为您找到与文化翻译观的定义相关的共200个结果:
在我国,人们之所以把"九"看成是自己心目中的"天数"和最富有神奇色 彩的数字, 是因为"九" 这个数字的象征意义;数字"九"涉及面在我国所有数字中最广。下面是读文网小编为大家精心准备的:东西方数字九的文化对比分析与翻译相关论文。仅供大家参考!
东西方数字九的文化对比分析与翻译全文如下:
"数是人类思维发展到一定阶段,为适应社会生产活动的需要,在符号的帮 助下产生的。"(苏金智,19 91)"数字是语言学中的一个特殊的领域。在科 学的数字世界里,它的功能是计算,秩序严谨,职司分明,是 实数;而在人类 心灵的数字世界中,它的功能是表义,许多数字经过“神化”后成为“玄数”、 “虚数”、“ 天数"。它们有着极其丰富的外延和内涵。"(王秉钦,1998) 由于受东西方文化传统、宗教信仰、语言崇拜、地理环境等方面的影响,数 字的神化存在着东西方的差异 ,但也存在着共性,有着共同的规律。在"数的 灵物崇拜"上各民族都有普通性。东方人有自己心目中的"天 数",而西方人 也有自己心目中的"神数"。神秘数字的演化规律一般经过"神化—泛化—虚 化"的过程。( 王秉钦,1998)
东西方已有不少有关数字科学的专著和论文, 如毕达哥拉斯(phythagoras) 学派的T·丹齐克的《数 科学语言》(商务印书馆,1998),英国人伦拉德·法 拉的《七的探源》;国内也有不少学者就数字写过著作 和论文,并开展过学术探 讨。如,王秉钦教授在其《语言与翻译新论》的中篇第六章就以"数的语义范围 比较 与翻译"为专题;苏金智曾写过《数的灵物崇拜》(载〈语言、社会、文化》 440页, 语文出版社,1991,1) 等。在1998 年南昌大学主办的"中国英汉语 比较研究会第二届年会暨第三次学术研讨会"上,英汉文化对比专 业委员会会 员曾就中南工业大学外语学院吴玲英老师的《中西文学中"以三为法”的文化模 式》展开了激烈的 讨论。本人认为东方人,尤其是中国人,自己心目中的天数 是"九"而不是"三",也并非完全是因为"九" 是"三"的倍数。
在我国,人们之所以把"九"看成是自己心目中的"天数"和最富有神奇色 彩的数字, 是因为"九" 这个数字的象征意义(symbolicmeaning),在我国可 以说历时最久,涉及面也最广。 "九"作为数不同于一 般数字,在中国古代被 认为是一种神秘的数字,它起初是龙形(或蛇形)图腾化之文字,继而演化出"神 圣" 之意,于是中国古代历代帝王为了表示自己神圣的权力为天赐神赋,便竭 力把自己同“九”联系在一起。如天 分九层,极言其高,天证/诞日为正月初 九,天子祭天一年九次。更有趣的是连皇宫建筑都与"九"有关。例 如,北京 城有九门,天安门城楼面阔九问,门上饰有九路钉(即每扇门的门钉纵横各九排)。 汉语词汇中也常 用"九"来形容帝王将相的称谓,如"九五之尊"(imperial throne);称官位仅次于皇帝的王爷为"九千岁 "等。
根据阴阳五行与数的关系,万物之根均为数,宇宙也是数。数始于1而终于 10,五行也是数,按传统的五行 理论来划分,则1、2为木:1为阳木,2为阴 木。以3、4为火:3为阳火,4为阴火。以5、6为土:5为阳土,6为 阴土。 以7、8为金:7为阳金,8为阴金。以9、10为水:9 为阳水,10为阴水。这 就是将"象"、"数"与五行 结合起来推演变化,用以显示事物发展变化的内 在联系。由此看来,"九"是最大的阳数,象征着天。传说古 代中国人把天分 为九层,九层天是天的最高处,汉语中有关词汇有"九重霄"(指极高的天空, "九霄云外" ,"九天揽月","九天九地"等。另外,天坛,这个明清两代 祭天的场所,其建筑无处不体现着“九”的象 征意义。 民间传说中还有"九头 鸟"(nine-headed bird: a fabulous bird whose appearance was f ormerlyregarded as a bad omcn)的故事。
中国人以"九"为大数,刘师培在《古书疑义举例补》一书中写道:"凡数 指其极者,皆得称之为'九' ;"《素问》中说:"天地之数,始于一,终于 九。"因此,汉语中有"九九归一"或"九九归原"之说。因 从"九"为数之 极而引出人生之限,故"明九"或"暗九"均为人生之"坎",避讳有“九”之 岁。例如:“ 老太太因明年八十一岁,是个暗九。"(《红楼梦》)。日本人一般 认为"九"是"苦命和痛苦"的象征,因 为"九"与"苦"同音,因此忌讳 "九"。然而,《外语与外语教学》曾报道过国内一位学者曾为考证这一点 ,采 用"全选法"将日本某地电话号码其中的几千个姓和名分别进行统计,结果发现 将"九"作为姓的只占极 少数(约占0.35%),而将"九"作为名的却不少(约 占35%)。看来,日本人忌讳"九"也并非绝对。
此外,《词源》中说:"九:虚指多数。""九"作虚数解时,是数的一种 语义模糊现象。《现代汉语词 典》中,"九"的意思有三个:(1)数目,八加一 后所得;(2)从冬至起每九天是一个"九",从一"九" 数起,二"九"、三 "九",一直数到九"九"为止。冬练三九,夏练三伏;(3)表示多数或多次: 九泉,三 弯九转等。因此, 汉语中有不少和"九"有关的成语。如:"九牛一 毛"、"九死一生"、"九牛二虎之力" 、"九流宾客"等等。
在我国,数字"九"涉及面在所有数字中最广。含有数字"九"的词汇也十 分丰富。如,"九州"是指传 说中的我国上古行政区划,后用作"中国"的代 称。因此,有的全国性的电视节目就取名为“九州方圆”;“ 九族"(the nine degrees of kindred: either thenine generations from one's great-great-gr andfather down toone's great-great-grandson;or four generations of one'spatemal relations, three generations of one's matemalrelations, and two generations of noe's wife's relatio ns),古代有一种残酷的刑法叫"诛灭九族";古代传说 "龙生九子,各有所好"。因此,《红楼梦》第九回 中用"一龙生九种,种种各 别"来比喻贾氏家族族大人多,龙蛇混杂,好坏不一,各种各样的人都有。还有 " 九龙杯"等。此外,在文娱、体育等词汇中,数字"九"也比比皆是。如, 许多歌名都以"九"开头:"九妹 "、"九九艳阳天"、"九百九十九朵玫瑰" 等;乐器中也有"九音锣";在体育活动中,"九柱戏"(nine pins),兵器中 有"九节鞭"[但这与西方文化中的"九尾鞭”(cat-o '-nine- tails: an instrurnent of punishment so calledfrom the nine pieces of leather or cord which compose it)意义不大一样]。 地名中也有一些以"九"开头的,如"九 寨沟"、"九华山"、"九江"和"九龙"等。此外,中国人常把" 九"看成 为吉祥数字之一。在申请电话号码时,人们宁愿多出
钱去买一个尾数为"8"或 "9"的吉祥号码。比 如,湖南有线电视台的"欢乐热线"号码为"16899919"。 在西方,数字"九"也是人们心目中的"神数"之一。对西方人来说, "九"的象征意义是"神性"、 "神圣之至"。 英语权威字典Webster's Ninth New Collegiate Dictionary and Webster's ThirdIntema tional Dictionary 中 对"九"所解释的意义比《现代汉语词典》所解释的意义还多,分别有:
1)one more than eight, three threes, the square of three;2) nine units of objects (a tota l of nine) ; 3) a: thenumerable quantity symbolized by the arabic numeral 9; b: thefigure 9 ; 4) nine o'clock——compared Bell table, timeillustration; 5) the ninth size in a set series: as a; aplaying team of nine members,esp.a baseball team; b:the firstor last 9 hol es of an 18-hole golf course…。
其中收入与"九"有关词语和成语多达近二十条。常用的有:
a nine-day's wonder (an object or event that creates ashort-lived sensation)
____Those political expositions…that make a nine day'snine wonder till something fresh c omes alone——Mary Deasy. nine times out of ten(very often)
be dressed up to the nines(elaborately dressed, as for aformal occasion)
____She dressed herself up to the nines and went to theparty.
in the nineholes:in the difficult situation nine-men's morris: morris played with nine counters A cat has nine lives: A cat can move so fast and jump sowell that he seems to escape being killed many times.
从以上的解释还可以发现一个规律:数字"九"及其倍数在西方也被广泛运 用于文娱和体育活动中。如, 保龄球(bowling )中的瓶状木柱数(ninepins) 为"九";高尔夫球球场有一十八个洞:跳子棋的棋板上各 方均为九个孔; 古 时英国还有一种九个男人一起跳的舞蹈(morrisdance)等。由此看来,数字"九" 也倍 受西方人的青睐。
总之,在东西方文化中,数字"九"含有以下主要共性:
1)东西方大多数人把数字"九"看成神秘的数字, 其象征意义均有"神 圣"之意。
2)在东西方文化中,数字"九"均可虚指多数。
3)数字"九"被广泛运用于文体项目中。
数字“九”在东西方文化中的个性恐怕主要在于:对中国人来说,其神奇色 彩要比西方人更浓;其象征意 义的历史在东方文化中比西方文化中更悠久;其 涉及面在东方文化中比西方文化中更广泛。
罗马西塞罗说过:"翻译不是字当句对,而是保留语言的总风格和力 量。""按分量而不是按数量译词" 。此处所说的数字是指经过神化、泛化、 虚化了的"虚数","实数"的翻译不在此例。根据这一理论,结合 东西方文 化的共性与个性,可采用如下的翻译方法,并遵循以下的翻译原则。
可采取的翻译方法主要有:
(一)保留原数字
e.g. We thought our cat would be killed when he fell fromthe roof of the house. He was not, he used up one of his ninelives.
我们以为我们的猫从屋顶掉下来会死了,它并没死,只失掉九条命中的一条。 这样翻译过来,人们很容易接受,因为人们已熟悉"猫有九命"这个成语, 并能够促进东西方文化的融合 。
(二)转换成各民族喜爱的数字
e.g.nine out of ten——十之八九 nine days' wonder———可翻译为"昙花一现", 这样翻译可以加深对奈 达的"对等"和纽马克的"转 换"翻译理论的理解。
(三)增舍数字
比如,"九死一生"可翻译成"a narrow escape from death;survival after many hazards";又如 ,"九九归一,还是他说的话对。"可翻译成"All things considered,what he says is right."其译文均 舍弃了数字,转译其 形象意义。
应遵循的原则主要有:
(一)民族性原则
比如,汉语中的"费了九牛二虎之力",《汉英词典》(外研社,1996)的译 文有三个:"strain onese lf to the limit; use everyounce of one's strength; make herculean efforts"。笔者认为第二种译文 "use every ounce of one's strength "更符合"民族性原则”,成功地将东方文化中该成语的比喻意义转 化成了西方文化语言中的形象意义。
(二)习语性原则
比如:"匡超人此时恍若亲见瑶宫仙子,月下嫦娥,那魂灵都飘到九霄云外 去了。"(《儒林外史》), 其译文为"Kuang felt that he was gazing at a goddess and his spirit had flown to heaven."这种译 文因遵循了"习语性原则", 充分地体现了人类交际行为的一个最根本原则——语言——符号的经济原则。
(三)形象性原则
数字用于模糊意义时,一般都失去了其数量意义而具有形象意义。翻译时, 必须越出其理性意义而捕捉其 与其它的词结合后所产生的形象意义。
比如:"飞流直下三千尽,疑是银河落九天(李白)。"此句诗中的"九天" 的形象意义为"极高的天空 ",因此,可翻译成"Down itcascades a sheer three thousand feet—As if the Silver River [i.e. the Milky. Way]were falling from heaven!"
浏览量:5
下载量:0
时间:
旅游资源的开发与营销有赖于其在国内外知名度的提升,而旅游资料作为一种宣传工具在吸引游客方面有着举足轻重的作用。随着当今越来越多的外国游客来中国观光旅游,优质的旅游资料翻译迫在眉睫。研究者会发现旅游文本的翻译中存在着诸多包括语言学、语用学和文化等各个层面的问题。以下是读文网小编为大家精心准备的:旅游文本英译中的文化缺省和翻译补偿相关论文。内容仅供参考,欢迎阅读!
摘 要:旅游文本是外国游客了解、选择景点的重要参考资料。旅游文本的翻译是一种跨文化交流活动,其翻译过程不是单纯的语言转换过程,而是文化间的交流活动。旅游文本英译中文化缺省现象的存在,更加凸显了翻译补偿策略研究的重要性。通过对江西省几个著名景点的宣传文本进行探讨,分析文化缺省现象,并提出翻译补偿策略,以实现旅游文本的宣传效果。
从广义上讲,旅游文本包括一切与旅游相关的文本资料,它主要具有两项功能:一是传递信息,二是施加影响、诱导行动(朱灿灿,2013:12)。换言之,旅游文本作为宣传类文本,不论是中文还是英文,都需要让潜在的游客了解旅游目的地的基本情况、相关服务和特色文化,以达到信息传递和吸引游客的目的。对于游客来说,他们希望通过阅读文本获得游览目的地的信息。但不同文化背景的游客对所提供的信息有不同的需求,这就决定了英汉旅游文本的差异性。主要表现在以下两个方面。
(一)语言风格的差异
东西方在社会历史、文化传统、思维方式和审美情趣等方面截然不同,旅游文本在语言风格上自然要考虑双方读者的感受,采取恰当的表述方式。
汉语旅游材料在表述上注重辞藻、韵律,结合景点的文化历史背景,多采用四字成语以及排比、对偶句式,读起来琅琅上口。其中,对自然景观的介绍,重视优美的写意,或者采用丰富的想象力给景观增添神秘色彩,读起来或诗意盎然或浮想联翩。英文旅游材料重视“人情味儿”,常常会出现诸如“您现在所处的位置……”“最佳观赏时间是……”此类贴心的提示,用词和句法偏口语,简洁朴素,避免??嗦重复;其在介绍景点具体情况时,通常采用简单叙述法,三言两语道清楚,对景点介绍追求客观、中肯,达到信息传递的目的即可。
除此之外,中西方人民对待宣传材料的态度也是决定其内容的因素之一。不难发现,英语旅游文本突出信息的客观性,汉语旅游文本在撰写时加入主观色彩,呼吁性极强。
(二)信息容量的差异
中国经典故事层出不穷,许多历史人物、历史事件对中国人来说耳熟能详,但是外国游客并不一定了解。我国的旅游景点,不论是自然景观还是人文景观,大多与神话传说、历史故事和社会风俗有关,借用古文,引经据典,中国游客固然能轻而易举地理解其中奥妙,但是外国游客可能会因为错综复杂的人名、地名、朝代等因素而感觉晦涩难懂,降低他们旅游的积极性。
所以,英汉旅游文本并不一定包含相同的信息内容。旅游材料在英译的过程中,译者有必要在尊重原文的基础上,适当修改,对其中特殊的内容进行特殊的翻译。
中国历史悠久,幅员辽阔,数不胜数的自然景观和人文景观承载了深厚的历史文化气息。旅游文本和文化紧密相关,在翻译过程中,文化信息的转换往往会因为中国人自身的文化背景而忽略了外国游客的认知。这就是文化缺省现象。它是指同一文化背景的人在交流中对双方共有的文化背景知识的忽略,这种现象是跨语言交际的一大障碍。在翻译旅游文本时,由于源语读者和目标语读者生活在不同的社会文化环境中,具有不相同的文化背景知识,因此,对原文读者来说是显而易见的文化背景知识,对于目标语读者就构成了文化缺省成分(王大来,2004:69)。汉英文本之间可能会存在大量的文化缺省因素,可归类为:历史景点和历史人物、传统概念和信仰、社会风俗和文学作品。这些缺省内容可能导致翻译文本缺失民族特点,损害旅游景点的形象,切断文化的关联意义,影响汉语旅游资料信息的传递和潜在游客的兴趣(张富庄,2013:6)。
鉴于目标语读者文化背景知识的差异性,以及英汉旅游文本本身的差异性,如果译者不针对文化缺省现象进行翻译补偿,游客就不能完全理解原意,将无法达到旅游文本预期的目标。所以,译者在对旅游文本进行翻译时,要充分挖掘文本内文化缺省现象的深层含义,以采取相应的翻译补偿策略。
针对英汉旅游文本的差异性以及东西方文化背景下读者的理解差异,翻译补偿策略是解决文化缺省现象的理想方法。Newmark认为,补偿是翻译的一种手法,补偿主要是用来弥补译文在语义、声音效果、修辞及语用效果等方面的缺省,而且译文可以在不同于原文的语句中再现这种效果。在英译旅游文本时,译者通过运用多种补偿策略将缺省的背景知识恰当地传递给译语读者,同时又可以保持原文的真实性。通过分析江西省的几处景点和文化人物简介的英译文本,得出具体策略如下:
(一)归化法
文化在输入时,应该倾向于归化,以保护本族文化的纯洁性;但文化的输出应该倾向于异化,以促使本族文化的外介,扩大本族文化的影响(李建军,2012:107)。英译旅游文本,属于文化的输出,在翻译具有中国特色的词汇和社会风俗上,应该在简单易懂的基础上积极采取归化法。例如:
(1)江西历史悠久,有着深厚的文化积淀,加上地处南方,处处山清水秀,是一个典型的“鱼米之乡”。
译文:Jiangxi,the province with a long history and profound culture;it is located in the south of China with picturesque scenery.Thus it has been aptly termed:“the land of rice and fish”.
该例句中的“鱼米之乡”直接将“鱼米”等文化意象移植到了目的语文本中。实际上,在英语表达中,“a land of honey and milk”同样具有“鱼米之乡”的意思。但为了更好地传播源语文化,“the land of rice and fish”更能真实地反映中国文化,更有利于外国游客体会到中国文化的奇特之处。随着跨文化交流的进一步发展,越来越多的外国游客会理解并接受中国文化。 (2)龙虎山,位于江西鹰潭,道教发源地,中国道教四大名山之一。
译文:Longhu Mountain,which is located in Yingtan of Jiangxi Province.It is known as one of Four Taoism Mountains because of its position――the birthplace of Chinese Taoism.
龙虎山,东汉中叶,正一道创始人张道陵曾在此炼丹,传说“丹成而龙虎现”,此山因此得名。有人建议将“龙虎山”翻译成“Mt.Dragon-Tiger”才能对外展示其深刻含义。作为世界自然遗产之一的龙虎山,以道教发源地著名,如此具有代表性的中国文化遗址在翻译时,采用归化翻译方法能更真实地反映中国文化。如:“龙虎山 Longhu Mountain”“道教 Taoism”。
(二)释义法
汉语旅游材料中,文言文出现频率高,在英译过程中,译者要充分考虑外国游客的理解能力和文化背景,进而考虑原文信息翻译之后,读者能否明白并喜闻乐见。释义法针对此类情况,在翻译过程中,对原文的历史知识、社会风俗、地理位置等因素采用加注法、同位语解释等方式进行说明,以方便外国读者理解。例如:
(3)南昌地处长江中下游,濒临鄱阳湖西南岸,自古就有“粤户闽庭,吴头楚尾”之称。
译文:Nanchang,bordering the Poyang Lake in the northeast,lies south of the lower middle reaches of the Yangtze River.It has been enjoying obvious advantages geographically. Since the ancient times, it has been known as the favorable place bordering Guangdong and Fujian in the south and Jiangsu, Zhejiang and Hubai in the north.
“粤”和“闽”分别是广东省和福建省的简称,“吴”和“楚”则是春秋战国时期江浙一带的诸侯国。对于外国游客,这些都不是熟悉的“中国常识”。在英译旅游文本时,应该将它们具体到现在的省份“Guangdong and Fujian in the south and Jiangsu, Zhejiang and Hubai in the north”,外国游客才能真正明白南昌所处的地理位置,从而理解它的重要地位。
(4)素有“江南三大名楼之首”美誉的滕王阁,雄踞南昌抚河北大道,坐落于赣江与抚河故道交汇处。依城临江,瑰伟绝特,因“初唐四杰”之首的王勃一篇雄文――《滕王阁序》,脍炙人口,传诵千秋。
译文:Tengwang Pavilion has long been ranked first among the three famous pavilions in the south of Yangtze River. Standing by the North Fuhe Avenue in Nanchang,the magnificent pavilion is located at the convergent point of Ganjiang River and the Old Fu River,taking the city as its background and the river as its mirror.Its splendor and majesty was lauded by Wang Bo,the leader of the four excellences in the early Tang Dynasty,in one of his masterpieces,Preface to Tengwang Pavilion,and thus has been famous throughout the world as well as maintained the glory with the years going.
“江南三大名楼”是中国有名的历史文化遗迹,但是外国游客不一定都清楚,正如王佐良所说:“在一种文化里有一些不言而喻的东西,在另外一种文化里却要费很大力气加以解释。”(郭建中,2000:20)。同时,对于“初唐四杰”的概念,译者将王勃的身份加以解释:“The leader of the four excellences in the early Tang Dynasty”。通过释义法,译者详细而自然地介绍了滕王阁的背景知识和王勃的诗人地位,有利于外国游客更好地了解滕王阁的历史价值。
(三)省略法
省略法是指译者在翻译过程中,根据源语所承载的文化内容,结合目标语的语言特色,并以传递基本信息为目的,对源语做出适当的缩略、删减的一种翻译方法。译者通过对原文中的文化信息进行甄别,分出主要信息和次要信息,在翻泽过程中抓住主要信息,对无关紧要的、目的语读者又很难理解的次要信息进行删减。这样做有助于保持目的语读者理解的连贯性,同时也让他们获得了主要信息(吴秀群,2012:162)。例如:
(5)陶渊明(约365年~427年),名潜,号“五柳先生”,东晋时期诗人,浔阳柴桑(今江西九江)人。世人敬重他,他“不为五斗米折腰”的故事流传至今。公元405年秋,他为了养家糊口,来到彭泽当县令……陶渊明再也忍受不下去了。他长叹一声,道:“我不能为五斗米向乡里小人折腰!” 说罢,辞官离去。
译文:Tao Yuanming(365~427),a poet in Dongjin Dynasty,also called Mr.Wuliu and Tao Qian,was a native people of Jiujiang City.We all respected has spirit that he wouldn't bend his waist for the salary from the dark government at that time. 对中国古代称谓稍微了解的人都知道,在古代,同一个人除他的姓名之外,往往又有字、号,有时还不止一个号,且不同的场合,有不同称呼。陶渊明号“五柳先生”,这对于外国游客来说,并非重要的讯息,没有必要赘述“号”这个概念。另外,“不为五斗米折腰”的故事为中国大众所熟知,但是为了略去复杂的因果关系,避免外国游客坠入五里雾中,英译文本时删除了具体故事,用简单的句子“He wouldn't bend his waist for the salary from the dark government at that time”向游客阐述世人敬重陶渊明的原因,达到了信息传递的目的。
(6)白鹿洞书院始建于公元940年,唐贞元年间,江州刺史李渤隐居这里读书,养一白鹿自娱,人称“白鹿先生”,后书院几经衰败。到南宋朱熹重建书院,并亲自在此讲学,当时名人正士均乐于在此求学,其成为了“中国四大书院之一”(其他三所为湖南长沙岳麓书院、湖南衡阳石鼓书院、河南商丘应天书院)。
译文:Bailudong Academy was built in 940 AD. Zhuxi,the great educator of the South Song Dynasty,turned the place into Bailudong Academy, which rivaled the other three famous academies in China.It was a school for some famous people reading there.
如上所述,白鹿洞书院的前身和其他三大书院的名称在英译时被译者删除略去,直接提及南宋伟大的思想家、教育家朱熹,为避免信息量过于庞大,有选择性地将重要信息保留、提取,帮助外国游客理解书院的历史。此时,省略法能够给外国游客留下深刻印象,并且有利于景点的宣传。
(四)增译法
增译法和省略法殊途同归,都是指译者在翻译过程中,根据实际情况对源语做出适当的调整。翻译过程中,若能将省略法和增译法处理得当,互为依据,交错使用,就能够使得译文顺畅明了、通俗易懂。例如:
(7)世界自然遗产地、世界地质公园、国家AAAAA级旅游区、国家级风景名胜区――三清山,位于江西省上饶市东北部。
译文:Mt.Sanqingshan,located in northeast of Shangrao city,is a World Natural Heritage, National Scenic Area,World Geo-park and State AAAAA Tour Zone,which is the highest level of Chinese tourist attractions issued by China’s National Tourism Administration.
中华人民共和国旅游景区质量等级划分为五级,最高级别为AAAAA。但是,外国游客对中国5A级旅游景区的定义不一定都了解,所以在英译本中增加了对“AAAAA”的解释,加深了外国游客对三清山旅游景区的印象,使外国游客意识到该景区的游览价值,达到了旅游文本的宣传目的。
针对文化缺省这一现象,译者需合理运用不同的补偿策略,对源语中的文化背景知识做出补偿,弥补缺省,最大限度地传递原文所蕴含的文化信息。旅游文本的跨文化翻译促进了不同民族文化之间的交流,因此既要尊重源语文化,又要顾及目的语文化。
旅游文本英译中的文化缺省和翻译补偿相关
浏览量:2
下载量:0
时间:
今天读文网小编要与大家分享的是外语翻译论文:从习语中看翻译和文化的关系以及影响文化的相关因素。具体内容如下,欢迎参考阅读:
The Relation between Translation and Culture from the Aspect of Idioms and the Factors which Influence the Culture
(从习语中看翻译和文化的关系以及影响文化的因素)
This thesis concludes my postgraduate study in Henan Normal University. I would like to express my sincere appreciation to the professors in the College of Foreign Language, whose preciseness and strictness set a good example for me in the future academic career. I felt gratitude especially goes to my supervisor , Guo Yingzhen ,whose illuminating instruction and endless assistance have greatly conduced to the accomplishment of this thesis.
I’m also very grateful to the teachers who have taught me in various ways during the course of my study for the bachelor’s degree.Especially I would like to thank Professor Guo Yingzhen and other professors in the Faulty of Foreign institution who inspired me a lot.
Last but not least, I contribute this article to my dear family for their help during my college life.
翻译是一个复杂的过程,对于文化翻译尤其如此。一般来说,翻译涉及语言以及文化。译者应该知道外国文化以及文化自己的人民。此外,译者应连续比较两种文化之间的等价获得意义。翻译的主要任务是翻译源语言到目标语言。如何消除不同文化之间的语言障碍,如何传达源语言的意义的重点到底是不同国家的人。本文说明了不同文化的影响已经在翻译。文能从不同的方面分析:如思维的差异,心理学的文化之间的差异,不同的宗教、环境和生活环境不同的人,等等。
翻译是一个复杂的过程,它是关于文化翻译尤其如此。一般来说,翻译涉及语言以及文化。译者应该知道外国文化以及文化自己的人民。此外,译者应连续比较两种文化之间的等价获得意义。翻译的主要任务是翻译源语言到目标语言。如何消除不同文化之间的语言障碍,如何传达源语言的意义。本文说明了不同文化的影响已经在翻译。文能从不同的方面分析:如思维的差异,心理学的文化之间的差异,不同的宗教、环境和生活环境不同的人,等等。 关键字:翻译;文化意识;文化和思维;文化差别;习语
Translation is a complex process, especially when we translate the cultural text. Generally speaking ,translation involves language as well as culture. A translator should know foreign culture as well as the culture of his own people. Moreover ,a translator should make continuous comparisons between the two cultures for getting the equivalence meaning . The major task of translation is to translate the source language to the target language How to get rid of the language barrier between different culture, how to convey the meaning of the source language exactly is the focus of the people in different countries. This thesis illustrate the influences of different cultures have upon translation. Wen can analysis it from different aspects: such as the difference of thinking, the psychology of culture, the difference between different religion, the environment and living surroundings of different people, and so on.
Key Words: translation; the consciousness of culture; culture and thinking; cultural difference; idioms
Table of Contents
Acknowledgments I
Abstract III
Table of Contents IV
Introduction 1
PART ONE THE CONCEPT OF TRANSLATION AND CULTURE 2
1.1 The concept of translation 3
1.2 The concept of culture 5
PART TWO THE FACTORS WHICH INFLUENCE CULTURE 7
2.1 Religion 7
2.2 The psychology of culture 8
2.3 The way of thinking 9
2.4 different ways of life 10
2.5 Geographical environment 14
2.6 Geographical environment 15
PART THREE BETWEEN CULTURE AND TRANSLATION 16
CONSLUSIONS 18
Bibliography 19
Introduction
This article contains the concept of translation and the concept of culture. The aim of translation is to making communication. Human’s social development and process need translation and human’s social development and progress should make communication between different nations, and during the process of communication, translation is indispensable. Translation, as an cultural phenomenon, thinking activity, related to the era and social background all in all. Translation is to render the meaning of a text into another language in the way the author intended the text. Translation is an art that involves the re-creation of a work in another language for readers with a different background. Culture is a very broad concept, to give it a rigorous and precise definition is a very difficult thing. Many philosophers, sociologists, anthropologists, historians and linguists have been trying to define the concept of culture from the perspective of the respective discipline. However, so far it still has not have a recognized and satisfactory definition. According to statistics, about "culture" at least, it has more than two hundred kinds of different definition. Broadly speaking, culture is a social phenomenon, which is the creation of the products for a long time. But it is also a kind of historical phenomenon and is the social history remains. Rather, culture refers to a state or national history, geography, local conditions and customs, traditions, lifestyles, literature and art, behavior standards, way of thinking, values, etc. When we translate something, the background of the culture and the background of history should be considered. The relation between culture and translation is very close in a great extent. In this context, we analysis this problem from different aspects: the way of thinking, the psychology of thinking, and the customs and habits in different nations. If the background of culture and history is ignored, the truly meaning of the context will be lost.
PART ONE THE CONCEPT OF TRANSLATION AND CULTURE
One linguist in China has said: “what is the most difficult thing during the process of translation , it is the differences between two cultures.” Nida has mentioned this too: “translation is the communication between two different cultures.” And we can not ignore the importance of the background of culture and the background of history if we want to translate a piece of text which contains the information about culture or some thing else. When translating some thing, mastering the knowledge of culture and history is indispensable. There are too much factors which can influence the culture of the source language.
Zhu Guangqian, one writer in modern times, thinks the associate meaning is the most difficult thing when we translate one language into another language. Because in the dictionary you can not find the truly meaning under a certain context.
But for literary study, it is one important factor you can not ignore. This requires us to know the custom and habit of the country we want to translate the language of it. Or we will find we do not know how to translate when we are given a piece of text. We can take a poem as an example. For example the poem:
《静夜思》 “窗前明月光,疑是地上霜。举头望明月。低头思故乡。”
Using English, we can not convey the essence of this poem without the background of old Chinese and the thought when the author write this poem. And there are so many versions of it. For instance:
(1) In the still of the night : I descry bright moonlight in front of my bed. I suspect it to be hoary frost on the floor. I watch the bright moon, as I tile back my head. Yearn, while stooping, for my home land more.
(2) A tranquil night: before my bed I see a silver light, I think the ground is covered with hoar frost. Raising my head, I find the full moon bright; and bowing down, in thought of home I’m lost. And there are lots of other versions translated by other translators. No matter which version , the emotion of the author must be considered, or they will ruin the essence of the poem. Tyler, one anthropologist in England, whose book primitive culture raises the concept of culture and describes it as “culture is a kind of complex abilities and habits, which includes knowledge, faith, art, moral, law and custom”. Thus we can know the wide coverage of culture, it is a complex system. Language, as a component of culture, reflect the phenomenon of a resourceful culture.
Translation is so difficult as language reflect the culture, which conveys to much cultural content and limited by culture. Once language entered the human’s life as a tool of communication, the problem of cultural connotation and the ability of express something will arise. This not only requires the translator master the knowledge of bilingual ability but multilingual ability, especially they must know the consciousness of two different culture, religious culture and the geographic features, the historical customs and traditions, the process of forming culture, etc. For these factors, the language cultures of different nations reflect their own national features and the background of the nation.
1.1 The concept of translation
There are many different definitions of translation, in The Oxford English Dictionary it means “to turn from one language into another ”. Or recreating according the original text. Webster’s Third New International Dictionary of the English Language gives us the definition of translation is “to turn into one’s own or another language”. While the definition in Columbia Encyclopedia is that translation is the art of recomposing a work in another language without losing its original flavor. “Translation is the replacement of textual material in one language by equivalent textual in another language.(J.C.Catford, 1994)”. “Translation consists in reproducing in the receptor language the closest natural equivalent of the source language message, first in terms of meaning and secondly in terms of style. (Eugene Nida, 1969)”. Translation is an old and young work, which come into exist since the old times and it becomes so hot in modern times.
Translation is the need of human’s development and progress. The concept of translation can be defined from two aspects: broad sense and narrow sense. Generalized translation refers to the language and the language, language variation and language variants, such as language and nonverbal code conversion which convey the basic information. Extension of the concept is quite broad, including his translation between different languages, translation between language variation, language and other symbols of the communication conversion, etc. The contents of translation rules only emphasizes the "basic information", does not emphasize "completely loyal". Some translation theorists put forward the understanding and translation theory, so the language and thinking are also included in the general translation.
Narrow sense translation is a linguistic activity, which is a kind of language to express the content of the faithfully expressed in another language. This definition emphasizes "translation is a language activity". The nature of translation determines the narrow sense ,which indicates that it is a human’s communicative approach in language communication, which emphasis on "one language to another language",which ruled out unification between different variants of translation between languages, which emphasis on "faithfully", avoiding the confusion of the translation and interpretation or rewrite. For example:"Sent someone to Coventry" refers to “reject someone”. The Coventry is a small town in UK, where the people hate soldiers very much, so when the soldier
was sent after Coventry, there will be people from the group. Look at this sentence “1 will be with you from the egg to apples”, if translated into "I will eat eggs and apples with you”.It sounds obviously puzzling. Be translation should "I will always be with you"? This is because "in the west, people always eat eggs, bread and drink milk for breakfast, and finally a dish always ended up with desserts including apple". Then, from the egg to the apple, from dawn to dusk, from the beginning until after the most. Again, such as, "fishery occupies an important position in the British Isles, so that the British fish (fish) is commonly used to represent all kinds of people, poor fish (poor), a strange fish (eccentric)". If the translation were translated into the big fish, small fish and poor fish, can every person can really understand the meaning of it, sometimes may even make a joke.
Translation is not simply a matter of seeking other words with similar meaning but of finding appropriate ways of saying things in another language. Different languages, may use different linguistic forms. Translation is also the social and psychological activities. One should be familiar with one’s own culture and be aware of the source language culture before the attempting to build any bridge with an alien culture that requires that its message be conveyed in anything but a alien way. That culture expresses its idiosyncrasies in a way that is “culture-bound”cultural words, proverbs and of course idiomatic expressions, whose origin and use are intrinsically and uniquely bound to the culture concerned. So we are called upon to do a cross - cultural translation whose success will depend on our understanding of the culture we are working with.
1.2 The concept of culture
In dictionary the definition of it is the quality in a person or society that arises from a concern for what is regarded as excellent in arts, letters, manners, scholarly pursuits, etc. Or a particular form or stage of civilization, as that of a certain nation or period. Or the development or improvement of the mind by education or training. Or the behaviors, beliefs or characteristics of a particular social, ethnic, or age group.
Culture is a very broad concept, to give it a rigorous and precise definition is a very difficult thing. Many philosophers, sociologists, anthropologists, historians and linguists have been trying to define the concept of culture from the perspective of the respective discipline.
However, so far it still did not have a recognized and satisfactory definition. According to statistics, about "culture" at least, it has more than two hundred kinds of different definitions. Broadly speaking, culture is a social phenomenon, is the creation of the products for a long time. But it is also a kind of historical phenomenon, is the social history remains. Rather, culture refers to a state or national history, geography, local conditions and customs, traditions, lifestyles, literature and art, behavior standards, way of thinking, values, etc.
About the relationship between translation and culture, Bassnett think the relation between culture and translation is the relation between the body and heart., culture is the body, language is the heart. As surgeons do surgery can't ignore the body surrounding tissue, the translator can not ignore the factors of culture when they translate some material. Hatmi and Mason believe that translation is a dynamic communicative process, the translator should not only understand two languages themselves,they should have two more cultural horizons, the translator should be acted as the role of the coordinator (mediator) between the original author and the reader .
Anyhow, the translators emphasize the cultural factors of translation scholars stressed. The translator should be familiar with two cultures, introduce the primitive cultural factors in the translation activity. Whether translators' understanding of the original is correctly or not, largely depends on his understanding of the culture, the success of translation, is mainly related to culture .
PART TWO THE FACTORS WHICH INFLUENCE CULTURE
2.1 Religion
Everyone knows, Bible plays the role of the source in western’s life. Some statistic shows most Americans still have faith in the church. The British law protects religious freedom. Everyone has the freedom to believe any church, or not to believe any religion at all. There is no interference from the state or the community.
Most of the world’s religions have followers in Britain, but the majority of the British people believe Christianity. The first Christian church was established at Canterbury in 597. While the Chinese are under the influence of Confucian School in great extent. Though the Buddhism, which spreads very well in China, is till a polytheism. This is different from westerners’ religious faith.
In China, people have faith in the Buddhism and Taoism, so there phrase arises, such as “YuDi” “FoZu” and so on. While the westerners have faith in Christian, so there arises the word “God”. In Chinese, “谋事在人,成事在天”, In English there are two different versions, (1) “man propose, heaven disposes” or “man dropose , god disposes”. Their difference lies in the different translations of the word “天”。“天”has the strong color of Buddhism and Taoism. While the word of “God” has the oblivious color of Christian. The latter translation version is easy to understand and accept for the westerners, but can not convey the essence of connotation of it in China. The religion has great influence on English, it expresses in such phrases as “It is in God’s hand”(听天由命), etc.
When translation, it is very necessary for us to master the basic knowledge of religion. We can take the example of “临时抱佛脚”. If we translated it into “to embrace Buddha’s feet in one’s hour of need”. It is very eccentric for the westerner. Why we need to embrace the Buddha’s feet sometimes? What is the use of this strange act? If we can deal it a little, it is another meaning for the westerner. We can translate it into “to embrace Buddha’s feet in one’s hour of need ----seek help at the last moment”. So the westerners always say “God” “Holy” “Goddess” etc. While we Chinese choose to take the Heaven as our faith. This truly gives us another example of the different religious belief.
Religious culture is an important part of human culture, which is made up of ethnic culture which is formed by the religious beliefs, awareness, etc. Fang Wenhua thinks different religion penetration and melt in their own language to express, only a deep understanding of many of the differences between Chinese and western culture, unique cultural connotation of understanding language, to avoid wrong translation, mistranslation, making the translation really play the role of cultural exchange. Chinese culture is extensive and profound, has a long history, in China's traditional culture, owing to the popularity of Taoism and Buddhism, there are many "the jade emperor, the view sound, bodhisattva." terms. Westerners believed in Christ thought that god created everything, many religious "god, the bible, the church, nuns," and other words.
2.2 The psychology of culture
As different nations use different language, and their history and culture are different too. So during the process of development in every nation, they formed their own national features owning to the unique historical background and cultural background. It is very important for the forming of a nation’s psychology state. The difference of history and culture mainly reflect on the aspect of some history stories , many taboos and preferences, and so on. We can take the number of “9” for an example, the number has special meaning in the culture of China, no matter in old times or in modern times, for it stands of the high position-- “jiujiu gui yi--the meaning of ruling the world”. While most Chinese do not like the number of “4”, for the pronunciation of it is similar with the pronunciation of “死--which means death”, especially in the number Of telephone, most people do not like the number “4” ended as the ending. As for another number “8”, which have the similar pronunciation of “发--which means fortune”.
While in the eyes of the westerners’, “4” “8” “9” is only the common signs, which do not has special meaning. As we all known, “13” is a bad number for the westerners, which means bad luck. So the number are absent in the daily life. Especially, the number of seat, the number of the floor, and so on. But in China, this number do not have this kind of meaning. For the cultural connotation of these nonlingual words represent, the translators can understand and translate them well after knowing the historical culture of every nation.
When talking about Chinese culture, people always come to the word “龙”. Because in old times, the emperor always describethemselves as “龙”,which is a symbol of “God”, which can consolidate their power, nation and land. But for the westerner, “龙” is another symbol, “a large fierce fabulous animal with wings and a long tail , a crested head and big claws, that can break the outfire ”. So it is very strange for the westerner to see the meaning the dragon. And they will not wish their children to be the Dragon. So to avoid misunderstanding the word of dragon, we can translate the phrase “望子成龙” into “long to see one’s child succeed in life ”.
2.3 The way of thinking
Different district, different physiology, different psychology and the difference of culture will form different ways of thinking, especially the difference of culture decides the way of thinking in great extent. When translating, the translator must know the the barrier of the different culture and overcome it , then grasp the two different thinking moods. The Chinese will take a whole thing as a organic part. While the westerner are good at logical thinking, they will take the whole thing into different part. The difference between Chinese doctor and western doctor can illustrate this point very well. Chinese doctor emphasize the measures according the whole symptom. While the western doctor emphasize headache is an illness, foot ache is another disease, they will separate the whole thing into different part.
2.4 different ways of life
Different ways of life influence on translation: from the history tradition and the real life, China has a long history of farming life, which formed the “farming”in Chinese is traditional, and is associated with the large number of idioms. If we meet the Chinese,they will ask "eat?" And according to the tradition of western English habits. They often talk about the weather.So we can only translate it into “how do you do” or “hello”.
Three different influence of custom on translation in social life and cultural exchange, different countries will be formed in the process of its peculiar customs. The differences of English custom is various, such as in the attitude to the dog, the dog in Chinese is commonly used to describe the bad things, such as "evil, a coward, bailiffs, brutal and cold blooded" etc.The British people usually use “dog” to express good meanings. however, they often be used to describe people, such as "lucky dog" (lucky), "top dog" (VIPs), "love me, love my dog" (love me, love my dog). Again, such as, "dead and marriage", if we translate them into "weddings, funerals," is inappropriate. Chinese symbol red festival, when they get married in red color, and the funeral to wear white, so the Chinese idiomatic "red" said "marriage", "white" means "death". Westerners, however, think the white represents purity, loyalty, bride wears white,when there is a funeral they should wear black. So "funerals" is not accurate for people in British or American. And there is another example, when talked about dragon. British people often takes it as an bad word. They often refer it as “evil” or something related. But for our Chinese, we thinks that dragon is our ancestors. So they are totally different between our Chinese and the English.
Historical allusions in different countries.They have different influence on translation between English and Chinese.Two languages have been formed by historical allusion, language acquisition. These idioms simple structure, profound, often come from a single literal meaning to understand and translation. Such as "meet one's Waterloo” means totally failure for somebody in western countries.But in Chinese we cannot understand this phrase without the background it concerned.And there is another example.”一个臭皮匠,顶个诸葛亮”, they can translate it into “three cobblers equal to Zhu Geliang -----the master mind”. When we translate it, if we don’t consider the background in China, the westerners even don’t know what is Zhu Geliang. Let alone the truly meaning of the sentence. In western countries , they don’t know the truly meaning of the sentence for the deficiency of cultural background. However, in China, even a little child can understand it with his mind abstracted.
Chinese and English, two languages are produced in different cultural background. This will lead to two languages existed in the expression of difference it the views of people. To deal with the culture differences during the process of translation, we should focus my mind on the two cultures, comprehension ability. We should also improve our cultural accomplishment. To overcome the differences between Chinese and western culture in the translating process into obstacles, make the translation vivid as possible.
Understanding the meaning of the original text while translating is not simply a matter of understanding. The language is a component of the culture, which is affected and limited by culture. In the course of translating, whether the translator has the right understanding or not, depends on his knowledge of the relevant culture to a great extent. For a translator, without the comparison of two culture, whether he can understanding the spoken and written language well is unimaginable. That is why we say, “learning a language is kind of learning the culture and habit of the country where the language is spoken”. So long as we study the culture behind the language during the process of studying a language, a large amount of culture information can be transmitted equivalently. These are comparatively simpler in translation.
Besides similarities, there are also many differences between two cultures, which from the most difficult part in translation. We must keep in mind that translation is a cross - cultural activities. When we face an original text, it may be well written, attractive, tempting and aesthetic. But if one does not know the difference between two cultures, it would be rather difficult for him to achieve the same effect in the translated work.
National culture and long history and develops with the time. Although they are very short sometimes ,their significance is far-reaching. However the thinking modes of different notions are very different sometimes . We need to make some conversion while translating the idioms.
路遥知马力,日久见人心。 A long road tests a horse’s strength and a long task proves a man’s heart
飞流直下三千尺,疑是银河落九天。Down it cascades a sheer thousand feet, as if the Silver River were falling from Heaven!
树倒猢狲散。 Once the tree falls, the monkeys on it will flee helter-skelter.
穷棒子闹翻身,是八仙过海,各显其能? The way we poor folks try to emancipate ourselves is just like the way the Eight Fairies crossed the sea each displaying his own talent......Note: The Eight Fairies are the eight immortals of Taoism in Chinese folklore.
成也萧何败萧何 To meet one’s Waterloo
逼上梁山 Watergate Scandal
杀手锏 Lame duck
一个和尚挑水吃,两个和尚抬水吃,三个和尚没水吃。 One boy is a boy, two boys half a boy, three boys no boy.
杀鸡取卵 Kill the goose to get the eggs.
鱼米之乡 Milk and honey
青出于蓝而胜于蓝 The master is surpassed by the apprentice.
贪字变贫字 Grab all, lose all.
人不可貌相 You can not judge a horse by its saddle.
As for the ways of cohesion, English will choose hypotaxis, namely in the syntactic form using the connection words connect sentences or causes; While Chinese intentions Darataxis, which depends on the sense of cohesion rather than relying on connectors. English grammar is quite closely, pay attention to hypotaxis, precise shape. Each sentence, paragraph or paragraphs usually consists of some function words and some specific phrases, clauses. These features can represent different function or a word or phrase ideas, such as cause and effect, comparison, concessions, conditions, twist, etc. Each clause in complex sentences, distinct, clause must be guided by the subordinator. In the compound, coordinate clauses are usually connected by some punctuation marks. As we all know, Chinese is heavy parataxis, regardless of primary and secondary relationship between a lot of sentences or clauses, only through meaning for cohesion. There are some sentences which we can compare them with each other.
It is so cool that we decide to go out for a walk. 天气凉爽,我们决定出去散步。
Where there is a will, there is a way. 有志者事竟成。
The difference between the overall thinking and individual thinking. Chinese culture emphasizes the overall thinking pattern no matter in old times or modern times .Harmony and unity is good embodiment of thought.
So, In Chinese as the main body of the behavior subject, often omitted, is often said that without the main clause. But western culture is different, which emphasizes the opposition of subject and object. In the embodiment of the language is what is called a subject-predicate two points. In addition to the imperative sentence, every English sentence should have a subject, or the sentence is incomplete. In the english-Chinese translation, therefore, for many Chinese sentences we need to according to the specific context for them to add the subject. There are an example of it: “眼看天就要下雨,又没有带雨伞,都很关着急,真不知该去哪里。 It is raining; we do not have no umbrella with us. We are all worried about it, because we do not know where to go at the moment ”.
We can see that the original words of description is not a word which can be made as the subject. But here, according to the context and context of the specific environment, when we translated into English, adding “ it “ and “ we “ as different clauses of the subject, so it make the state of the person’s mind be in harmony with the environment at the time, and totally reached the realm of "harmony between man and nature". After added the subject, which is in conformity with the English sentence --it must have a subject requirements. Also, it is in line with the European and American culture known as the separation of the subjective and the objective mode of thinking. The whole structure of the target language is complete and distinct.
2.5 Geographical environment
As we all known, England is an island country, more than one thousand kilometers from south to north and 500 kilometers from east to west. Its coastline runs about ten thousand kilometers, making it one of the countries with a long coastline in the world. In Britain no place is over kilometers away from the sea. British people are sensitive to privacy and they do not like to talk of personal affairs such as money, wage, age, or wealth, but they are fond of discussing the weather. Sometimes they even argue heatedly over what the weather is going to be like. Perhaps it is nothing more than a habit.
The weather in England is changeable, even the weather is raining at most times. Britain has a maritime climate and changeable weather. So the people in England have special feelings about the weather and then they want to talk the weather when they meet each other. There are some examples: “a lovely day. Is not it ?” “What is the weather like today?” and so on. This is the common phrase they use when they meet. And England is a typical maritime nation. So there are a lot of idioms and phrase about the ocean. While the land of China is interior. The resource of culture have relation with the farmland and the Chinese have a special feeling with the land. For example: we can express spend money very quickly and without limited. In English, we can say “spend money like water”. And in Chinese, we can say “挥金如土”.
2.6 Geographical environment
Geographical environment has great influence on climate. At the same time, geographical environment have great influence on the the language or clause used by the local people. For example: in Chinese culture, "dong feng" is "spring wind", summer often and intense heat relates in together, hot "scorching sun" is often used to describe the summer. And British in the western hemisphere, north temperate zone, oceanic climate, report message but is west wind in spring, a famous poet Shelley's "ode to west wind" is the song of spring. The British summer is a pleasant season, commonly used "lovely, gentle, beautiful" to describe.
PART THREE THE RELATION BETWEEN CULTURE AND TRANSLATION
Different nationalities in greeting, appellation, thanks, compliments, apologies, farewell, phone calls etc are different. Customs is with corresponding national characteristics. As Chinese people meet each other , they often say "hello" to each other or "where are you going?" , "what do you do?" or "have a meal?" and so on. In Chinese culture, these words do not have any meaning. these words is just a courtesy meet, a way of greeting. For westerners, however, it is sensitive to this kind of problem. Because in their view, it is a purely private matter, which can't be casually asked. Meet greeting, like that in the western world should do according to the specific circumstances corresponding culture conversion, convert in English idioms, such as "Hi!" , "Good morning" or "How are you?.
In terms of title, and allegations of a concepts in different languages have different application scopes. This is also decided by beauty, such as different cultural background. Because Chinese pay attention to the concept of family and the system of family is very big, so the system becomes more developed to distinguish different relations between family members. Like “sister”, “brother” and “sister” and “brother”, they are distinguished clearly between the lines. In western countries because of focus on so-called nuclear family, so family members is not too much and appellation vocabulary is not rich. Sister and brother in English can be respectively used to say sister and brother and sister and brother. So many Chinese feel they don't understand about this appellation very much. In many cases, the translation of this kind of text must be quoted so as not to cause misunderstanding. Also Cousins is also not the same in both English and Chinese kinship terms, all require that we should be careful in Chinese and foreign communication, so that communication can be re-scheduled accordingly.
To sum up, a kind of language is the product of this kind of specific culture. In cross-cultural communication, the "cultural conflict" (culture shock) phenomenon is inevitable. However, if you want to overcome these conflicts , it may be very difficult in a short time. Because taking a language from the surface meaning to all of the ingredients in the symbolic meaning by translation all accurate expression is almost impossible. Translation of translatability is restricted by many factors, like differences in people's thinking, the different culture and regional culture differences and so on. In the process of translation, therefore, how to deal with the cultural factors becomes the translator is very important task. As a responsible for the translator, the translator should be able to accurately grasp the cultural meanings of the original, if necessary, to the original because of the cultural background in translation properly, for easy to make readers misunderstanding in the alien culture concept to make the necessary clarification, which can help the readers across the cultural divide, to achieve the best understanding.
CONSLUSIONS
All in all, any translation can not be separated from culture. Culture is a complex collection of experiences, which includes history, social structure, religion,traditional customs and everyday usage. This is difficult to comprehend completely. Especially in relation to a target language, one important question is whether the translation will have any readership at all, as the specific reality being portrayed is not quite familiar to the reader. Whether the translator can express the original meaning or not depends on his understanding of the relevant culture to a great extent. For a translator, it is impossible for him to do so if he does not possess the knowledge of the two cultures. Cultural transfer requires a multi - pronged approach. It is concerned with the author’s relationship to his subject matter and with the author’s relationship to his reader. These should be reflected in a good translation. The translator has to transmit this special cultural quality from one language to another. So we should pay much attention to the relationship between culture and translation when we are doing translation.
“Translation and Culture”, Translation Journal C. Thriveni, Volume 6, No. 1 January 2002
Translation Journal Gabe Bokor, Volume 5, No. 4 October 2001, “Translation and International Politics”,
Translation Journal Mathieu Guidere, Volume 5, No. 1 January 2001, “Translation Practices in International Advertising”,
Translation Journal Nida, E. A. “language, Culture, and Translation”
EDWIN GENTZLER 当代翻译理论. 上海外语教育出版社.
冯庆华. 汉英翻译基础教程. 高等教育出版社, 2008: 3--5.
冯庆华. 英汉翻译基础教程. 高等教育出版社. 2008: 350--360.
胡庚申. 翻译与跨文化交流. 嬗变与解读上海外语出版社. 25-26.
李青新. 英汉汉英翻译教程. 翻译技巧与误区评析. 北京出版社. 45-47
来安方. 英美概况. 河南人民出版社 2004: 5--9
孙迎春. 汉英双向翻译学译林. 济南山东大学出版社. 2001: 74-76.
王逢鑫. 英汉文化. 北京大学出版社. 2004: 48--69.
杨慧中. 怎样写论文 上海译文出版社. 32-37.
张爱琳. 跨文化交际. 重庆大学出版社. 2003: 25-30.
浏览量:3
下载量:0
时间:
新闻中文化负载词的翻译关系到新闻能否完整准确地传达作者意思,吸引读者注意。因此,译者必须充分考虑译入语读者的接受情况,努力在完整传达信息的同时,使译文更能被译入语读者所接受,达到成功交际的目的。以下是读文网小编为大家精心准备的:略论新闻中文化负载词的翻译问题相关论文。内容仅供参考,欢迎阅读!
摘 要:本文阐述了文化负载词在汉语新闻中的表现,提出了直译、音译加解释、意译等汉语新闻中文化负载词的翻译策略。
关键词:新闻;文化负载词;翻译
进入新世纪以来,随着经济全球化以及科技文明的不断发展,人类的信息传播主要是借助于新闻媒体来实现的。而在不同的文化之中,受到民族特色、地域因素的影响,使得不同文章其对于文化负载词的运用差异导致了文章自身的趣味性与可读性受到了影响,这也就给从事于新闻翻译工作的我们带来了巨大的挑战。如何做到准确合理地将这些文化负载词进行翻译的同时,保留其自身的趣味性、文化特性,这已然成为了翻译工作开展的一大难题。在我国,从事新闻翻译工作的人员在对新闻文稿进行翻译的时候,一般是通过对翻译观念、词义表达以及文化差异等多方面进行思考后来实现的。在本文中,笔者将着重于对翻译活动开展的功能与目的的重视,做到翻译活动的完整性与简洁性,能够在不同的语境中,做到灵活地翻译。
语言作为文化传播的基础,是实现文化记录、反映、传播的重要形式,同时,也是文化自身的载体。词汇作为语言的基本组成部分,是实现文化传播活动得以顺利进行的基础,也是出现差异化的影响因素。在所有的语言中都存在着大量的文化负载词,它们是文化自身在历史发展的过程中不断演变而产生的,其内容主要包括了:特定的文化词、词组以及习语,这是民族文化的重要体现。
在对翻译原则进行制定的时候,译者需要根据翻译的策略与标准来实现对其的准确翻译,进而将文化负载词更好地进行表现。虽然,要找到完全相对应的文化负载词的难度较大,所以,作为新闻翻译工作者需要对翻译的方式进行灵活的运用,实现对翻译材料的准确生动表达,进而更好地完成翻译工作。根据笔者自身的工作实践经历来说,想要对新闻翻译活动中出现的负载词进行有效地处理,可以采用以下几种翻译方式。
(一)直译
在汉语言的新闻稿中,当其出现大量的政治、经济专有名词的时候,译者往往是通过直译的方式来实现对其字面意思的表达,进而实现对中国文化的展示。例如:2a.当前,全党全国各族人民正紧密团结在以胡锦涛同志为的党中央周围,高举中国特色社会主义伟大旗巾只,全面贯彻党的十七大和十七届三中、四中、五中、六中全会精神,以邓小平理论和“三个代表”重要思想为指导,深入贯彻落实科学发展观。在例文当中,出现了大量带有中国特色的政治专属名词,这些名词有许多已被外国读者所了解,因此,面对这类词组的时候,可以直接通过直译的方式来实现对原文内容的还原与形式的统一,做到对翻译信息准确性的保证。
(二)音译加解释
音译即是指的通过对原文语音的表现,在另一种语言中将其发音相同或者相近的部分进行表现,其表达的内容大多数是中国文化中所特有的元素。这部分元素,在一般情况下作为中国独特的文化表现形式是很难在译语中进行体现的。为了做到对中国特色的最大化保留,将这些词进行“音译”是十分可行的方式,可是,由于外国读者自身的文化背景与认知存在不足,如若仅仅是采用单纯地音译将会使得读者不知所以然,进而无法实现对信息的有效接受,向外国读者展示中国的特色文化也就更加无从谈起。因此,对新闻文稿进行音译的时候需要添加合适的解释性内容。比如“Yuanxiao”――“元宵”这一食品为中国所特有,在
(三)意译
在汉语中有许多的熟语、习语以及习惯用语,这类语言词汇作为语言系统中的特殊存在。由于读者的文化差异存在,使得这类的文化负载词会产生不同的意思显现。在这个时候,如若简单地采用直译进行表达,很有可能会带来对意思理解的误读。在这个时候,就需要通过意译来进行翻译工作活动了。例如:提倡红白事理性消费,实现移风易俗的时候。其基本原则在于,当村里办白事的时候,不能请吹拉弹唱的戏班子,做到凡事从简的原则。就如同“就坡下驴”这一说法一样,当骑在驴子身上的时候由于驴子比较高,所以容易摔倒,因此,最好先找个路坡,让驴子停在此处,人从这个地方上驴、下驴就不容易摔跤了。这个比喻形象地说明了需要找个合适的借口才能下台不至于工作的难堪与难办。这样的文化负载词,在其进行翻译的时候,如果仅仅是对翻译内容进行整体翻译将会使得整个翻译活动的内容冗长,翻译语言??嗦,导致读者难以做到对翻译内容的有效理解。
(四)直接加解释
解。歌曲《青春之歌》、《我和我的祖国》、《七子之歌》、《幸福在哪里》,舞蹈《孔雀》、《火红的日子》,昆曲《牡丹亭》选段,京剧《三家店》,歌舞《丝绸霓裳》,钢琴合奏《金色狂舞》、杂技《五光十色》等。各类节目,形式多样,内容丰富,表达了中华各族儿女对伟大祖国的深切情感与对美好生活的无比向往。“京剧“作为中国的四大国粹之一而得到了广大外国友人的认可与认知。但是,就”昆曲“而言,其作为中国传统古典曲目之一,在对其进行翻译的时候,需要有意识地增加一些和“昆曲”有关的背景知识。如,“Kunqu Opera”――通过适当的解释性词语,译者有效地将我国的文化精粹传播给外国读者。由以上例证可见,汉语新闻中一些文化负载词蕴含着一定的文化背景,单纯的直译并不能充分传达出其中的文化内涵。
再比如,笔者曾经看到一则新闻,说是:英译的京剧剧本,其中一些唱词的翻译不够准确,说到底还是对京剧所蕴含的中国文化理解不深,甚至是一种误读。以《四郎探母》为例:杨四郎的唱词里有“失落番邦十五年,雁过衡阳各一天,高堂老母难相见,怎不叫人泪涟涟……”等等。其中“雁过衡阳各一天”一句,被译作:Awildgoose flied over the border.(英文意思是:一只野雁飞过边界。)这显然是理解有误。“雁过衡阳各一天”是说南北相隔,杳无音讯。杨四郎沦落北番,隐姓埋名,十几年来与亲人失去联系,可谓天涯各一方。身为人子,让老母日日悬望,苦苦思念,怎不黯然神伤?所以深入理解唱词,准确把握人物内心活动,是做好京剧翻译工作的前提。因此,要保证信息的完整性,充分实现新闻翻译的价值,译者应在直译的基础上增译一些解释性文字,补充其中的文化背景知识,促进民族间的文化交流。
具有着中国特色的文化负载词,对其的翻译将会影响到世界对中国文化的认识,也会影响到中国文化自身与世界文化之间的交流与融合。由于,它代表着中国的民族文化与地域文化,是中华民族文化的重要表现形式之一,也是文化传播的重要形式。当中外文化存在较大差异,这些蕴含着中华文化特色的词汇也就给汉语新闻翻译带来了一定的障碍,但文化负载词的准确传译又是保证新闻翻译准确性的重要一步。因此,新闻翻译工作者应该引起高度重视。在功能目的论中,对于翻译活动的目的进行设定的时候需要对其采用的翻译方式进行明确。
即做到,一方面实现原文作者翻译目的的真实表达,另一方面,也要与译文读者的需求期盼相适应,促使新闻报道活动中出现的新闻负载词可以显得准确新颖又充满乐趣,借助于对音译、直译、意译等各种方法的运用,吸引译入语读者的目光,从而最大限度提高传播效果。为了实现文化负载词的准确传译,译者需要在一定的翻译标准之下,通过对实际情况进行具体的分析,以此来使得外国友人能够更好地理解翻译内容,使得汉语新闻的翻译质量得到显著提升,进一步地减少由负载词所带来的文化交流障碍,实现中外文化的更好交流。
略论新闻中文化负载词的翻译问题相关
浏览量:2
下载量:0
时间:
今天读文网小编要与大家分享的是外语翻译论文:文化对影片翻译的影响。具体内容如下,欢迎参考阅读:
The influences of Cultural factor on film translations
文化对影片翻译的影响
Thesis Statement: Difference in eastern western culture causes a thing different in value orientation, Translation of a work of a movie gets a way of direct translation, and, it's possible to admit for an audience. It’s need to changed the Culture in the movie.
Ⅰ. Introduction:
China's movie translation enterprise has passed through more than 50 year magnificent course, Movie translator offered many outstanding translated movies to the mass audiences. Through these outstanding translated movies, the audience while understood foreign land local conditions and social customs also to feel the language infinite charm, many splendid dialogues have become the beautiful line which struggled is on everybody's lips. If "there will be bread. All would have. " (the former Soviet Union film "Lenin in 1918") has inspired generations of adversity live audience in China . Evidently, the film as the mass media, its social effects are incalculable. However, in academic fields, Because of the impact of secular bias, the film is certainly very cold : Translation Studies, Translation Studies seem to completely ignore this area for the. To this end, China's famous scholars Television translation Professor Qian Shao wrote that Television translation of the translation is far less atte
nti
on to literary translation. This translation of the Television disproportionate role in the community. This phenomenon frequently This should arouse the attention of the translation industry.
The language is a country culture carrier, reflects this country's the political economy, the material culture, the religious belief, the manners and customs and so on. The language is different, the thinking mode, the behavior way as well as the language expression way is also different.
This shows that the translation is not as simple as it is not only doing language, in which it stresses culture in the story.
The movie translation namely has the general character with other literary work translation also to have its own particularity. Same is all is expresses in the thought with the language art, different is the movie translation needs simultaneously to achieve manifests in the writing, forms in the sound, expresses in the audience.
Strictly speaking, the translation of a film like filling a word, thinking the contents can not be altered. Each expression has the "style Melody" has also been strictly limited. If translator neglected "I type" of the law, regardless of the words "priorities", said the mayor short, "meaning the right can be," Well, the voice-over : guns, then there will be the following
Ⅴ. Conclusion :
The choice of film translation modes largely contributes to the reception of a source language film in a target culture. The influences of culture factor are leading.
the influences of objective factors on film translations
Abstract: Difference in eastern western culture causes a thing different in value orientation,Translation of a work of a movie gets a way of direct translation, and, it's possible to admit for an audience. It’s need to changed the Culture in the movie.
Key word: Translation of a movie Culture gap
China's movie translation enterprise has passed through more than 50 year magnificent course, Movie translator offered many outstanding translated movies to the mass audiences. Through these outstanding translated movies, the audience while understood foreign land local conditions and social customs also to feel the language infinite charm, many splendid dialogues have become the beautiful line which struggled is on everybody's lips. If "there will be bread. All would have. " (the former Soviet Union film "Lenin in 1918") has inspired generations of adversity live audience in China . Evidently, the film as the mass media, its social effects are incalculable. However, in academic fields, Because of the impact of secular bias, the film is certainly very cold : Translation Studies, Translation Studies seem to completely ignore this area for the. To this end, China's famous scholars Television translation Professor Qian Shao wrote that Television translation of the translation is far less attention to literary
tr
anslation. This translation of the Television disproportionate role in the community. This phenomenon frequently This should arouse the attention of the translation industry.
The language is a country culture carrier, reflects this country's the political economy, the material culture, the religious belief, the manners and customs and so on. The language is different, the thinking mode, the behavior way as well as the language expression way is also different. The language in the sound film is the essential constituent, in the movie work the splendid dialogue, the fragment makes one be worth hearing a hundred times, cannot dismiss from mind for a very long time. The culture in the society on like the memory in the individual, was the people all feasible thing precipitation gets down in the past life, turned the language slowly, turns the writing, turns music, turns the custom, turns the construction, turns the clothing, even turned not the obvious thinking mode, did not affect the future thought, the experience and the motion.
Language and cultural interdependent. Language is the crystallization of culture, culture is transmitted through language. Pragmatic exchanges as a medium for the inevitable translation different language deal can not but be with their respective culture communication. Translation understanding of the basic links and expression is subject to the original language and translated phrase structure rules, and their rules for the use of double requirement. Understand the results of the original language is the meaning and bearing the cultural information, It familiar with the original language of the rules and structure of the use of rules of the community, which can not be divorced from the original language of social and cultural factors; expression with the purpose of understanding found in the information with the target language in its social and cultural context for the effective exchange, It consistent with the structure of language translation rules and the rules for the use of the conditions, So in kee
pin
g with the target language the social and cultural factors collide, the integration phase, therefore, the mission of the translation, in the final analysis, is a social and cultural context to get out and then enter a social and cultural context, and its appearance and the language is the language of communication, and the essence of culture and cultural exchanges. Therefore, the cultural translationby the point of view of language is the carrier of culture, culture is the language of the regulation, translation is culture and culture of dialogue, cross-cultural transmission. As such, the translator must be familiar with the two cultures.
Translation cross-cultural communication is the intermediary links, culture and communication with the dual nature. And the dissemination of culture and integration, is like a "wave-particle duality" -- its "tablets" is a cultural, The "wave" is spread. (15) In other words, Culture and Communication each other for the survival of that culture is the spread of content, is culturally. cultural context of communications. Therefore, we can say this is the process of translating culture and the culture of dialogue, the dissemination of culture, translation itself is a culture, is spread occurs in the language exchanges in the process of cross-cultural communication.
This shows that the translation is not as simple as it is not only doing language, in which it stresses culture in the story; We should not only understand one language, one culture, but also links the two languages, two cultures -- This is the minimum condition For this one, everyone is very difficult to do. Cultural Images "a cultural symbol, it has a relatively fixed unique cultural meaning, and some are still rich with meaning Lenovo far-reaching, as long as the people I mentioned them, a tacit understanding between each other immediately, very easy to communicate ideas. "phenomena and the implication of the two images is an important component. Phenomena is the significance of the information carrier, which was formed image of the objective facts; implies is phenomena in a certain language and the cultural environment of the extended meaning. Imagery that is the function in a variety of contexts, with concrete to the abstract performance, known or easy to know the unknown or enlightenment is difficult
to
know. If the Song Dynasty poet Su Shi, in his famous "Ode of Chibi before," using such Ephemeroptera Chaoshengmusi small insects to describe life is short, people are very insignificant : "Ephemeroptera sent to earth, there has been a drop in the proverbial bucket. "English Proverb It is the last straw that breaks th e camel 's back. meaning "camel overloading, with a straw it will be crushed. "Proverbs imagery words the last straw" Finally a rice grass, "and vividly symbolize" of a people or something intolerable to the pole. "
The movie translation namely has the general character with other literary work translation also to have its own particularity. Same is all is expresses in the thought with the language art, different is the movie translation needs simultaneously to achieve manifests in the writing, forms in the sound, expresses in the audience.
But Chinese, English belong the entirely different two big language families, Chinese are the glyph English are the alphabetic scripts. Movie translator must carry on the successful cut between these two kind of entirely different language families is not an easy matter. The cultural reconstruction finds at everywhere in the movie translation.
The English movie 《Red Shoes》 , mainly narrated an England ballerina cannot make the correct choice facing love and the enterprise, finally moves towards the cliff the chilly wan story. At first when domestic showing, the movie is translated “the red dance shoes”, although the literal translation is faithful to English original intention, also threads up the plot, but appears after all writes in a straightforward manner, arouses audience's any association with difficulty. Later period, the identical movie film title is translated on a foreign outstanding movie exhibition tour “the red water chestnut to be colorful”, thin savors thin, although the movie flipped the translator to compare with that double delicate red dance shoes the red water chestnut which the Chinese audience women and children all knew, the implication red water chestnut grew in the muddy water sludge, actually tender and beautiful enchanting, curved red water, justed like China ancient times female's woman's bound feet, the woman's bound
fe
et although exquisite, but condensed how many female's tears of blood, some has even paid the life price for it. Therefore passes “the red water chestnut to be colorful” this film title to cause the audience to associate is putting on like the red water chestnut dance shoes dancing girl gorgeous actually star crossed. Translator's ingenious borrowing “the red water chestnut” a word, the Chinese culture will graft the movie in the implication, the success has restructured one the cultural image which for the Chinese audience familiar, will comprehend, accepts[Www_LunWenData_Com]
The American movie 《Waterloo Bridge》 , described First World War period, young attractive actress Masurium La knew young military officer Luo on the Waterloo bridge to depend on, has combined to make or become the lover. But after, Masurium La learned Luo Yi died in battle the battlefield, is in deep sorrow, in order to survive reduces for the prostitute. When Luo appears according to the miracle, she is unable facing the reality, for love and the reputation, she arrives once more with Luo according to the first love place, got killed on the wheel billowing Waterloo bridge. It is well known, in 1817 England has made the Waterloo bridge in the Thames river bank investment, commemorates the Wellington duke by this to direct the English army to defeat the battle of waterloo victory which Napoleon obtains. If the literal translation film title is “the Waterloo bridge”, as soon as looked for the first time, the audience can think this is one goes to war the related war piece with Napoleon or is the introduction
an
d this building related documentary film. In the Chinese several millennium cultural histories, with the bridge correlation love story, such as, the cowherd and the weaving maidens “meeting of lovers”, the Shanxi Province Lantian “the blue bridge meets” and so on. “The blue bridge meets” plot has places of the many equally good results from different methods with Waterloo the Bridge. Therefore the translator finally translates the film title “the soul to break the blue bridge”, has avoided the audience ingeniously because the city cultural difference, the historical perspective knowledge lacks losing which causes, as soon as borrows “the blue bridge” to cause the audience to see the film title instantly comprehends this is about love movie.
British film "Night Merry" in the conversation:
Peter: Oh, this? Well, I like privacy when I retire. Yes, I’m very delicate in that respect. Prying eyeeees annoy me. Behold the walls of Jerichho! Err, maybe not aaas thick aas the ones that Joshua blew down with his trumpet. I just show you my heart’s in the right place, I’ll give you my best pair of pajamas. Do you mind joining the Israelites?
White said this is a very representative, because in the meantime, said there were "Jericho walls, Joshua. Israelis "and three" Bible "of the historical story of the words. As we all know, the prevalence of Buddhist East, particularly in China, Chinese viewers can get some idea of Buddhism, and the Western culture, especially the Western religious history knows very little about the culture. Hence the film switch for a moment the Chinese audience of the above three is a link between a difficult matter. They do not understand this, "Jericho wall", "Joshua" and "Israelis" between what is the relationship. Literal translation for the above not only Chinese audiences Lee puzzling. It also lost the film translation of real meaning. To enable the Chinese audience aware of this three terms of relations so that the text of those involved in the special cultural imagery fullness, Translator in the film translation of this text as follows embellishment :
Peter : this? I do not want to break the interference by others, in that regard I am very sensitive, others do not want to be peeped at. You see this as the "Bible" of the Jericho walls, Although not as good as the "Bible" -- Israeli commander Joshua trumpet blown by the thickness, than it much safer. You see, I did not bugle call, in order to express my impartiality, and I put my pajamas happens to the best of you right. You do not want the Israelis? Because of the "Jericho wall", "Joshua" "The Israelis" from the "Bible" of the words added to the story the necessary cultural meaning Xiurun words, audiences not only understand the "story" of the source The next in the Context also realize a final word "Israel" refers to the specific. Xiurun strengthened the language in the context of transparency; Enhance the cultural image in the audience understanding of the definition.
The movie translates the Chinese-adapted reconstruction the significance to lie in it to be able effectively to achieve promptly the movie work the concealed implication, causes the effect which the audience understands.
As a result of the East and West culture difference, movie translator should help the audience to understand as far as possible these with a nationality's history, the region culture, the religious custom and so on have the close correlation language phenomenon. In if the movie translation does not do to certain specific cultural image any touches up processing, considers the matter in and of itself the literal translation, can create this cultural image the damage, the cultural implication is torn to pieces.
American movie Waterloo Bridge, from the very beginning, has this kind of section of offscreen voices:
Announceer’s Voice: At 11:15 this morning, the Prime Ministeer, speaking to the nation from Numbeer Ten Downing Street,announced that Great Britain is at war with Germany.
Right “Numbeer Ten Downing Street” this concealment culture image geographic name does not give supplement showing the speech, believed the overwhelming majority China ordinary audience meets the uninformed at sea its cloud. First the audience does not know “Numbeer Ten Downing Street” in any place. Next, they did not know the radio announcer mentions “Numbeer Ten Downing Street” in here to have what special implication especially. In order to enable the movie translation to reach it in the limited time in the mass audiences. The translator suitably to above translates the document to appropriately supplements touches up, “Numbeer Ten Downing Street” will translate English prime minister the mansion. Through supplements “English prime minister the mansion”, causes the audience now at last truly realized “Numbeer Ten Downing Street” true meaning. Here, “Numbeer Ten Downing Street” conceals the image three-dimensional unfolds in audience's front, the audience understood only then truly has typically the terr
ito
ry culture geographic name “Numbeer Ten Downing Street” complete cultural connotation.
Film translation somewhat like two-man, and the dramatis personae-mouth assembly actor voices sound, words and phrase as its mouth. Translation task is to provide a blueprint for the dubbing, asked to guarantee the accurate, vivid, touching premise, in an attempt to length Rhythm, ventilation, pause and even open-mouth, and other aspects of cooperation with the dramatis personae seek to speak expression, consistent tone, finally give the audience heard the sounds, to see people who know Which statement from the mouth. Translation must take into account a standstill, rhythm and movement, the characters, but also improved the formal and resourcefulness language, humor, intended implication, subtext. Finally, you need to think opera is staged, but also "singalong." It is these elements give the scripttranslation stage theater seeks to rebuild the formal beauty of character.
Strictly speaking, the translation of a film like filling a word, thinking the contents can not be altered. Each expression has the "style Melody" has also been strictly limited. If translator neglected "I type" of the law, regardless of the words "priorities", said the mayor short, "meaning the right can be," Well, the voice-over : guns, then there will be the following : For example, too long phrase translation, dubbing can only accelerate the pace of "drive" -- the results become calm mind anxiously. the occurrence of the character shown impetuous lightly; Instead, the translation of long sentences too short, dubbing can only slow down the "stall" -- the results become agitated enthusiasm sluggish indifference able decisive become Had no resolution. and so on and so forth.
Linguists believe that all the world to see the same objective, different ethnic languages will give it "brush different colors." Because of this, the cultural dislocation images will be specific performance as a metaphor for the culture of body image on the difference. In other words, in a cultural tradition implies a positive image of a beautiful culture in another culture podiums become negative implication of the ugly Cultural Images.
British film "Wuthering Heights" has this kind of a fragment
Isabella: It’s a brother’s duty,dear Edgaar, to introduce his sisteer to some other type than fops and pale young poets.
Edgar: Oh, you want a dragon?
Isabella: Yes, I do. With a fiery mustache.
In Translation "dragon" is the key word. In the English language, the "dragon" as a "devil" interpretation. Whenever the term and Western ideologies will immediately showed an ugly face of the devil are threatening manner toward humans, It is not difficult to see the "dragon" in Western language and culture implicitly pejorative. In Chinese culture "dragon" symbolizes the word "elegance, and the supremacy of" Italy, former emperor of the Chinese people to call "the real dragon the emperor." Thus, the "Dragon" related to the majority of terms agreed with great reverence. If the Chinese refer to themselves as "descendants of the dragon"; Long for their children for the future of promising "succeed." "Dragon" in the East and West languages, its cultural image of the natural implication is absolutely contrary. In short, although the phenomena, but the implication is completely different. Evidently "carabiniere" hard Translation "dragon" is clearly inappropriate. When the Chinese audience watching the film Humi
he
ar, "carabiniere" the word They certainly will immediately think of "he" may be "the Royal Cavalry." But Yishabeila answer to allow the audience to the film's elaborate those induced by consciousness altering clouds. Viewers can not help but ask : The upright "Royal Cavalry," is how "a red-hot long-bearded"? In Chinese tradition, history and culture, Only those who have more heads and hands of a terrible monster green eyebrows, red bearded face. Such copying can not handle things to the language and the cultural dislocation Images of the thorny issues, also not translated this vividly the true meaning of dialogue, but to the semantic context of the link set up a language barrier. Therefore, in the cases of China and Egypt and Yishabeila increase in the last paragraph of dialogue might translate as follows : Edgar : Oh, you want a dragon Oh, you do not want to marry a barbarian! ?Isabella : Yes, I do. With a fiery mustache. Yes, also a long-bearded red-hot. As the East-West cultural differences, the film tr
ans
lation of many English words if the hardware directly translated, will make the Chinese audience unacceptable and endorsements. In addition, the film version of the translation of film screen switching time constraints, not as translated literary works, in some obscure's Office to make some notes, so we will have to give white audience : a, a view that is fully understood. The translator should be based on national audience from the audience were dubbed in Tibetan taste to appreciate the art of perspective, Selection of the national language and the original art is most similar to the unit, most close to the national audience for the familiar, readily accept the terms and cultural imagery to the film translation.
In summary, in the Trans-Culture background must accurately express the implication which the movie must reflect, macroscopically, the translator wants to understand the culture contains, the translation elementary theory and the skill, and in on microscopic must observe the different language family carefully the national culture tradition, the cultural content and the cultural psychology difference performs to contrast and the analysis. Only then in considered the foreign land culture under the premise “the letter, reaches, elegant” merges into one organic whole, causes the translation “the god, the shape” and the cyclopentadiene, like this can guarantee the culture “the facsimile” the realization, can complete the cultural translation truly.
1、Huzhengrong,《General Communication》[M], Beijing Broadcasting Institute Press,1997
2、Zhouyueliang,《Ancient Chinese Culture History》[M], Beijing Broadcasting Institute Press,2000
3、Fanzhongying,《Practical Translation》[M], Foreign Language Teaching and Research Press,1994
4、Dengyanchang、Liurunqing,《Language and culture》[M], Foreign Language Teaching and Research Press,1989
5、Wangbinqing,《Cultural Translation》[M], Nankai University Press,1995
6、Chendehong、Zhangnanfeng,《Featured Western Translation Theory》[M], City University of Hong Kong Press,2002
7、Guojianzhong,《Translation of cultural factors》[J],《Foreign Language》,1998
8、Hugongze,《Translation Theory of Evolution and Development》[M], Shulin Publishing Limited,1994
9、Wanghongzhi,《Re-interpretation of the "letter Dayaxin" : 20th-century Chinese Translation》[M], Oriental Publishing Center,1999
浏览量:4
下载量:0
时间:
商务英语的作用是在国际商务中不同国家的双方进行交流的通用语言,比起一般的英语,更加严肃也更加规范。它是一种功能性的语言,对比一般的英语,官方性的应用更为广泛一些,特别是在国际商务交流上,商务英语的应用显得尤为重要,所以对翻译的要求就更严格。由于中西方历史和文化的截然不同,导致中外的英语应用是存在着一些细微差别的。不注重这些差别的话,不仅不利于双方的交流,也是对对方文化的不尊重。所以我们有必要对中外的文化差异进行探究,讨论文化语境对商务英语翻译实践的影响。
语境,顾名思义指的就是语言环境,是指在不同的情形下对同样的事物进行表达,内容是不尽相同的,语言的产生也是依存于一定的语言环境,不同的环境下,语言的却别比较明显。通常情况下语境分为三类:语言整体的结构和逻辑、进行语言交流时所处的时间地点和交流双方文化背景的差异。后者就是我们这里要探讨的文化语境。近些年来,国际交流日益频繁,国际商务活动也越来越多,此时,中外的交流就愈加频繁。如果不能对西方的文化背景和社会生活习惯进行了解,很可能会影响交流的效果和商务活动的成败。当然,除中国之外世界上的190多个国家与地区的文化也是不尽相同的,我们本文谈的主要是以英美语言为母语的英美系国家。
商务英语通俗来说就是在商务情境下所要用到的英语,其本质还是英语,跟英语的一般特性并没有太大的差异。它不能够脱离了英语而存在,唯一的不同是比起普通的英语内容更多、要求更严格。它具有以下的特点:第一,有很多的专用词汇。一般场合的英语用不到那么多的专业词汇,很多英语专业词汇仅出现在各种专业的场景之中。商务英语就有很多专有的商务词汇;第二,语气更为正式。商务英语中,口语和俚语虽说不是禁忌,但是也是在交流中应当避免的;第三,要有确定性。商务英语服务于商务活动,所表达出的东西不能够是模糊的,而必须是清晰的、明确的。
文化语境的不同,对于商务英语的翻译能够产生极大的影响,产生的影响极其原因如下文:
第一,空间地理上的差异,不同国家所处的地理位置不同,导致了翻译的不同。举一个最简单的例子,英国和中国的地理位置不同,所以导致了气候也会有很大的差异。所以在中国和英国的表达中,不同方向的风所带来的含义是不同的。中英的海风分别是从东边海洋和西边海洋吹来,这就导致了中英对于温暖的风的风向表达是截然相反的,所以中国有东风品牌,英国有西风品牌。
第二,由于历史因素的影响,中西方在语言表达方式上有巨大的差异。中国人讲求的是委婉,无论是语言表达还是求人帮忙,都要做好很长的铺垫;而英美国家则讲求直截了当,开门见山,不喜欢遮遮掩掩和欲擒故纵。这样的文化背景也造就了中西方的风格是不同的,中国人更注重情感,而西方人更注重利益和效果。所以在翻译中西方国家常常将商务活动的目的、要求放在文件的前部,而中文往往需要先论述可行性,再进行具体建议和要求的书写。
第三,自古以来,在中国人眼中,集体的利益都是要高于个人利益的。当然,在封建王朝,至高无上的是皇帝的意志,但是皇帝是一个群体的代表,皇帝代表的还是地主阶级整体的意志,一旦对整个地主阶级的利益有损害,皇帝的意志也会遭到人们的抵抗。在英语翻译中最直接的例子就是关于信件的地址,中国人自上而下,国家-省市-县区-街道-个人,而西方人恰好相反。
第四,由于历史的积淀,导致中西方对于某些词汇的理解不同。举例来说,关于老和old,在中国,老不仅不是贬义词,还透着一股亲近,例如叫老张、老王,就显得亲热;而在西方,old一词中内含的却是过时、不能与时俱进等等含义。另外,中西国家对于颜色偏好是不同的。例如黑色,在中国一般表示的是一种悲哀的气氛,而在西方black则是邪恶的象征。如果在翻译的时候不注意这一点的话,极容易引起对方的反感。
第五,中西文化语境下,对于同样词汇表达的隐喻含义是截然不同的。例如最常见的就是狗和dog,狗在中国人心目中除了是忠诚的象征之外,运用的具体词汇中却有贬义的色彩,例如狗仗人势、狼心狗肺等等;而在英美国家中,狗就是忠诚的代表,不存在贬义的情况甚至还将幸运的人称之为lucky dog。再比如最常见的数字背后带来的隐喻也是不同的。对于中国人来说,4与死谐音,8与发谐音,18往往跟十八层地狱相联系,所以中国人对待这几个数字的态度是不同的,虽然这是迷信的思想在作祟,但是毕竟也是中华文化中的一部分;而在西方,因为耶稣的第13门徒犹大背叛了耶稣,所以西方人对于13特别反感。那么在翻译的时候就应当特别注意这一点。
基于上述文化语境对于商务英语的重要影响,在商务英语的翻译中应当特别注意下面的几个要点:
首先,在商品和商标翻译上,应当充分考虑到上面所说的影响,避免一些避讳事物的出现。例如,对于中国商品带有13等数字的,应当以音译或者其他的译法来避免该数字在国外出现,否则将会极大影响西方人对该商品的认同。要适当迎合对方的一些习惯。当然,这个前提是不能够损害国家的利益和集体的利益,不能够拿中国的形象去刻意迎合。例如,东风品牌在中国是非常重要的汽车业的象征,在翻译的时候不必照顾西方人的习惯翻译为西风。但是若是中国的某商品品牌为南风的话,为了迎合英国人的习惯,大可以翻译为西风。当然,这个要在不侵犯对方商标权的情况下进行。
其次,翻译过程要合理的运用一些技巧。例如直译、音译或者移译。直译是说在某些情况下其词汇内涵的隐喻在我们看来或者在对方看来是不恰当的,那么此时就应当忽视其隐喻的内容,直接按字面意思译出即可。音译则是指根据发音来翻译。翻译者往往忽视音译,其实音译运用恰当,能够产生意想不到的效果。例如,Coca Cola在中国翻译为可口可乐,这就是根据读音来翻译,但是效果却极好,这是因为翻译者既关注了音译,又兼顾到了产品的内涵,可口和可乐都是直接表达商品的特性的好的翻译。移译则是通过对中西方文化的对比和研究,进行一些技巧上的变化,例如,英文中的black tea并不是指的中文中的黑茶,而是表示红茶。
商务英语以其功能性和实用性在英语应用中占有十分重要的位置。它不仅仅具有中外两国的人进行交流的属性,还具有商业交流和谈判的性质,所以就更加重要。语言的学习不能够仅学习语言本身,那样的语言是僵化的也很容易在交流过程中出现一些自己意识不到的错误,从而影响双方的商务活动。双方对于英语的理解和应用不同是基于文化语境不同的,所以翻译者不仅应当有牢固扎实的英语基础和翻译功底,还要潜心研究各国的文化背景,以期达到在翻译中更为准确,在商务活动中更好表达的目的。
浏览量:3
下载量:0
时间:
英汉两种语言的表达方式、语言习惯的不同,决定了它们所表达的相同事物之间存在着明显的差异性。然而,由于语言之间的相通性、相融性,也决定了不同语言的相同事物之间又在某些方面存在着必然的共同性。英、汉姓名的异同就是其差异性与共同性的具体体现之一,而在其中所蕴涵的深远的文化底蕴是值得我们回味与咀嚼的。本文就英汉姓名的文化内涵及其翻译方法进行粗浅探讨。
姓名的翻译要遵循两个原则:“名从主人原则”和“约定俗成原则”。“名从主人原则”是指在翻译姓名时,要以该姓名所在国语言的发音为准,而不管该姓名是直接从原文译出的,还是从其他文字转译的。换言之,就是译哪个国家的姓名就要以哪个国家的音为准。如Skolovski“斯克沃夫斯基”(波兰语发音),而不译作“斯科路夫斯基”(英语发音)。“约定俗成原则”是指有些姓名在长期的翻译实践中,已经有了固定的译法,就应该继续使用下去,即使有的不够妥帖,甚至错了,但因多年来已为人们所公认和熟悉,这样的译名也该继续沿用,无须另定译名。如英国著名作家George Bernard Shaw正确的汉译名应是“乔治·伯纳·萧”,但过去该作家的名字一直被译作“萧伯纳”,变成了一个典型的汉名,我们也只有错误地沿袭下去了。
浏览量:2
下载量:0
时间:
【论文关键词】翻译;文化意识
【论文摘要】作为跨文化交际的桥梁,语际间的翻译正起着不可替代的作用.每一种语言都从文化中获得生命和营养,所以我们不能只注意如何将一种语言译成另一种语言,而要力求表达两种文化思维方式与表达情感方面的习惯。因此,翻译不仅仅是语言文字转换形式,更是不同文化的移植活动,翻译所涉及的不仅是两种语言,更是两种文化。译者不仅要掌握两种语言,还必须熟悉两种文化,以期作出更好译文.
一、翻译过程中出现的问题
(一)词汇空缺
我们在此所说的空缺是指原词语所载的文化信息在译语中没有其“对等语”。如产生于美国上个世纪60年代的“hippie(或hippy)",由于它是美国文化的赌徒产物,在汉语中也无相对应的词语,曾音译为“希比士”或“希比派”,现被译为“嬉皮士”,此译名虽比前两个译名要好些,但仍无法确切表达“hippie”一词的内涵,且有可能造成误解。虽然他们对当时的社会现实不满,生活方式与众不同,头蓄披肩长发,身着奇装异服,沉迷于酗酒吸毒,但他们并非是“嬉皮笑脸”的人,其中不少人对社会问题持有严肃的态度。还有些民族文化内涵特别丰富的词语,在翻译中必须详加注释,说明该词的语用意义,才能使译语读者了解原语独特的文化渊源。如:“我属鸡,我从不吃鸡,鸡年是我的本命年。”这句话的翻译应如下:"I wasborn in the Year of the Rooster. I never eatchicken. The Year of the Rooster will bring megood luck or bad luck.”(Chinese people tradi-tionally use 12 animals, representing the 12Earthly Branches, to symbolize the year inwhich a person is born. Spring Festival 1993,for example, is the first day of the Year of theRooster, people born in this year have the roost-er as their life symbol. All other years of therooster, according to an old Chinese saying,be-come either good or bad luck years for them.)西方文化中没有以动物配属人的出生年份的习俗,因此对于上句中出现的“属鸡”和“鸡年”所蕴含的文化内容是很难理解的,译者译出这些词语的指称意义,同时又详加注释,说明其内涵的意义,才能让英美读者比较完整地理解句意。比如”after-life"一词,英汉词典注明“来世”,但汉语的“来世”与英语的“afterlife”有巨大的差异。根据英语词典的释义," afterlife”为“an e.ristence a fterdeath",指的是人死后的灵魂生活。如电影Ghost(《人鬼情未了》)中,女主人与其情人的鬼魂相伴的感人故事。还有英国小说《呼啸山庄》中,男主人希斯克利夫死后其鬼魂与其情人的鬼魂相伴,出没在山谷中。但是在佛教中,不相信“永恒不变的灵魂”,其“来世”指的是人死后重新投胎而得来的“转世之世”,如梁山伯与祝英台死后化为蝴蝶,所“afterlife”译为“后世”或“来生”更好些。在中外文化中,英美人信奉基督教,中国人信奉儒教、道教和佛教。二者的差异是显而易见的,比如基督教和中国佛教中都有魔鬼,但前者指魔鬼为“撒旦”,而后者则称为“阎王”;虽然也有地狱,但前者有“地狱的最底层”,而后者则有“十八层地狱”一说。
(二)词义冲突
这里的冲突指词语所载的文化信息与译语的对应语所载的文化信息是相互矛盾的,也就是说,词语的表层指称意义相同,但词义深层所承载的文化涵义却不尽相同或者是相反。这类词语虽然不多,但在翻译中却不容忽视,稍有疏忽,便有失之毫厘.谬之千里的可能。如:""individualism"一词,其汉语对等语是“个人主义”,韦氏第九版《大英词典》中释义为“主张个人人格与经济上的独立,强调个人主动性、行为与兴趣的理论,以及由这种理论知道的实践活动”。在欧洲历史上,个人主义与中世纪的神权中心相对立,它在近代资本主义发展的历史进程中曾起过积极的作用。在美国,个人主义典型形象是殖民初期身扛长枪与斧头,敢于与饥饿、严寒及病痛作斗争的拓荒者(pioneer),这种个人奋斗精神作为整个民族的文化精髓被传承下来。因此,在西方人们重视个性的发展,普遍把个人主义视为实现自我价值的积极表现,“个人主义”被视为“拼搏进取”的同义语,明显具有积极的意义。但在汉民族文化中,《现代汉语词典》对个人主义定义为“一切从个人出发,把个人利益置于集体利益之上,只顾自己,不顾别人。”的错误思想。在中国文化的传统观念中,人们崇尚“大公无私”、“克己奉公”、“一心为公”,提倡“毫不为己,专门为人”,处于这样的文化氛围中的“个人主义”具有明显的贬义。
(三)语义联想
借喻寓意,触景生情,这是日常生活和文学作品中常见的语言现象。但由于不同的民族文化氛围和自然生态环境的影响,对于同一种景象,不同的民族会有不同的情感反应或不同的予以联想。所以,翻译时应考虑汉英词语感情色彩差异。如:“金鸡鞋油:颜色有黑、棕、白、红、黄、蓝。”其英文译文为:"Golden Rooster Shoe Polish comes inblack, brown, white, red, yellow and blue.”“金”字在汉语中有四种涵义:(1)金属的总称;(2)钱;<3)古代金属制的打击乐器;<4)黄而发亮的色彩。而作为十二生肖之一的“鸡”,在中国人心中可产生不同的联想。"rooster”一词为“雄鸡”,很容易让人联想到“雄鸡报晓”的说法。而“cock”一词除了表“公鸡”,也是男性性器官的婉称。”chicken”一词意义模糊,有懦弱、胆怯之意,英语中也有“as timid as chicken”一说,再说,“chick-en”所具备的语用意义与原文不符。在此,译文使用“rooster"一则避免了歧义的产生,二则在感情上也容易为英语读者接受。因此,"goldenrooster"具有可读性和可接受性,同时又保留了原文的语用意义和指称意义,体现了原文的信息功能、表情功能和祈使功能,达到了意义相符、功能相似的要求。针对以上的问题,译者在翻译过程中对有不少文化特色浓郁的词语,应该本着一个总的原则:一方面要尽可能传达原语的文化特色;另一方面又要逾越译语文化和译语读者可接受的限度。具体来说,对于有文化特色的词语,可以采用文化意识冲突的转换策略。
#p#副标题#e#
二、文化意识冲突的转换方法
(一)移植法
一般来说,带有异域文化特色的表达方式往往都是些形象化语言。英汉之间文化的差异,往往就体现在使用不同的形象,或相同的形象具有不同的联想意义。保留住原文的形象化语言,就等于为中国读者保留下了了解英美语言文化的机会。同时,新鲜形象的不断引人,也有助于提高汉文化对异域文化的解释或消化能力。因此,对于英语中文化内涵丰富的词语,若有可能,应当尽量采取保留形象的译语,使之成为汉语中的“新鲜血液”。如:"In the country of the blind, the one一eyed man is the king.”这句的中文意思近似汉语中的“蜀中无大将,廖化冲先锋”,虽意义上很对应,但这种译法多少还是有点文化失真,因为在西方人写的作品中,硬插进去一个中国的典故,但很难会被英美读者所接受。若把它译成“盲人国里,独眼人称王”就会更形象些,因为这样就能把其文化特色忠实地传译出来。有时,这种移植法也可称为直译法。不过,由于英汉在语音文化上的差异,有时仅仅采取直译法还不能完全达意,而必须进行一定的增补。如:在美国中篇小说《街头女郎玛吉》中,有一句母亲对女儿的话:"All after allher bringing一up all, what I tol her an talkedwid her, she goes tech’d bad, like a duck thewater.”(S Crane:Maggie: A Girl of theStreets)其译文为:“我生她养她,叮泞来嘱咐去,她还是去做那伤风败俗的事,跟鸭子下水一样有瘾头。”在上海译文《英汉大辞典》中,"like a duckto water"是个英语成语,意思是:“像鸭子人水般的;很自然地;轻而易举地”。若采用“坏事一学就会”的译法,意思是能表达出来,但毕竟表达得不够味。一是不符合一个没教养的粗俗人的说话口吻,二是丢掉了“鸭子下水”这个形象的比喻,而上面所引译文在直译成“跟鸭子下水一样”之外,又补上了“有瘾头”三个字,既生动形象,又切合说话人的口吻,起到了形神皆似的效果。
(二)借用法
所谓借用法就是用汉语现成的俗语来传移英语的俗语。此种译法主要有两种情况:一是英语中有不少表达方式在意思和形象上同汉语的表达方式非常相似,或非常相近,我们完全可以采取“拿来主义”的用法,用这些相似或相近的汉语现成表达方式来传译。例如“Like father, like son(尤其父必有其子)", "Castle in the air(空中楼阁)", "Walls have ears隔墙有耳)", "Habit issecond nature(习惯成自然)”。这些表达方式可谓意同形同,可以完全借用。另外一种便是英语中有许多表达方式虽然在汉语中找不到“形同意同”的对等表达方式,但却可以找到“形异而意同”的表达方式,这时也可以借用这些现成的表达方式来传译。如:1. " have an axe to grind"(别有用心);2."leave no stone unturned"(千方百计、想方设法);3. "Great minds think alike"(英雄所见略同);4. "The spirit is willing, but the flesh isweak(心有余而力不足)”。以上四例中,前两句的形象表达无法移植,第三句若译成“有才智的人想法一致”,就会失去原文的精炼之美,第四句若译成“精神上是愿意的,肉体上是虚伪的”,不仅形式有失精炼,意义也会不明确。
(三)意译法
意译法是指译者在受到译语社会文化差异的局限时,不得不舍弃原文的字面意义,以求译文与原文的内容相符合。例如:“在农村,特别是比较偏僻落后的农村,还残存着少数包办买卖婚姻的陋习。”其译文为:"In China’s more remote andbackward rural areas, corrupt practices exists inthe form of forced marriages.”中国是一个有着几千年封建社会历史的国家,其语言带有历史的烙印。过去,儿女的婚姻皆听从父母之命、媒约之言,这里所说的“包办买卖婚姻”是封建社会的产物,现代西方人不曾经历过,也不太熟悉。若译成"arranged or bought and sold marriages",既冗长又难懂,没有表达出这种婚姻的强迫性,会造成原文信息功能和表情功能的损失,影响文化交流。碰到这种情况,译者可以只传达原文的主要精神,这里,“包办买卖婚姻”被意译成“forced marria-ges","forced"一词道出了这种婚姻的种种无奈和作者对此种作法所持的否定态度,也容易在西方人心中引起共鸣。至于如何包办、如何买卖并不是原文所要突出的主要信息,而且因其是一种已经消亡的社会文化残余,也没必要强调语言的地方色彩,所以,译者通过意译,较好地传达了原文的主要功能—信息功能和表情功能。再如《走下神坛的毛泽东))(权延赤),其译名为__——Man, Not God。毛泽东是中国人民的伟大领袖,为新中国的创立和建设做出了不可磨灭的贡献,曾受到人们神圣般的爱戴和敬仰。该书从生活而不是政治的角度展现了毛泽东作为一个普通人的性格和经历。如果将译名直译为Mao Zedong Who Walked Down the Shrin。有以下不妥:<1)从信息功能看,译文未全面忠实地传达原文信息,“走下神坛”只是作者采用的修辞手段来强调这位伟大政治家的另一面—人情味,与一般时期中国人民将毛泽东过于神圣化形成对比。然而直译的译文不存在这个意义,因为西方人并没有将毛泽东当神看待,而且由于宗教信仰不同,中国的神也不是外国的神,因此,直译容易引起误解;(2)从美感功能上看,原文文字简练、生动形象,能产生美感效应,若直译的话,译文会太长,语言也会太平淡,失去了美感功能;现在的译文不仅文字简练,对比强烈,也迎合了西方人注重人性和人情味的心里,起到了功能相似的作用。我们都知道,语言与文化密不可分。语言是文化的载体,文化又是语言的土壤。语言是文化的有机组成的部分,而且是极其重要的一部分,它记录着人类文伟的发展,反映社会文明进步成果,是交流、传播、延续好发展文化的工具;但语言也不能脱离文化而存在,总是生产在一定的文化背景中。在语言活动过程中,处处都有文化所谓烙印,时时可见文化的踪迹。当今世界中,正是经济全球化的进程中,信息传播日新月异,人员交流日益频繁,跨文化交际日趋广泛。翻译作为跨文化交际的桥梁正起着不可替代的作用。因为每一种语言都从文化中获得生命和营养,所以我们不能只注意如何将一种语言译成另一种语言,还必须力求表达两种文化思维方式与表达情感方面的习惯。因此,翻译不仅仅是语言文字转换形式,更是不同文化的移植活动,翻译所涉及不仅是两种语言,更涉及两种文化。
总之,语言是传达文化信息的,因而往往含有本民族的文化信息。不过,值得注意的是,语言的文化内涵并非总是一成不变的,而是有浓厚淡薄之别。在不同的语言中,有些言语的“共性”大一些,民族“特性”少一些,有些言语的民族“特性”大一些,“共性”少一些。认识到这一点,我们就可以把握一些原则,使得译语更加地道、贴切,更易于让读者接受。
浏览量:3
下载量:0
时间:
随着全球化的进展,世界各国的文化交流也日趋频繁。胡文仲认为“文化是人们通过长时间的努力所创造出来的,是社会的遗产;价值观念是文化的核心,可以根据不同的价值观念区分不同的文化。”不同文化的人们需要了解他国的图书、音像作品,因此需要将这些文化作品从一种语言转换到另一种语言,即翻译。美国翻译理论家奈特认为,所谓翻译就是指从语言到文体在译语中用最贴切而又最自然的对等语再现原语的信息。因此翻译的本质是将一种语言以最为贴切恰当的对等方式转换成另一种语言。由于文化差异的存在,不同的语言之间的翻译往往是一件非常困难的事情。在一种文化中被人所熟知的事物可能在另一种文化中成为鲜为人知的事情,因此要做到对等翻译需要翻译者对目标语文化具有足够的了解,能够恰当地找到两种文化之间的对等语言。总的来说,中西文化差异对英语翻译的影响主要有以下几点:
宗教文化作为西方国家重要的社会文化和人们日常生活的重要组成部分,已经渗透到西方人们的日常行为习惯和民族风俗等各个方面中去了。宗教是西方人们的精神支柱,宗教文化对英语词汇的影响也是非常大的,英语中的很多词汇和典故都出自宗教中记录的一些民间故事和传闻,例如很多派生词、格言、习语都出自《圣经》。相对应的,在中国汉语文化中也有很多语言文化出自佛教。由于中西文化的差异,具体是宗教文化的差异,商务英语翻译者需要准确了解中西文化的背景,保证翻译的准确性,提高商业活动的效益。
谚语的流传都带有一定的小典故,其中蕴含着浓厚的民族气息,也可能是历史文化或者人物传记演变而来,所以在商务英语的翻译过程中,关于谚语的翻译一定要注意文化差异。关于谚语的翻译有三种方法,下面来一一介绍:to be on thin ice 和burnone’s boats 这一类的谚语可以采用套译法,翻译为:如履薄冰和破釜沉舟;to turn a blind eye to 可以采用直译法,翻译为熟视无睹;to ride one’s high horse 可以采用意译法,翻译为趾高气扬;对于有一定典故的谚语,需要熟悉典故的出处,例如Achilles’s heel 这个谚语,直译过来就是“阿基里斯的脚踵”,然而这样的翻译没有太大的意义,首先我们要了解阿基里斯的出处。在希腊神话里面阿基里斯是一位勇士,从没有被打败过,但是敌人找到了他的弱点,就是他的脚踵,然后通过攻击他的脚踵打败了阿基里斯。所以Achilles’s heel 在中国文化里面,翻译为“致命弱点”。
思维方式即人们思考和认识外界事物的方式,它是人类在漫长的历史发展中所形成的。由于欧美和中国所处地区环境不同,因此而形成的风俗习惯、生活条件各不相同,由此而形成了该语言所特有的思维方式。一般说来,西方人比较重视抽象思维。英语在表达思想时,逻辑严谨,由主到次。如英语句子通常先给出主要信息,然后再介绍辅助信息,如时间、地点等等。而汉语言则是散点思维,表达按照多种关系排列,如时间顺序,因果关系等等。同样,英语重视形式逻辑,即形和,在表达时使用各种形式连接词以表示其连接关系;而汉语恰好相反,“汉语句法结构重意合,句中各成分的相互结合多依靠语义的的贯通、语境的映衬,而少用连接词语”。②例如,“早知今日,何必当初?”翻译过来为“If I had known itwould come to this, I would have acted differently.”。上面的汉语句子是由两个分句构成的而没有连接词,但是从逻辑上是从属关系,因此表达意思简洁明了。而翻译成英语时则使用连接词来表达条件和结果的逻辑关系,这符合英语的形和的特点。
翻译中,人们不仅需要注意词的准确性,而且要了解词的内涵意思,而词的内涵意思又是其所承载的文化所决定的。因此如果不了解目标语言的文化,就有可能在翻译中造成理解错误或者语用失误。例如在美国的大街上可以偶尔看到一辆红色或者黑色的小汽车上面喷涂着“I am yellow”的句子。如果直译过来就是“我是黄色的”。而这样的翻译通常让中国人很困惑,在中国人眼里,说一个人是黄色的代表其低俗与下流。其实美国文化中出租车通常是黄色的,因此yellow通常有出租车的意思。因此正确的翻译应该是“这是出租车”。又如美国文化中涉及到狗的成语很多,狗在美国文化中被视为是人的忠实的朋友,因此涉及到狗的成语一般是褒义的,如a lucky dog(幸运儿),Love me, love my dog. (爱屋及乌),Give a dog a bad name and hang him. (欲加之罪,何患无辞)等等,而狗在中国人眼里一般含有贬义,如走狗、狗仗人势、狂犬吠日等等。又如中国人常说“惧内”为“气管炎”(谐音“妻管严”),因此中国开玩笑中的“他有气管炎”如果翻译成“He suffers from trachEitis”在外国人眼里一点也不好笑,外国人会疑惑的问:“So what? Why are you laughing so hard when heis suffering from tracheitis?”这显然是一种翻译的语用失误。如果翻译成“He is an obedient husband.”虽然可以基本表达意思,但是丢失了原话的幽默。因此如果翻译成“He is a henpecked man.”则会在效果上更加惟妙惟肖。
总而言之,语言是人类交流的桥梁,英语和汉语虽然拥有近似的表达方式,但其表达方式的个性特征却不尽相同。正是这些因素,导致了中西方文化差异,让人们在英语翻译过程中产生了许多错误和困惑。因此我们在翻译过程中必须对与中西方文化差异所导致的风俗与礼仪、思维模式以及文化差异引起的词汇歧义加以考虑,多了解西方的风土民俗、文学艺术、宗教信仰及历史背景,透过语句的表面看本质,以达到更加良好、还原度更高的翻译效果。
浏览量:3
下载量:0
时间:
浏览量:2
下载量:0
时间:
[论文关键词」汉、英习语文化信息错译文化信息欠额文化信息超额直译意译
〔论文摘要」汉、英习语语义的不对应性包括汉英习语指称意义以及联想意义的不对应性。这种不对应性导致习语翻译中出现了三种翻译错误类型:文化信息错译、文化信息欠额和文化信息超额。跨越习语翻译障碍的途径主要有:直译,意译,及直译加注。
习语是指带有浓厚的民族色彩和地方色彩的约定俗成的固定短语或短句,它是一种受文化影响而形成的语言形式,经过千锤百炼,言简意赅,意象鲜明生动,充分反映一个民族的文化特点。
一、汉、英习语语义的不对应性
由于经济体系、社会体系和观念体系差别很大,汉、英习语所包含的文化信息不同,而读者由于受到不同文化背景的影响对习语产生的联想意义的理解也不尽相同。这样就形成了汉、英习语语义上的不对应性或不完全对应性。
1.汉、英习语指称意义的不对应性
中西文化差异可以导致两种不对应或不完全对应的指称意义:译语文化中不存在原语中的指称对象;译语文化中的可比对象与原语中的指称对象有明显的不同。
例如,汉语中的“阿Q精神”和英语中的“Shylock’,分别来自鲁迅的《阿Q正传》及莎士比亚的Merchant of Ven-ice(《威尼斯商人》)。阿Q是“精神胜利法”的典型,受了屈辱,不敢正视,反而自我安慰,说自己是“胜利者”;而“Shy_lock’坝纽是个极度吝音的高利贷者。这两个人物在各自文化中家喻户晓,因此人们赋予了这两个词以指称意义,并在现实生活中加以应用。但是对于其他民族的人们来说,这种指称意义并不存在。
再如,莎士比亚将情人比作夏日:"Shall I compare theeto a summefs day"。对于中国人来说,这是不可理解的,因为与中国的夏日相连的是酷热和骄阳,怎可以用来与世上最美好的事物相比。实际上,英国的夏日不同于中国的夏日,它是温和、惬意的。这是由于中国大部分地区深处内陆,主要是温带大陆性气候;而英国是四面环海的岛国,主要是温带海洋性气候。这就形成了对夏日的不同理解。
2.汉、英习语联想意义的不对应性
中西文化的差异所导致的汉英习语联想意义的不对应性体现在三方面:具有联想意义的指称对象不为另一文化所熟悉;两文化具有相同的指称意义,但一个有联想意义,一个却没有联想意义;两文化具有相同的指称意义,但联想意义不同。
例如,汉语有体现中国传统思想的“不孝有三,无后为大”和“多子多福”等习语,这源于中国的宗族观念、家庭观念非常强烈。对于以个人为中心,家庭观念比较淡漠的西方人来说,这是很难理解的。
再如,“这里没有什么油水了”这个习语,中国人的饮食习惯导致中国人好油,中国人烹饪的大部分菜肴中离不开油,因此油就有了“值得一取的东西”的内涵意义。而对于以英语为母语的国家,人们认为油可以使人发胖,因此他们的饮食以清淡为主。对于他们来说,无论如何也无法将油与“值得一取的东西”联系起来。
在英语中有“as wise as an owl"这一习语,可见猫头鹰在英语民族中是智慧的象征。而在中国文化中,猫头鹰却被认为是不吉利的,认为猫头鹰会带来厄运。这种语义的不对应主要是由于观念体系的差异造成的。
二、习语翻译的错误类型
习语具有强烈的文化特征,是语言的核心与精华。习语翻译实际上是如何在译人语中处理由译出语的习语表现出的各种不同的文化特征的问题。中西文化的差异导致对习语理解上的障碍,以致出现三种翻译错误,产生语义非等值:文化信息错译、文化信息欠额和文化信息超额。
文化信息错译即错误地传达了习语的文化信息,是译文读者对文化内涵习语产生错误的联想意义。例如,有人将“三十六计,走为上策”译为“Of the thirty - six strate-gies, the best is to quit"。如果了解该习语的历史文化背景,就可以知道这种译文是错误的。“走为上策”是计策的名字,是三十六计的最后一计,说的是处在劣势的时候,“走”是上策,并不是说“走”是三十六计中最好的或最高明的一计。正确的译文应该是"The best thing to do now isto quit",
文化信息欠额是指译文没有揭示出原语符号所提供的文化信息。例如,“布衣蔬菜”在中国标志着生活俭朴。但在英美国家,蔬菜并非穷人专用,而是西方医生给饮食过量的百万富翁开的药方。因此,将其译为“wear cottonclothes and eat vegetable food”不能体现出原文所含的文化信息,容易使译文读者对译文产生错误的联想意义,导致理解上的偏差。因此((汉英辞典》(CED)译为“coarse clothesand simple fare"。
文化信息超额则指译文提供了原文所不具有的文化信息。例如英国翻译家David Hawkes在翻译《红楼梦》中刘姥姥说的话“谋事在人,成事在天”时,将其译为“Man pro-poses, God disposes",尽管译语流畅,符合英语行文习惯,然而超出了原语“成事在天”的“天”一词的文化内涵。刘姥姥是中国人,在Hawkes的笔下却成了__徒,显然与原文不符,应该将“God”换成“Heaven",这样,既符合刘姥姥的身份,英语国家的读者也看得懂。(朱耀先,1997:4)
三、跨越习语翻译障碍的途径
1、直译
直译是指按原来的意义和结构直接把原语的词句转换成译语的词句。(周流溪,1995;632)在古典名著《红楼梦》的不同译本中.杨宪益及其夫人所译的译文充分体现了中国的文化特质。如“真是‘天有不测风云,人有旦夕祸福’……”,杨先生将其译为“Truly,`Storms gather without warning in nature. andbad luck befalls men overnight"’,充分保留了源语文化因素,保持了原文想象生动和独特的民族风格。汉语中也不乏外语直接译人的习语,如,"mld way’’(冷战),"Time is money"(时间就是金钱),"a stick and carrot policy"美国的大棒加胡萝卜政策), "All roads lead to Rome"(条条大陆通罗马)。直译可以传播源语文化,并丰富目的语的表达方式。不过需要注意的是.直译时不能生搬硬套,应该做到以不引起目的语读者误读误解为前提。
2、意译
意译即着眼于传达原文意义的翻译。(周流溪,1995)劳陇先生认为,翻译就是意译;维奈和达见尔内提倡的“间接翻译”也即意译。如,“走狗,,可译为“an evil follower"。又如,克林顿在访华的演说辞中曾巧妙地引用了中国的成语“实事求是":seeking truth from facts。翻译,无论是汉译外,还是外译汉,需要意译时,我们必须根据源语民族的文化传统、心理积淀来理解、把握,不能按照自己母语的惯性思维进行类推,否则便会造成误解,导致翻译中出现败笔。
3、直译加注
直译加注的方法在论及翻译方法的专著中很少提及,或未将其作为一种独立的方法列举出来。但是笔者认为,为使文化色彩浓厚的习语由源语进人译人语,并保持音、形、义、美的和谐统一,直译加注的方法不失为一种较佳方法。如,"O heart, lose not thy nature; let nit ever. Thesoul of Nero enter this firm bosom.”(Shakespeare: Ham-let)心啊!不要失去你的天性之情,永远不要让尼禄的灵魂潜人我这坚定的胸怀。(朱生豪译《哈姆莱特》)
“尼禄”是谁?为什么Shakspeare在此用这个词?为了使目的语读者能了解西方的文化,译者在译文中保留了原文的字面意义的同时,用脚注的形式对其加以诊释,即“尼禄,曾谋杀其母”。这一注解诊释了该典故的由来,目的语读者通过此典故的提示,便可以理解Hamlet既恨其母负情负义,却又不愿轼之的矛盾心理。
汉译英的典型例子如:
“难道这也是个痴’(头:又像擎儿来葬花不成?”因又笑道,“若真葬花,可谓‘东施效擎’了……”(《红楼梦》第30回)"Can this be another absurd maid come to bury flowerslike Taiyu?"he wondered in some amusement."If so, shesTung Shih imitating His Shih""…”His Sih was a famousbeauty in the ancient Kingdom of Yueh. Tung Shih was anugly girl who tried to imitate her way, ( A Dream of RedMansions, 1994)(杨宪益译)
四、结束语
傅雷先生在《翻译经验点滴》中说:“译者不深刻理解、体会与感受原作,决不可能叫读者理解、体会与感受—想译一部喜欢的作品要读四遍五遍,才能把情节、故事记得烂熟,分析彻底,人物历历在目,隐藏在字里行间的微言大义才能慢慢琢磨出来。”这正是对文化色彩浓厚的习语的翻译的不易与重要性的高度概括。
我们在翻译习语这一独特的语言形式时,要从语义等值这一标准出发,才能把握好文化信息的传递,解决文化差异的问题。译者必须努力提高自身的跨文化敏感性,不但要有双语能力,还要有双文化乃至多文化的知识,从而在双语交际过程中揭示文化信息,尽可能避免对汉英习语的误解或误译,以适应在不同文化环境中进行有效交际的需要,并将各民族的优秀文化传播四方。
浏览量:2
下载量:0
时间:
浏览量:3
下载量:0
时间:
文化翻译既要考虑历史、社会背景,又要注重那些有同有异,大同小异,同中有异的词语,译者要保持清晰的思维,既要注重文化深层的蕴含,又要了解语言表层含义的异同之处。
今天读文网小编要与大家分享的是:文化翻译与文化“传真”外语翻译相关论文。具体内容如下,欢迎参考阅读:
摘 要:本文阐述了文化、语言、翻译三者之间的关系,论证了文化翻译的理论基础。本文认为:文化翻译是在文化研究的大语境下来考察翻译,即对文化以及语言的“表层”与“深层”结构进行研究,探索文化与翻译的内在联系和客观规律;文化“传真”意指文化翻译的基本准则,即要求译语从文化义的角度准确地再现原语文化所要传达的意义、形式及风格。翻译中“文化传真”度的把握也是本文探讨的重点。
Abstract: The paper studies the theoretical basis of the translation of culture by exploring the relation between culture, language and translation. The translation of culture is discussed in the broad context of research on culture. This includes an analysis of the surface and deep structures of culture and language, and the examination of the internal contact between culture and translation as well as the objective laws pertaining to their interaction. Facsimile of culture refers to the basic criterion of translation, one which requires that the meaning, form and style of the source language be precisely expressed in the translation from the angle of culture. In addition, the paper explores the extent to which a facsimile of culture could be achieved in translation.
关键词:文化翻译;文化“传真”;文化“传真”的度
Key words:Translation of culture; facsimile of culture
论文正文:
文化翻译与文化“传真”
文化翻译是指在文化研究的大语境下来考察翻译,即对各民族间的文化以及语言的“表层”与“深层”结构的共性和个性进行研究,探讨文化与翻译的内在联系和客观规律。
文化“传真”在此意指文化翻译的基本原则。它要求译语要从文化义的角度准确地再现原语所要传达的意义、方式及风格。换言之,就是把原语的“形”、“神”在译语中原计原味地体现出来。由此可见文化“传真”的研究是翻译中的关键部分。翻译之所以不那么容易,乃是因为语言反映文化,承载着丰厚的文化内涵,并受文化的制约。一旦语言进入交际,便存在对文化内涵的理解和表达问题。这就要求译者不但要有双语能力,而且还有双文化乃至多文化的知识,特别是要对两种语言的民族心理意识、文化形成过程、历史习俗传统、宗教文化以及地域风貌特性等一系列互变因素均有一定的了解。正是以上这些互变因素,英汉民族的语言文化体现出各自特有的民族色彩。比如《红楼梦》中有这么一句话“……竟不像老祖宗的外孙女儿,竟是嫡亲的孙女似的。”一般认为,嫡亲的孙儿、孙女的血缘上要亲过外孙、外孙女。王熙凤这句话无疑是指林黛玉气质不凡,就像贾母的孙女一样,借此来讨得贾母的欢心。如果将这句话译成“She doesn’t take after your side of the family, Grannie. She’s more like a Jia.”这样便有贬损贾母娘家之嫌。谙熟中国传统的杨戴伉俪将这句话译为“She doesn’t take after her father, son-in-law of our old Ancestress, but looks more like a Jia.”该译文使凤姐的言外之意表达得贴切到位,把中国这种封建家庭的传统意识忠实地传达给了读者。
有时即便对某成语典故的文化含义有所了解,但在翻译中不能根据语境灵活处理,也有可能达不到“传真”的效果。比如“a dog in the manger”常被直译为“狗占马槽”,但用在下面的两例中似乎就不合适了。
例一:Let me have the skates. You don’t know how to skate. Don’t be a dog in the manger.
译文:把冰鞋给我,你不会滑冰,不要狗占马槽。(此句中划线部分应该译成“不要占着茅坑不拉屎”为妥。)
例二:There you are the dog in the manger! You won’t let him discuss you affairs, and you are annoyed when he talks about his own.
译文:你狗占马槽!你不让他谈你的事,可他讲他自己的事你又恼了。(此句中划线部分应译为“你不干还不让别干!”才达意。)
英汉两民族的宗教信仰不同,自然也会体现在语言方面。英语中出现的文化主要是____文化《圣经》在整个西方文明的形成和发展中起了不可估量的作用。与之相应的是在我国影响极为深远的佛教文化。两种文化在思维习惯上、语言表达形式上,词汇意象和含义上,都有着自己的特色,故翻译时特别要引起注意。例如Hawkes把《红楼梦》中的“阿弥陀佛”竟然译成”God bless my soul”,把上帝拿来代替佛教的无量寿佛,这很可能让西方人以为中国人也信奉上帝。这样的译文大大地削减了中国文化内涵。又如“天诛地灭”这一成语运用“天”、“地”作为最高权力的象征,但它只能适用于深受天道观影响的中国,故不能用反映基督____的”God”取代。某些含异域感情色彩的词语的翻译也是一个难点。
由上可见,“文化翻译”的的确确是在“文化研究的大语境”下做翻译,而文化“传真”是做好文化翻译的关键。
文化“传真”不仅仅指忠实原语,而且是在考虑异域文化的前提下寻求一种最佳的翻译方法。至于什么是它的“度”还没有固定的定规可循,所以如何准确地把握它的尺度还有待译者经过长期的磨砺和探索。笔者拟就双语转换的“度”这个问题从以下三个方面谈谈自己肤浅的认识。
2.1 探究词语的历史、社会背景意义及文化内涵,准确把握文化“传真”
文化翻译既要考虑历史、社会背景,又要注重那些有同有异,大同小异,同中有异的词语,译者要保持清晰的思维,既要注重文化深层的蕴含,又要了解语言表层含义的异同之处。
2.1a 摆脱性忌讳和性压抑的民族心理制约
不同民族的社会风尚,伦理道德的异同,有时也使原文难以予以忠实传译。比如在法国,男女间一旦可以亲吻嘴唇,那就几乎等于可以同床共枕了。所以为了照顾民族习惯,怕有伤使用译文语言国度的风化,法国人在翻译英国小说时,将英国式父女亲嘴改为法国式父女拥抱。显然这是有异于原意的改写,不能达到“传真”效果。
《罗密欧与朱丽叶》中有这么一句话:He made you a highway to my bed, But I, amaid, die maiden-widowed.
受到我国几千年礼教文化干扰的前辈翻译家朱生豪把此句译为:他借你(软梯)做牵引相思的桥梁,可是我却要做一个独守空闺的怨女而死去。此句中的“死”被悄悄地译为得体得多的“相思”,因而产生了经不起推敲的语病。在传统的中国文化中,一个尚未出嫁的闺女怎能直截了当地说出要她的心上人“上我的床”呢?情感、价值观发生了变化的90年代的翻译家方平,冲破了性忌讳和性压抑的民族心理束缚,把此句改译为:他本要借你做捷径,登上我的床,可怜我这处女,活守寡,到死是处女。方译显然更贴近原文的本意。
2.1b 切勿被表层含义所迷惑
例如“骨鲠在喉”是有话要说,非先吐之而后快,而“have a bone in one’s throat”则正好相反,是把骨头卡了喉咙作为不愿说话的借口。又如中国成语“知子莫如父”与美国的成语“It is a wise father that knows his child”似乎形式与意义上都很相近,其实涵义相反。汉语强调父亲最了解孩子:英语却用“It is (a wise father) that…”这种句型来反衬即使父亲也不一定了解孩子。再看下面的谚语:The nearer the bone, the sweeter the meat. 有人把它译成“越是贴骨的肉越香”,那就只会使人想到作为食品的肉类。这仅是对字面表层含义的理解,它真正的喻义是“slim people are more attractive than fat people.”请看下面的例句:
A little skinny … for my taste, but like my ol’ dady used to say; the closer the bone, the sweeter the meat.
译文:就我的眼光来看……瘦了点,不过我老爹常说:愈不长肉愈俊俏。
有些带有宗教色彩的成语也值得注意。例如:Lick/Kiss the dust (《弥加书》第七章第17节)不能冒失地译成“五体投地”或“顶礼膜拜”。该成语深层喻义是“卑躬屈膝,忍受侮辱”,其贬责之意与汉语中的“胯下之辱”略有相同之处。
以上译语例子都是注意了词语表层字面的含义,而忽略了受其文化特性制约的深层意味。
2.1c 把握原文中人物的心理特征和事物的本质特征
形神兼备的比喻在描绘人或物外观的同时,也揭示人物的心理状态的精神实质。它寓神似于形似之中,使形似的比喻更具有实感。例如:He (Prebel) looked at the clock. The big second band was sweeping down like a guillotine. (Pat Frank) 此例中,秒针与铡刀在外在相似点在于其下落迅速,内在相似点在于两物——时间和铡刀——同样无情,正在逝去,而他(Preble) 应下决心的时刻却在一秒一秒地逼近。又如:Beauty is but flower, which wrinkles will devour。外观上,“beauty”和“flower”两者都很美,但最终都会被吞噬,本质上两者具有mortality(必死性)这一特点。
2.1d 找准直译、意译、注释三者的“契合点”,体现原语的文化风貌
例如:There is a mixture of the tiger and the ape in the character of a Frenchman.
a. 法国人的性格混合有老虎和猿的成分。
b. 法国人的性格既残暴又狡猾。
c. 虎恶狐狡,兼而有之,这就是法国人的性格。
以上的译文C是直译和意译融为一体的最佳体现。
又如:It seemed strange that the various editors should permit such redundant flogging of dead donkey, unless perhaps they had a suspicion that after all the donkey might not be quite dead, and wished to make sure.
译文:奇怪的是,还有编辑竟允许一再鞭打死驴——重复已成定论的东西,除非他们也许怀疑驴子可能没有完全断气,想证实一下。(此句中带点的部分意译,其它部分直译。直译保持了原有的表达方式,意译体现其内在含义。)
在美国中篇小说《街头女朗玛吉》中,有一句母亲说女儿的话:An ‘after all her bringin’ –up what I tol ‘her an’ talked wid her. She goes the d’ bad, like a duck teh water. 这里Like a duck to water是个很贴切的比喻,很容易被中国人接受。于是孙致礼先生把全句译为“我生她养她,叮咛来嘱咐去,她还是去做那伤风败俗的事儿,跟鸭子下水一样有瘾头。”这样的形象直译,即保持了异域文化色彩,又给人耳目一新的感觉。
还有些英语成语引喻了《圣经》中的人物。如果采取直译加注的话,就能把原文的喻义如实地展示出来。例如:as old as Methuselah, as rich as a Jew, as wise as Solomon。玛士撒拉(Methuselah)是《圣经》中以诺之子,据说享年969年;古代犹太人多因高利贷盘剥蓄财,犹太人(Jew)就成了富人的代名词;所罗门王(Solomon)是《圣经》中记载的古代以色列王,以智慧著称。
直译有时能保持原文的生动形象,补充或丰富汉语词汇,使译文新鲜有力,该译法在政治用语上尤为多见,如:Lame duck——跛鸭(即将卸任而未重新当选的官员);Dark horse——黑马(原来不为人知,意外取胜的候选人或选手);a stick-and-carrot policy——大棒加胡萝卜政策,等等。这种直译法首先应该考虑在汉语能够接受的前提下进行。
2.1e 留神带有异域感情色彩词语的翻译
不同的民族对一些具有文化义的动、植物词以及季节词的属性和特征的认识往往有异同之处,故而产生了丰富的联想,并出现了许多既有共性又有个性的隐喻现象,使英汉语中的某些词语产生了褒贬、好恶、悲欢等浓郁的感情色彩。
英汉习俗差异最典型的莫过于对某些动物的态度及其深层的文化内涵。中国人十分喜爱猫,用“馋猫”比喻人贪嘴,常有亲昵的成份。而在西方文化中cat“猫”被用来比喻“包藏祸心的女人”,在中国人的心目中“山羊”是个褒意词,而英国人却视“goat”为色鬼,淫荡的人。莎剧《罗密欧与朱丽叶》第二幕第四景中Mercutio讥讽老乳母为娼妓时,用了hare一词:
Romeo: What has thou found?
Mercutio: No hare, sir.
梁实秋先生把这段话译为:
罗:你发现了什么?
墨:倒不是野鸡,先生。
hare本为野兔,俗语是娼妓之意,相当于汉语中的“野鸡”。“野兔”变成了“野鸡”,恰好又与“野妓”谐音双关,真可谓译到好处。
汉语中某些植物词喻意也很深刻。“杨柳”可喻“风尘女子”、“轻浮、无情的女子”以及妓院等,如“水性杨花”、“花街柳巷”、“寻花问柳”等。英语的willow却是悲伤命运的象征。柳树的形象在莎士比亚的戏剧中,是和奥菲莉和黛丝泰蒙娜的悲惨命运联系在一起的,黛丝泰蒙娜在离开人世之前唱的正是柳树之歌。
中国文化往往将“悲、凉、伤、愁”与“秋”连在一起。秋风一起,凉意顿生,便有“逢秋悲寂寞”,生出许多“幽怨悲愁”的情愫,如:蒋士“泪与秋河相似,点点注天东”;欧阳修的“夜静风竹敲秋韵,万叶千起皆是恨”等名句。而英语的autumn却正好相反,它不仅没有“愁滋味”,而且常与“宁静的秋日情调”联系在一起,如“秋语、秋蛩”等;“秋声”也常有欢乐之意。在翻译中对这些色彩词语得仔细斟酌,不留意便会出现“文化失真”现象。
2.2 不要给“洋人”穿上“长袍马褂”,原汁原味地体现文化“传真”
鲁迅先生在谈翻译时特别强调要注意异国情调,也就是所谓的洋气。此处“洋气”是指保存原语所蕴含的异域文化特色,不要使英语说法带上特有的中国色彩。
2.2a 字面翻译有时优于意译
例如:as gentle as a lamb(像羊一样温和),as gay as a lark(像云雀一样欢跃),as proud as peacock(像孔雀一样骄傲),as ugly as a toad,(像癞蛤蟆一样丑陋),as hard as flint(像燧石一样坚硬),as like as two peas(像两颗豆一样相像)。这样处理既传达了形象,又为译文增添了异国风情。
当然刻意追求“洋味”和“形象”有时也适得其反。
例如:With determination, with luck, and with the help from lots of good people, I was able to rise from the ashes.
译文:凭着我的决心,我的运气,还有许多善良人们的帮助,我终于得以东山再起。(此译文中舍去了凤凰焚身的形象。倘若一味强调原文的“形象”和“洋味”,直译为“我终于人灰烬中获得新生。”那就使人不知所云了。)
2.2b 避免把汉语鲜明的民族或地方色彩强加到译文中去
例如:英语成语(a region) flowing with milk and honey 来自《圣经》,牛奶和蜂蜜是西方人熟悉的食品,这一成语如译成汉语的“鱼米之乡”,虽然意思相近,但未免有些不伦不类了。故还是译成“物产富饶之地”比较合适。又如:When Greek meet Greek, then comes the tug of war.此谚语源自古希腊城市对马其顿国王腓及亚历山大的顽强抵抗,以后常用来说明两个勇士或两支勇敢的军队发生战斗时,打斗激烈的场面。有人把它译成“张飞遇张飞,杀得满天飞”。此句中张飞是我国的历史人物,在英国并无其人,故不宜在译文中出现。此句译为“两雄相遇,其斗必烈”更彼具“原味”些。
2.2c 注意“洋味”中“土气”的处理
英译汉时不仅要保持译文中的“洋味”,而且还要特别注意“洋味”中的某些“土气”,即那些通过语法或语音变异所表现的不规范语或者俚语。这种表达法可以用来渲染人物的个性,体现人物的文化层次以及所处的社会地位等。比如:
“I kept it from her after I heard on it,” said Mr. Peggotty, “going on nigh a year. We was living then in a solitary place, but among the beautifullest trees,…”
“起那时俺听了消息后,”辟果提说:“瞒着她快一年了。俺们那时呆的地方挺背,前后八方的树林子说不出的最漂亮,……”
原文辟果提先生的话错误百出,说明他所受的教育不多,不是上流阶层的人物。译文尽可能地把表层结构的这一特点做了如实传达。假如把译文中划线部分改为“我听到那消息后”,“我当时住在一个僻静的地方,周围有十分美丽的树……”这种译文虽然通顺,但有悖于原文,原有的“土气”已丧失,不利于再现辟果提说话的口吻与神态。又如《苔丝》中有这么一句话:
“O no-I wouldn’t have it for the world!” declared Tess. “And letting everybody know the reason-such a thing to be ashamedo’!”
“不能,俺豁着死了,也不能那么办!”苔丝骄傲地大声说。“这样的事情要是让别人知道了,还不得把人臊死吗?”
母亲叫苔丝找一个跟她跳舞的男伴陪她上集去卖蜂窝。苔丝觉得这样不成体统,坚决不答应。原文中for the world表示强调,to be ashamedo是不规范的语言,张谷若先生的译文使用“豁着死了”和“把人臊死”等俚语,不仅同原句语体相贴,而且符合农村姑娘的语体口吻;同时也把苔丝淳朴、善良、羞涩的性格呈现在读者面前。
2.3 恰当使用汉语中的习语和规范语,以最佳的方式展视文化“传真”
文化翻译实践的过程,可以说是对原语文字与文化内容进行深刻剖析,得其义,悟其神,然后用锤炼过的译语文字将其表达出来的过程。译语不仅要保持前面所说的“原味”,而且必要时还要具有“本土味”,即采用规范的汉语和被中国人接受的习惯表达方式,否则同样也达不到“传真”效果。
2.3a 具有本土味的表达法
例如:The man is the black sheep of family.
如果把该谚语译成“那人是全家的黑羊”便会使人觉得莫名其妙,不知究意是何含义。该译文有两处错误:一是喻体在中国人心中的形象不明确;二是本体和喻体的相似点没指出,若把划线部分更换成“害群之马”,喻意就一目了然了。
还有些成语要转换喻体才能被汉语接受,比如a lion in the way(拦路虎),like a hen n a hot girdle(像热锅上的蚂蚁),The leopard cannot change his spots(狗改不了吃屎)等等。
语言的相互借鉴可丰富两种语言的表现力。汉语中已融入了许多由英语直译过来的“洋味”很浓的词语。从英文的角度来说,西方人也乐意收集一些他们没有的异域表达法。比如“像同一个笼子里的公鸡”直译成英文like two cocks in the same cage是能被英美读者接受的,如再加上一句地道的英文you’ll see the flying feathers, 中文的含意是“肯定会血战到鸡毛横飞”,那么就更加形象逼真了。又如“竭泽而鱼”是译成to drain the pond in order to get all the fish,还是采用对应英文的成语to kill the goose that lays the golden eggs为好,笔者认为前者更为贴切。虽然它表面上似乎丢失了一点“洋气”,但能体现该成语那具有浓郁汉语特色的“本土味”。
2.3b 尽量使用规范的汉语,注意译语中的“神韵”
比如Studies serve for delight, for ornament and, for ability(培根的Of Studies一文的第一句话)译成“读书可以使人们从中获得愉快的感觉,可以增添光彩及增长才干”,其意思虽然同“读书足以怡情,足以博采,足以长才”(王佐良译)无大异,但与原文相比,神韵味道尽失,而且还破坏了原文表层结构的三项式排比特点。
汉语的四字结构把各种语言要素和表现手段凝为一体,结构严整,蕴涵丰富,如能在译文中恰当使用,将会收到难得的修辞效果。
例如:I suppose he will be awfully proud, and that shall be treated most contemptuously. Still I must bear my hard lot as well as I can…
译文:我猜他准是傲气凌人,不把我放在眼里,我有什么办法呢?只能逆来顺受了……(《名利场》)。(在该句中“凌人”是原意的引申,“逆来顺受”和bear my hard lot基本上同义,如译成“忍受我苦难的命运”则大为逊色。)
综上所述,要准确地把握好翻译中文化“传真”的度,就必须考虑这三个要素:不同语域的民族文化传统、文化内容和文化心理。从宏观上,译者要了解文化的蕴含、翻译的基本理论及技巧,在微观上要仔细观察以上“三要素”的差异并且加以对比和分析,从而找出“文化失真”产生的原因。总之,只有在考虑异域文化的前提下把“信、达、雅”融为一体,使译文“神、形”并茂,这样才能确保文化“传真”的实现,才能真正地做好文化翻译。
浏览量:4
下载量:0
时间:
浏览量:2
下载量:0
时间:
浏览量:2
下载量:0
时间:
浏览量:2
下载量:0
时间:
浏览量:3
下载量:0
时间:
直译与意译是归化和异化讨论的源头,不少学者常常把它们放在一块来讨论。今天读文网小编要与大家分享的是:跨文化视野中的异化/归化翻译相关论文。具体内容如下,欢迎参考阅读:
[摘要]最近,翻译界对归化和异化的讨论很多,散见于国内的各种外语类学刊,〈中国翻译〉2002年第5期还专辟一专栏来讨论这一问题,这些文章大大推动了“归化”和“异化”的研究,但这些文章更多是停留在语言研究的层面,本文将从跨文化的角度来探讨文学翻译中的异化现象。
[关键词]归化;异化;翻译;跨文化;后殖民主义
[论文正文]
跨文化视野中的异化/归化翻译
近年来,国内的外语类学刊发表了不少有关归化和异化的文章,这些文章努力将西方文学批评和比较文学理论中关于归化和异化的讨论运用于翻译理论和实践之中,有的文章高屋建瓴,从文化的角度对直译和意译作出概括,还有的文章运用关联理论来寻求归化和异化的最佳关联点,这些文章从不同的角度拓宽了归化和异化的研究。
但归化和异化翻译的讨论仍存在一些误区,最明显的是将归化与异化翻译等同于直译与意译,将文学策略和文化的意识形态同语言的策略和翻译的技巧等同起来,从而将关于归化和异化的讨论拉回到传统和经验的讨论之中,这样做有碍归化和异化翻译研究的发展。《中国翻译》2002年第5期有王东风和葛校琴等的文章,探讨“归化”和“异化”翻译的研究方向及存在的问题,是归化和异化翻译研究的新成果。本文将从跨文化的角度来探讨翻译的归化和异化问题,
直译与意译是归化和异化讨论的源头,不少学者常常把它们放在一块来讨论。王东风在“归化与异化:矛与盾的交锋”一文中就对它们作了比较深入的探讨。文章开门见山地指出,“归化与异化之争,是直译与意译之争的延伸,可谓由来已久。”但他没有将它们简单地归于一类,而是指出:“归化和异化可看成直译和意译概念的延伸,但并不完全等同于直译与意译。… 如果说直译和意译是语言层次的讨论,那么,归化和异化则是将语言层次的讨论延续升格至文化、诗学和政治层面。也就是说,直译和意译之争的靶心是意义和形式的得失问题,而归化和异化之争的靶心则是处在意义和形式得失旋涡中的文化身份、文学性乃至话语权利的得失问题。”(王东风,2002:24-25)笔者基本上赞同上述观点,并就直译/意译与异化/归化翻译补充一点自己的看法。
在谈到直译和意译时,人们常常用英文词语literal translation 和free translation。此时人们关心的是语言层面的技术处理问题,即如何在保持原语形式的同时,不让其意义失真;而意译则认为语言有不同的文化内涵和表达形式,当形式成为翻译的障碍时,就要采取意译。还有人提出形合与意合来与直译和意译对称。在中国的翻译史上,赞成直译和意译的均有人在,初期佛典翻译中的文质说,唐代玄奘的“求真”与“喻俗”,近代有严复的“信达雅”及鲁迅的“宁信而不顺”与赵景深的“宁顺而不信”等,都是从直译和意译的角度来探讨翻译的原则。
我们并不反对将直译/意译同归化/异化翻译放在一块讨论,但我们应该注意到它们之间的相似和差异。以往,归化/异化翻译同直译/意译的相似性讨论的多一些,但它们之间的差异就没有得到充分的讨论。直译和意译是翻译的两种主要的方法,它们并非是排斥性的,相反,它们是互补性的。在同一翻译中,直译和意译都可能有。文体也有关系,在有些文体中,意译会多一些,而在另一些文体中,直译可能会多一些。关于直译和意译的讨论,译界已基本上达成共识。直译和意译不等同于有些人所说的死译和胡译。鲁迅和其弟周作人的直译作品《域外小说集》曾招来许多的批评,被视为直译的代表。
一些学者谈到鲁迅,必将提到他的翻译主张“宁信而不顺”,而忽略了其他。其实,鲁迅关于直译的真正含义是他在《且介亭杂文二集》的“题未定草”中所说的:“凡是翻译,必须兼顾两面,一当然力求其易解,一则保持原作的丰姿。”可见,鲁迅并非不要顺,只是在两者不可兼得之时,才宁取信而舍顺。鲁迅的“硬译”,决不是生搬硬套,也不是逐字翻译,而是在引介外国进步文学作品的同时,努力输入新的表现方法来丰富汉语的句法与语汇。“易解”与“丰姿”才是鲁迅关于直译的真正内涵。
那么,周作人又是如何看待直译呢?1925年周作人在其“陀螺序”中提到:“我现在还是相信直译法,因为我觉得没有更好的方法。但是直译也有条件,便是必须达意,尽汉语力所能及的范围内,保存原文的风格,表现原语的意义,换一句话说就是信与达。”什么样的翻译是死译和胡译呢?周作人用了两个很有趣的例子。如英文的“lying on his back”, 如果译成“卧在他的背上”便是死译,如果译成“坦腹高卧”便是胡译,它的直译应该是“仰卧着”。当然,我们今天偶然还能看到少数关于直译和意译的讨论,但有新见者鲜寡。
翻译的归化/异化(domesticating translation and foreignizing translation)是在1995年由美国学者L. Venuti(文努迪)所提出的,而这一术语又直接来源于德国学者Schleiermacher (施莱尔马赫)1813年宣读的一篇论文。Schleiermacher着重探讨了翻译与理解之间不可分割的关系,指出翻译有两种情况,一种是让读者靠近作者,另一种是让作者靠近读者。如果让读者靠近作者的语境,他就能感受到异国的情调。在这儿, Schleiermacher使用了foreign 一词。[1] 根据上述两种翻译情况,Schleiermacher提出了以作者为中心的译法和以读者为中心的译法,这一做法突破了传统的直译和意译的界限,对后来的学者产生了很大的影响,Venuti的异化/归化观无疑受到Schleiermacher理论的启发。不过,Schleiermacher的理论是基于德国的阐释学之上,而Venuti却将Schleiermacher的论点放在后殖民的语境下来考察, 从而得出了异化的翻译主张。
Venuti为什么十分青睐异化的翻译呢?我们可看看他在《翻译再思》一书中的一段话。他十分欣赏布朗绍的名言:“翻译是纯粹的差异游戏:翻译总得涉及差异,也掩饰差异,同时又偶尔显露差异,甚至经常突出差异。这样,翻译本身就是这差异的活命化身。”在他看来,差异在翻译中被弱化的原因有二:
首先,长久以来,翻译的讨论被遮蔽了,它在目的语坐标的价值体系中处于边缘化地位,差异非但没有活现,反而处于融化的过程之中。
其次,英国和英语的价值标准,在战后形成了全球性的优势,从而更加确定了英美国家主义文化的语境。这种语境只接受在意识形态上符合英美文化的意识形态的外语文本。正是在这样一种背景下,归化的翻译为了迎合接受者的口味,总是依照译入语的特定的政治、文化、意识形态的规范对译入文本进行调整,弱式文化只得听从英美文化的摆弄,成为殖民者进行文化殖民的工具。(参见Venuti 1992)
近十年来的有关归化与异化的翻译讨论,是以1987《现代外语》上登载的论文“归化----翻译的歧路”而开始的。然而,该文作者可能不曾料到异化与归化会作为一对新的理论范畴而得到广泛的讨论。西方学者讨论的归化与异化这一对术语并非是互补的,而是相互排斥的。美国学者Venuti在讨论异化翻译时,对归化翻译的策略作出了描述:遵守目标语文化当前的主流价值观,公然对原文采用保守的同化手段,从而达到让译文符合本土典律、出版潮流和政治的需求。归化翻译的最大特点就是采用流畅地道的英语进行翻译,在这类翻译中,翻译者的努力被流畅的译文所掩盖,译者为之隐形,不同文化之间的差异也被掩盖,目的语主流文化价值观取代了译入语文化价值观,原文的陌生感已被淡化,译作由此而变得透明。
从后殖民理论吸取营养的异化翻译策略则将归化翻译视为帝国主义的殖民和征服的共谋,是文化霸权主义的表现。所以,Venuti提倡异化的翻译策略。根据这一策略,译者和译语读者在翻译的过程中努力摆脱来自强势文化的羁绊。异化翻译并不应理解为对应的翻译,它并不能提高译文的忠实性。后殖民学者Robinson认为异化翻译与直译和逐字翻译相关联,只是没有直译那么极端,因为他们并不坚持在翻译中恪守原文句法序列中的个别词语的意义,但却坚持要保留原味。(参见王东风,2002:26)在异化翻译中,新的东西可能会加进去,从而达到凸现译者的身份,提高翻译的地位,并且对翻译的文化霸权进行有力的回击。
可见,西方学者的归化/异化翻译是处于政治意识形态中的两个对立的概念,处在话语权利的两个极端,它们不存在调和或妥协。这与我们前面讨论的直译/意译明显不同。但我们很多的讨论是把它们当作对等的概念来对待的,这样做,可能会带来理论上的误解和实践上的困惑。
在英汉语中,异化与归化的内涵究竟有多宽?这是我们在研究和讨论归化/异化与直译/意译时得注意的问题。归化/异化翻译的英文表达是domesticating / foreignizing translation,它虽然和我们今天探讨的free translation / literal translation有某些相同之处,但就其本质而言,存在明显的差异。当我们说直译/意译和形合/意合,前者是方法,后者是结果,如果我们再说神似和形似,则是对这一结果的描写。归化/异化与意译/直译却是两个不同的范畴,犹如两个圆,其边缘只有小部分重叠。异化/归化翻译的结果不能用形似和神似来描述。异化和归化是一种策略,在实践中,直译、改译、增译等方法都可能被采用。作为一对专有翻译术语, Foeignizing translation / domesticating translation只是在最新的英文学术著作中得到阐述。而free translation / literal translation 则不然。“看一个翻译是归化翻译还是异化翻译,完全取决于文化形态的重构,翻译在这一形态中得到生产和销售;什么是归化或异化只有在考虑到改变译入语文化的价值关系时才能得到界定。”[2](Mona Baker, 1998:243)
“当前在对‘归化’问题的认识上,译界同仁应该区分归化法的两种前提:一是忠实原则下的归化,二是非忠实前提下的归化。前者总体上是规定性的,后者则是描述性的;前者是原语中心论的,后者则是译语和译语文化取向的。”(葛校琴,2002:33)这一区分基本上是对的。然而,我们还可对它们的性质作出区分:忠实原则下的归化是语言层面的,关心的是翻译的艺术效果,是一种翻译的方法;非忠实前提下的归化是文化层面的,关心的是翻译的意识形态,是一种翻译的策略。至今我们讨论的翻译研究存在两种不同的异化和归化,第一种是Venuti的术语,已在在前面提到,另一种是一些中国反复使用的归化/异化,笔者用英文的assimilation(adaptation)和adaptation来指代它们。异化和归化翻译表现为文化的思考,从翻译的意识形态看其对文学乃至文化产生的影响,属于文学批评和哲学范畴。带有后殖民的解构意义的异化一词运用到翻译之中是近几年的事,反映在翻译实践上,主要体现为以书写符号为表现形式的文学翻译。
西方学者用一个图表来大致显示Jerome对不同性质的翻译所作的区分[2],根据当前关于翻译的归化/异化讨论,笔者同样想借用两个图表来揭示它们之间的差异:
1.(If translation is carried out on the dimension of linguistics
2. (If translation is carried out on the dimension of cultural studies)
上述图表说明了传统意义上的异化/归化和现代意义上的异化/归化具有不同的功能与目的,在汉语中我们用同样的词语来表示它们,但在英语中,语言层面的归化/异化是用assimilation (adaptation) / alienation来表达的,而文化层面的归化/异化是用domesticating/ foreignzing来表达的。当然,我们也可象处理文化一词一样,用首字母大写的Domesticating/ Foreignzing来指作为文化策略的归化和异化,用首字母小写的domesticating/foreignizing来指当今文化层面上的直译。小写字母的归化/异化是意译/直译的延伸与发展,而大写字母归化/异化是意译/直译的革命,开拓了翻译研究的新的领域。
国内学者将归化/异化和直译/意译等同的现象在葛校琴文章中得到了讨论。葛在探讨这一对概念时有一个前提,即在抛开归化/异化的当下语境,而且根据的是字面意思。
归化/异化的两种翻译倾向自有翻译以来就经常交锋,在上一个世纪,有围绕鲁迅的“硬译”而展开的洋化与归化之争。在此以前,严复、林纾、梁启超等人的翻译,均可视为归化的翻译。“鲁迅的‘硬译’及他的翻译思想是出于他‘反对封建主义,改造国民性’的理念。但鲁迅的意图招致了误读,‘硬译’的倡议最终淹没在归化论的喧嚣声中。后来傅雷的‘神似’论、钱钟书的‘化境’说可以说都是归化论的延伸。
可见,归化/异化的讨论往往都是归化论占上风,虽说大家都赞成要保留洋味。”(葛校琴,2002:33)葛文是针对国内兴起的新一轮归化/异化讨论而来的。因为在这次关于异化/归化的讨论中,人们几乎“一边倒地认为翻译应该提倡异化”。
客观地说,葛的提醒不无道理。但笔者觉得葛所提醒国内有关归化/异化翻译学者的问题,要辨证地对待。我们的一些学者在响应西方学者提出的归化/异化翻译主张的同时,提高了欧化翻译即当年鲁迅所提倡的并受到梁实秋等人诘责的“硬译”的地位。当年鲁迅曾希望翻译能够给传达新思想,并为中国的语言引进新的表现形式,从而给中国文化输入新的血液,带来新的生机。遗憾的是,在上世纪,归化/异化的讨论往往都是归化论占上风。虽然我们不能排除今天的一些学者存在理论上的误读,即他们希望接受Venuti等西方学者的观点,但在实践上却未能得到很好的贯彻,但他们的呼吁和实践却创造了异化/直译的前所未有的大好局面,使翻译研究从过去的语言层面上升到文化的层面,直译的方法得到广泛的认可。
所以,我们要辨证地对待这一问题。首先,我们对西方的归化/异化翻译策略要有更多的评介,如果理论上浅尝辄止,我们的研究的可行性就会大打折扣;其次,位于语言文化层面的异化/归化讨论是可以接受的,但这些研究不应该脸谱化,带个面具,放进一些例句,就把文章写出来了,这样做,无疑会降低翻译研究的学术地位。再其次,异化/归化策略的讨论如何能同翻译的理论与实践结合的更紧一些,这可能是翻译理论建设中的一个重要课题,我们不仅要从传统的翻译理论上考虑,还要从跨学科角度去考虑翻译理论的建构,惟有如此,我们的翻译研究才能不断保持生机勃勃。
异化与归化的翻译策略的讨论没有结束,还会继续下去,我们应从跨文化的视野去思考异化/归化问题,这样,它的影响才能得到充分的体现。我们可以肯定,这一讨论,不仅对翻译研究,对文化人类学、社会学、比较文学等都将产生积极的影响。
[1] Schleiermacher 的原语是:The translatora can either leave the writer in peace as much as possible and bring
the reader to him, or he can leave the reader in peace as much as possible and bring
the writer to him. (Schleiermacher, 1838:47, as translated in Wilss, 1982:33)
‘Bring the reader to the original text’ would correspond to requiring him to
process the translation in context of the original; ‘[The translator] thus tries to
transport [the reader] to its location, which, in all reality, is foreign to him.’
(Schleiermacher, 1838:219, as translated in Wilss, 1982:33)
[2] 黑体系作者所加。
[3] 在Mona Baker 主编的《翻译学大词典》中,Jerome关于直译与意译关系的描述是通过下图来表现的:
1. (If free translation is not bad translation)
2. (If free translation is no translation)
[4] 不过,Gentzler 认为,Venuti的理论与后现代主义比较更显得现代派一些,他的理论的转向仍旧根植于若干世纪来的“忠实”与“意译”翻译的争辩之中。参见Gentzler,Contemporary Translation Theories, Revised 2nd edition, Multilingual Matters Ltd. 第41页。
浏览量:2
下载量:0
时间: