海,上海教育出版社,2006。

翻译实践与评析范文简要

【育才毕业作品(翻译实践与评析)范文简要】 (中文封面页) 西南大学育才学院 本科毕业作品 《欧洲的前景:临近眼前的深渊》翻译与评析 学院外国语学院 专业英语 年级2008级 学号 姓名 指导教师 成绩 二○一二年四月

(英文标题页,单独用一页) Translation and Comments on The Future of Europe: Starring into the Abyss (论文作者名,斜体) Supervisor (指导教师名,斜体) A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of B. A. in English SCHOOL OF FOREIGN LANGUAGES YUCAI COLLEGE SOUTHWEST UNIVERSITY April, 2012

(致谢,单独用一页,向指导教师及相关人员致谢) Acknowledgements Firstly, I would like to show my deep gratitude and respect to my supervisor …for her / his careful guidance and hard work. Her /His experienced suggestions and continual encouragement have guided me through all my writing process of this paper. Without her /his guidance and assistance, the completion of this thesis would have been impossible. Secondly, I want to express my heartfelt gratitude to the professors and teachers of The School of Foreign Languages …who instructed and helped me a lot in the past half and three years. Finally, I wish to thank my parents and friends, whose spiritual and practical support ensures my courage in face of difficulties.

英语专业翻译类论文参考文献

参考文献 一、翻译理论与实践相关书目 谢天振主编. 《当代国外翻译理论导读》. 天津:南开大学出版社,2008. Jeremy Munday. 《翻译学导论——理论与实践》Introducing Translation Studies---Theories and Applications. 李德凤等译. 北京:商务印书馆,2007. 包惠南、包昂. 《中国文化与汉英翻译》. 北京:外文出版社, 2004. 包惠南. 《文化语境与语言翻译》. 北京:中国对外翻译出版公司. 2001. 毕继万. 《世界文化史故事大系——英国卷》. 上海:上海外语教育出版社, 2003. 蔡基刚. 《英汉汉英段落翻译与实践》. 上海:复旦大学出版社, 2001. 蔡基刚. 《英汉写作对比研究》. 上海:复旦大学出版社, 2001. 蔡基刚. 《英语写作与抽象名词表达》. 上海:复旦大学出版社, 2003. 曹雪芹、高鄂. 《红楼梦》. 陈定安. 《英汉比较与翻译》. 北京:中国对外翻译出版公司, 1991. 陈福康. 《中国译学理论史稿》(修订本). 上海:上海外语教育出版社. 2000. 陈生保. 《英汉翻译津指》. 北京:中国对外翻译出版公司. 1998. 陈廷祐. 《英文汉译技巧》. 北京:外语教学与研究出版社. 2001. 陈望道. 《修辞学发凡》. 上海:上海教育出版社, 1979. 陈文伯. 《英汉翻译技法与练习》. 北京:世界知识出版社. 1998. 陈中绳、吴娟. 《英汉新词新义佳译》. 上海:上海翻译出版公司. 1990. 陈忠诚. 《词语翻译丛谈》. 北京:中国对外翻译出版公司, 1983. 程希岚. 《修辞学新编》. 吉林:吉林人民出版社, 1984. 程镇球. 《翻译论文集》. 北京:外语教学与研究出版社. 2002. 程镇球. 《翻译问题探索》. 北京:商务印书馆, 1980. 崔刚. 《广告英语》. 北京:北京理工大学出版社, 1993. 单其昌. 《汉英翻译技巧》. 北京:外语教学与研究出版社. 1990. 单其昌. 《汉英翻译讲评》. 北京:对外贸易教育出版社. 1989. 邓炎昌、刘润清. 《语言与文化——英汉语言文化对比》. 北京:外语教学与研究出版社, 1989. 丁树德. 《英汉汉英翻译教学综合指导》. 天津:天津大学出版社, 1996. 杜承南等,《中国当代翻译百论》. 重庆:重庆大学出版社, 1994. 《翻译通讯》编辑部. 《翻译研究论文集(1894-1948)》. 北京:外语教学与研究出版社. 1984. 《翻译通讯》编辑部. 《翻译研究论文集(1949-1983)》. 北京:外语教学与研究出版社. 1984. . 范勇主编. 《新编汉英翻译教程》. 天津:南开大学出版社. 2006. 方梦之、马秉义(编选). 《汉译英实践与技巧》. 北京:旅游教育出版社. 1996. 方梦之. 《英语汉译实践与技巧》. 天津:天津科技翻译出版公司. 1994. 方梦之主编. 《译学辞典》. 上海:上海外语教育出版社. 2004. 冯翠华. 《英语修辞大全》,北京:外语教学与研究出版社, 1995. 冯庆华. 《文体与翻译》. 上海:上海外语教育出版社, 2002. 冯庆华主编. 《文体翻译论》. 上海:上海外语教育出版社. 2002. 冯胜利. 《汉语的韵律、词法与句法》. 北京:北京大学出版社, 1997. 冯志杰. 《汉英科技翻译指要》. 北京:中国对外翻译出版公司. 1998. 耿占春. 《隐喻》. 北京:东方出版社, 1993.

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中国当代文学课件 钱钟书《围城 》

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