翻譯文本描寫(xiě)

翻譯文本描寫(xiě)翻譯研究所廖七一1ContentsMajorpointsofDTSHypotheticalSchemeFromtheperspectiveoftranslationprocessFromNewmark’stenpullingsFromCrystalandDavid’sdimensionsFromliterarycriticismTheobjecttobedescribedApproachestodescription21.MajorpointsofDTS“Noempiricalsciencecanmakeaclaimforcompletenessand(relative)autonomyunlessithasaproperdescriptivebranch.”(Toury1995:1)Translationistherealcommunicativeeventsneithermoreorlessthanotherlinguisticeventsintheworld.3TypeofrelationshipCriterion(orTypeofcondition)AppropriateVerbsBranchofTranslationStudiespossibleTheoreticalCan(undercertaincircumstancesTranslationtheoryexistingempiricalisDTSrequiredAprioriShouldbeAppliedtranslationstudies41)EmpiricalDescriptivetranslationstudiesisto“describethephenomenaoftranslatingandtranslation(s)astheymanifestthemselvesintheworldofourexperience.”Translation(s)andtranslatingcouldbedescribedobjectively;atranslatorisamoderndoctor,insteadofawitch.52)Value-freeandimpartialityAtranslationistakentobe“anytarget-languageutterancewhichispresentedorregardedassuchwithinthetargetculture,onwhatevergrounds.”Translationistaken“asitis”,“whatatranslatoractuallydoes?”insteadof“itshouldbe”,or“whatatranslatorcando,orshoulddo”.63)systematicandglobalThefocusisnotpersonal,idiosyncraciesoranecdotalismbutsystematicism;notlocalbutglobal,notaparticularpieceofwritingbutacorpusoftranslatedtexts.74)TargettextorientedThetranslatorsoperatefirstandforemostintheinterestofthecultureintowhichtheyaretranslating,andnotintheinterestofthesourcetext,letalonethesourceculture.DTSshouldstartfromthehypothesisthattranslationsarefactsofonesystemonly:thetargetsystem.8Descriptivetranslationstudiesisatarget-orienteddisciplineconsistingof“carefullyperformedstudiesintowell-definedcorpusesorsetsofproblems.”(Toury1995:1)95)FunctionsDTSconstitutesthebestmansoftesting,refuting,andespeciallymodifyingandamendingtheverytheory…toexaminesuchareasasdecision-making,translationnormsthethirdcodeanduniversalsoftranslation.102.HypotheticalSchemeauthor1text1Reader1Author2text2reader2Author1’Text1’Reader1’Author2’Text2’Reader2’(Literary)System1(Literary)System2≌11Allrelationsintheschemedeservetobestudied:T1—T2(theoriginalanditstranslation)A1—A2(betweenauthors)R1—R2(betweenreaders)12A1-T1A2-T2(authorialintentionsinthesourceandtargetsystems,andtheircorrelation)T1-R1T2-R2(pragmaticsandreceptioninthesourceandtargetsystems,andtheircorrelation)A1-A1’,A2-A2’(situationoftheauthorinrespectofotherauthors,inbothsystems)≌≌13T1-T1’,T2-T2’(situationofboththeoriginalandthetranslationastextsinrespectofothertexts.)R1-R1’,R2-R2’(situationofthereaderwithintherespectivesystems)(Literary)System1--(Literary)

System2)(relations,whetherintermsofconflictorharmony,betweenbothsystems)14Thetextcomparisonwillleadtoquestionslike:1.DoestranslatorYalwaystranslateaccordingtotheserules?Ifnot,canweexplaintheexceptions?2.Doeshewritehisown“creative”workaccordingtothesamerules?Ifnot,why?3.Doeshe,inhis“creative”workorinhistranslations,behaveinthesamemannerashisfellowtranslators?154.Doesheshowaconsciousawarenessofrules,norms,models?Doeshetheorizeaboutthem?Ifso,arethereanyconflictsbetweenhistheoryandpractice,orbetweenhisowntheoriesandthoseofothers?Onwhichpoints?165.Ishisworkasatranslatormoreinnovatory,orlessso,thanhis“creative”writing?6.Arethereanyconflictsbetweenthetranslationalnormsandthenormsandexpectationsofthereceptororaudience(critics,readers)?17STTTATDETTCATTNCRDescriptivebasisofevaluationEvaluativemomentCriticalmomentST,TT=sourcetext,targettextAT=adequatetranslationDE/TT=descriptionofthetargettextN/CR=normofthetranslationcriticCA/TT=criticalaccountofthetargettext(review)comparison18原作者

3.Fromtranslationprocess1原文文本

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19一、原作者性別、國(guó)別、民族、教育程度、政治傾向、藝術(shù)觀、年齡、語(yǔ)言（母語(yǔ)）20二、原文本1、文類(lèi)（genre）：長(zhǎng)篇小說(shuō)、短篇小說(shuō)、散文、詩(shī)歌（具體分類(lèi)）、戲劇、兒童文學(xué)2、描寫(xiě)內(nèi)容：政治、愛(ài)情、現(xiàn)實(shí)主義、浪漫主義、超驗(yàn)主義3、出版信息：發(fā)表年代、刊載期刊、出版社、發(fā)行量、接受、傳播、影響等21文體特征1、語(yǔ)言：平實(shí)、優(yōu)美、艱深；詞頻、方言（階級(jí)與地域）、個(gè)性語(yǔ)言、正式程度、口語(yǔ)與非口語(yǔ)化傾向、句子結(jié)構(gòu)（類(lèi)型）、句子平均長(zhǎng)度2、文體類(lèi)型：敘述、描述、說(shuō)明、譯論；3、功能類(lèi)型：表情、信息、呼喚、美學(xué)、元語(yǔ)言22三、譯者外語(yǔ)教育背景、外語(yǔ)水平、翻譯經(jīng)驗(yàn)、翻譯成就、翻譯思想、翻譯動(dòng)機(jī)、翻譯過(guò)程23四、贊助人翻譯指令、贊助形式、贊助額度、與譯者關(guān)系、社會(huì)聲譽(yù)、體制內(nèi)地位、與主流意識(shí)形態(tài)的關(guān)系24五、譯文文本所根據(jù)的原文本版本、與原文本的差異（語(yǔ)言、類(lèi)型、功能）、與本土原創(chuàng)文的關(guān)系、出版過(guò)程、發(fā)行數(shù)量、接受與傳播25六、譯文讀者讀者群體、教育程度、接受習(xí)慣、審美情趣、經(jīng)濟(jì)狀況、政治地位、閱讀目的26七、翻譯策略直譯、意譯、改寫(xiě)、節(jié)譯……翻譯單位、句子結(jié)構(gòu)（長(zhǎng)短、繁復(fù)、對(duì)仗）、語(yǔ)言表達(dá)形式（白話(huà)、文言、古奧、淺白、儒雅、方言）、對(duì)等類(lèi)型、文化負(fù)載詞匯處理、修辭格的表現(xiàn)、文本形式的傳譯274.DescriptiveMethods什么才算得上真正的、地道的文本分析和描述呢？簡(jiǎn)單地說(shuō)，一定要從文本的表層深入到文本的深層，從而發(fā)現(xiàn)那些不能為普通閱讀所把握的深層意義。以下是幾種主要的描述方法：281、“新批評(píng)”，“新批評(píng)”的方法很基礎(chǔ)，但也很實(shí)用，即從文本中“細(xì)讀”出那些語(yǔ)言的非日常化運(yùn)用，如“反諷”、“張力”等?！凹?xì)讀”現(xiàn)在已成為包括各種文本分析在內(nèi)的一個(gè)基本功?！靶屡u(píng)”對(duì)詩(shī)與短篇小說(shuō)等文本的分析，特別有用。對(duì)于長(zhǎng)篇小說(shuō)則要結(jié)合敘述學(xué)的分析才容易提綱挈領(lǐng)。292、敘述學(xué)的分析方法，主要是故事分析（包括故事序列分析，故事類(lèi)型分析等等），與敘述視角分析（包括敘述者的人稱(chēng)、位置、可信度；敘述者的聲音、敘述的速度等）。當(dāng)然，敘述學(xué)也同樣關(guān)注人物的話(huà)語(yǔ)分析，看他說(shuō)的話(huà)是直接引語(yǔ)還是間接引語(yǔ)，亦或是自由間接引語(yǔ)。因?yàn)閿⑹鰧W(xué)、符號(hào)學(xué)等都是建立在語(yǔ)言學(xué)基礎(chǔ)上的，所以分析一篇小說(shuō)就猶如分析一個(gè)句子，人物相當(dāng)于主語(yǔ)，人物的行動(dòng)相當(dāng)于謂語(yǔ)，而人物的品質(zhì)則相當(dāng)于定語(yǔ)或狀語(yǔ)。303、符號(hào)學(xué)，符號(hào)學(xué)其實(shí)是個(gè)相當(dāng)寬泛的概念，這里僅指最為經(jīng)典也最常用的符號(hào)學(xué)分析方法，也就是格雷馬斯的方法，主要包括矩陣分析和施動(dòng)者分析等。當(dāng)然，羅蘭·巴特、托多羅夫等人還有其他的許多方法，但原理基本上都是一樣的。所謂“結(jié)構(gòu)主義”的分析方法，基本上也就是這些方法。314、解構(gòu)主義的方法，代表人物是法國(guó)人德里達(dá)和美國(guó)人德·曼。解構(gòu)主義的一個(gè)基本原則就是從文本的邊緣進(jìn)入，從而顛覆掉整個(gè)文本的通常意義。325、互文、對(duì)話(huà)理論分析。此方法起源于巴赫金，成熟于托多羅夫、克里斯特娃、熱奈特等。結(jié)構(gòu)主義一直視文本為相對(duì)封閉的系統(tǒng)，從而忽視了現(xiàn)實(shí)和社會(huì)的因素，而傳統(tǒng)批評(píng)又只看到了社會(huì)忽略了文本，各有弊端?；ノ?、對(duì)話(huà)理論的出現(xiàn)則很好地解決了這一問(wèn)題，因?yàn)槲谋九c現(xiàn)實(shí)社會(huì)之間被視為是互為文本的，是對(duì)話(huà)關(guān)系的，于是社會(huì)的因素與文本的規(guī)則都被分析到了。336、文化研究。從傳統(tǒng)文學(xué)批評(píng)到現(xiàn)代文學(xué)批評(píng)，史稱(chēng)“語(yǔ)言學(xué)轉(zhuǎn)向”，而文學(xué)批評(píng)向大眾文化批評(píng)的轉(zhuǎn)向，史稱(chēng)“文化轉(zhuǎn)向”或“意識(shí)形態(tài)轉(zhuǎn)向”。首先文化研究將以往文學(xué)研究的研究對(duì)象和研究視野大大地拓展，以前只研究所謂的經(jīng)典文本，而文化研究則更針對(duì)當(dāng)代消費(fèi)社會(huì)的當(dāng)下語(yǔ)境，將大眾文化（包括電視、廣告、娛樂(lè)等等）也納入了研究的范圍。其次就是特別注重意識(shí)形態(tài)分析，葛蘭西、阿爾圖塞等人的理論有著舉足輕重的位置。349.Themoralandthefactualtruth1.SLwriter5.TLreadership2.SLnorms6.TLnorms3.SLcultureTEXT7.TLculture4.SLsetting8.TLsettingandtraditionandtradition10.Thetranslator5.PeterNewmark’stendirections351.TheindividualstyleoridiolectoftheSLauthor.Whenshoulditbea)preserved;b)normalized?2.Theconventionalgrammaticalandlexicalusageforthistypeoftext,dependingonthetopicandthesituation.3.ContentitemsreferringspecificallytotheSL,orthirdlanguage(i.e..NotSLorTL)cultures.4.Thetypicalformatofatextinabook,periodical,newspaper,etc.,asinfluencedbytraditionatthetime.365.Theexpectationsoftheputativereadership,bearinginmindtheirestimatedknowledgeofthetopicandthestyleoflanguagetheyuse,expressedintermsofthelargestcommonfactor,sinceoneshouldnottranslatedown(orup)tothereadership.6.7.8Asfor2,3,and4respectively,butrelatedtotheTL.7.Whatisbeingdescribedorreported,ascertainedorverified(thereferentialtruth),wherepossibleindependentlyoftheSLtextandtheexpectationsofthereadership.378.Theviewsandprejudicesofthetranslator,whichmaybepersonalandsubjective,ormaybesocialandcultural,involvingthetranslator'sgrouployaltyfactor,whichmayreflectthenational,political,ethnic,religious,socialclass,sex,etc.assumptionsofthetranslator.381.Individuality:Inunselfconsciousutterance,certainfeaturesoccur—relativelypermanentfeaturesofthespeechorwritinghabits—whichidentifysomeoneasaspecificperson,distinguishhimfromotherusersofthesamelanguage,orthesamevarietyofthelanguage.2.Dialect:Otherfeaturesinaperson'susagewillgiveanindicationofhisplaceorgeographicalorigin(regionaldialect)orhislocationonanon-linguisticallybasedsocialscale.6.D.CrystalandD.Davy’sdimensions393.Time:Anotherfamiliardimensionofdescriptioncoversthosefeaturesofanutterance,whichindicateexclusivelydiachronicinformation—thetemporalprovenanceofapieceoflanguage.4.Discourse:Medium(speech,writing)/participation(monologue,dialogue)5.Province:Featuresoflanguagethatidentifyanutterancewiththosevariablesinanextra-linguisticcontextwhicharedefinedwithreferencetothekindofoccupationalorprofessionalactivitybeingengagedin.406.Status:Thesystematiclinguisticvariationswhichcorrespondwithvariationsintherelativesocialstandingoftheparticipantsinanyactofcommunication,regardlessoftheirexactlocality.a)Contractsbetweenpeoplefromdifferentpositionsonasocialscale;b)degreeofformality—frozen,formal,consultative,casualandintimate.417.Modality:Linguisticfeaturescorrelatablewiththespecificpurposeofanutterancewhichhasledtheusertoadoptonefeatureorsetoffeaturesratherthananother,andultimatelytoproduceanoverall,conventionalizedspokenorwrittenformatforhislanguage.8.Singularity:Occasionalidiosyncraticlinguisticfeatures,whichgiveaspecificeffectwithintheframeworkofsomeconventionalvarietyinaperson'sutterance.427.FromliterarycriticismThejobofthecriticistofindoutwhattheauthoristryingtoexpressandwhetherornothesucceededindoingso,andthentoexpresswhathethinksandfeelsaboutthebook.Thefocusofdescriptionwillvarywiththetypeofbookunderconsideration,andnodescriptionwillattempttocovereverypossibledetail,butratherconcentrateonprovingthreeorfourspecificpointsaboutthework.Somefocusesofdifferentgenresare:43Fiction(includingplays)a)setting(time,place,atmosphere)b)plotc)effectivescenesd)characterse)themesandideasf)conflict,suspenseandclimaxg)clearnessandeffectivenessofstyleh)useofspecifictechniques(humor,imagery)i)reasonsforlikingordislikingthebookj)comparisonswithotherbooks44Poetrya)mostoftheaboveplusb)sound(rhyme,rhythm,diction)c)emotivevalue(moodandfeeling)d)originalityofideae)particularlymemorablelines45Thethreebasicquestionsofthereviewer1.Whatwasthepurposethattheauthorwastryingtoaccomplish?2.Wasthispurposeworthwhile?3.Didheachievehispurpose?Ifso,howwasitdone?46OZYMANDIAS–PercyByssheShelleyImetatravelerfromanantiquelandWhosaid:TwovastandtrunklesslegsofstoneStandinthedesert...Nearthem,onthesand,Halfsunk,ashatteredvisagelies,whosefrownAndwrinkledlip,andsneerofcoldcommandTellthatitssculptorwellthosepassionsreadWhichyetsurvive,stampedontheselifelessthingsThehandthatmockedthemandtheheartthatfed;Andonthepedestalthesewordsappear;"MynameisOzymandias,KingofKings:Lookonmyworks,yeMighty,anddespair!"Nothingbesideremains,RoundthedecayOfthatcolossalwreck,boundlessandbareTheloneandlevelsandsstretchfaraway.47ThestrongestaspectofromanticismwhichiscontainedinOzymandiasistheturningbacktothepast.ThepoemitselfisbasedonastoryrecountedbyDiordorusSioulus,aGreekhistorianofthefirstcenturyA.D.HereportedthatthestatuswasofOzymandias(itwasactuallyoftheEgyptianpharaohRamsesII)andthatitwasthelargestinEgypt.Itwassaidtobeartheinscription;"IamOzymandias,KingofKings.IfanymanwishestoknowwhoIamandwhereIamburied,lethimsurpassmeinsomeofmyachievements."48Shelleyusesthestorytoemphasizehowfutileandvainsuchsentimentactuallyis.Thereisastrongironyinthefactthataonce-powerfulkingisnowonlyrememberedbypasserbysinthebarrendesertwhohaphazardlyviewthiscrumbling,brokendownrelics.Hisoncemightyaccomplishmentshaveliterallyturnedtodust,fadedfrommemorywiththepassageoftime.49Thepoemisalsoromanticintheimagerythattheauthorem-ploys.Byusingthe"antiqueland"ofEgyptasasetting.