当代翻译理论总结Word文件下载.docx
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当代翻译理论总结Word文件下载.docx
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,Zdanystalksabouthisinitialambivalenceaboutteachingliterarytranslationbecausehefeelsthiscreativeprocesscannotbetaught.Hethenovercomeshisreluctanceandagreestodoso.ThearticleconcludeswithZdanyschanginghismindabouttheinappropriatenessofteachingtranslation,arguinginsteadthattheartoftranslationnotonlycanbetaught,butalsocanmakethestudentmoreawareofaspectsofpoetry,language,aesthetics,andinterpretation.
Zdanys
clearly
finds
translation
a
subjective
activity,
subsuming
under
the
larger
goal
of
interpreting
literature.
His
argument
that
study
can
lead
to
qualitative
"
richer"
understanding
reveals
humanistic
agenda.
3.I.A.RichardsandNewCriticism
NewCriticismwasadominanttrendinEnglishandAmericanliterarycriticismofthemidtwentiethcentury,fromthe1920stotheearly1960s.Itsadherentswereemphaticintheiradvocacyofclosereadingandattentiontotextsthemselves,andtheirrejectionofcriticismbasedonextra-textualsources,especiallybiography.
Richardsisacritic,linguist,poet,founderofNewCriticism.HeisoftenlabeledasthefatheroftheNewCriticism,largelybecauseoftheinfluenceofhisfirsttwobooksofcriticaltheory,ThePrinciplesofLiteraryCriticismandPracticalCriticism.
Richards’sPracticalCriticismisonetextwhichbestexemplifiesthetheoryofthepractice-orientedworkshopapproachtotranslation.Richards’sfirstreadingworkshoptookplaceatHarvardinthelate1920s.Richardsdidafamousexperimentwithanapproachthatcutboththestudentsandthetextofffromsociety.Richardshopedtointroducenewdocumentationsupportinghisaestheticbeliefs:
thataunified“meaning”existsandcanbediscernedandthataunifiedevaluativesystemexistsbywhichthereadercanjudgethevalueofthat“meaning”.
Richards’saimswerethreefold:
(1)tointroduceanewkindofdocumentationintocontemporaryAmericanculture;
(2)toprovideanewtechniqueforindividualstodiscoverforthemselveswhattheythinkaboutpoetry;
(3)todiscoverneweducationalmethods.
HowdoesRichards’sreadingworkshopofthetwentiesrelatedtotoday’stranslationworkshop?
P9
Bothintroducenewdocumentationintotheculture,+P10,11,14
RichardsprovedadifficultmodelfortheNewCritics,buthismodelofclosereadingprovidedthebasisfortheirinterpretivemethodology.AlthoughRichardsderivedhispowerfromlanguage,heseemsnottohaveunderstoodtheveryentityfromwhichhispowercame.IftheNorthAmericantranslationworkshophasshownanything,itisthatthetranslatedtextseemstohavealifeofitsown,respondingnottotheinterpreter’ssetofrules,buttolawsthatareuniquetothemodeoftranslationitself.
4.EzraPound:
Theoryofluminousdetails
Poundisapoet,critic(1885-1972)
Strictlyspeaking,pounddidn'
tpublishanybookofhistranslationtheorybutbythepeoplewhoresearchedhisworksandthenmadeaconclusion.Poundreflectedhistranslationtheoryinhiswritingandtranslationpractice.Accordingtohim,thetheoryofpoemandthetheoryoftranslationaremutualcomplementation.
Pound'
stheoryoftranslationfocuseduponthepreciserenderingofdetails,ofindividualwords,andofsingleorevenfragmentedimages.Ratherthanthesingle,unifiedmeaningofthewholework.Pound'
s"
theory"
wasbaseduponaconceptofenergyinlanguage.Thewordsonthepagewereseennotsimplyasblackandwhitetypedmarksonapagerepresentingsomethingelse,butassculptedimages.Thetranslatorwasseenasanartist,anengraver,oracalligrapher.Sothetranslatormustbeactive.Thespecificdetails;
anapproachallowedformorelatitudeforanindividualtranslator’sresponse.(P15)
Pound’sopinion:
a.Thetranslator-theauthor;
b.Translate-agivenword,agivenhistoricalsituation;
c.Necessarybasicstudy-thelanguage,thetime,thebiographyoftheauthor,othertextsbythesameauthorandothersduringtheperiod;
d.Returntothepresenttocreatenewrelations,derivedfromtheold.
Pound’sdefinitionoftheimagewas“thatwhichpresentsanintellectualandemotionalcomplexinaninstantoftime.”PounddefinedthetenetsofImagistpoetryas:
a.directtreatmentofthe“thing”,whethersubjectiveorobjective;
b.touseabsolutelynowordthatdoesnotcontributetothepresentation;
c.asregardingrhythm:
tocomposeinsequenceofthemusicalphrase,notinsequenceofthemetronome.
ThreepropertieswithwhichlanguageischargedandenergizedMelopoeia(音韵),phanopoeia(形象),logopoeiia(思想).PoundisperhapsalsotheleastunderstoodtranslatorandcriticreadbythecurrentgenerationoftranslatorsinAmerica.
InPound’seye,languagehasalifeofitsown;
apowertoadapt,mutates,andsurvives.Languageischargedorenergizedbymelopoeia(themusicalproperty),phanopoeia(thevisualproperty)andlogopoeia(boththedirectmeaningandtheplayofthewordinitscontext).Meaningofaworkofartchangesaslanguagechanges.
stheoreticalwritingsfallintotwoperiodsbythecriticalreceptionofhiswork.Anearlyimagistphasethat,whiledepartingfromtraditionalformsoflogic,butstilloccasionallycontainedabstractconceptsandimpressions;
andasecondlateimagistorvorticistphasethatwasbasedentirelyonwordsinactionand"
luminous"
detailsinwhichtheimportanceofthethingsbeingrepresentedreducedandtheenergyandtheformoflanguagebecomemoreimportant.
Creativetranslation:
Avoidthestrangediction.Thebestpoetictranslatedtextcouldbeanewpieceofitsownlife.Eachtranslatedworkshouldberegardastheevaluationofthesourcetext.
DevelopmentofPound'
stheoryP16–Inhisevolutionfromimagismtovorticism,Pound'
sthoughtsabouttranslationplayedacentralrole.HughKennerinTheFoundEra(1971)notesthatin1911Poundbegantothink"
oftranslationasamodelforthepoeticart:
bloodbroughttoghosts"
(Kenner,1971:
150).Pound'
stheoryoftranslationfirstappearedinabookonAmautDaniel,whichunfortunatelywasneverpublishedandsurvivesonlyinaseriesoftwelvearticlespublishedinA.R.
semphasiswaslessonthe"
meaning"
ofthetranslatedtextorevenonthemeaningofspecificwords.Instead,heemphasizedtherhythm,diction,andmovementofwords.Unconsciousassociations,reverberationsofsoundswithinwords,andpatternsofenergieswereusedtore-energizeintwentieth-centuryEnglishthe"
original,"
oratleasttheearliestEnglishpoem.
Poststructuraliststatement-foregroundingP19
Pound’stheoryoftranslationinvolvesP20+22
Pound’swritingontranslationP23+24+18
DifferencesofImpressionismandVortexP17+18+19
Howdoesthisexamplerelatetofaithfultraitors?
(P28IfLiPo’spoem+P29Intranslation,text)
5.FredericWill:
Theparadoxoftranslation
Twotheoreticaltexts:
(1)LiteratureInsideOut文学内外Itwaspublishedin1966andraisedquestionsaboutnamingandmeaningandindirectlysuggestthattranslationcanbeviewedasaformofnaming,fiction-makingandknowing.
(2)Theknifeinthestone石中刀Itwaspublishedin1973anddealtdirectlywiththepracticeoftranslation.
Will’srelevanttheoreticalassumptions:
Hisearlytextdidnotspecificallyaddresstranslationproblems,butwecanalsoseesomeideasandtheoriesabouthim.
(1)“Languageisthecreatorofreality”.Will’sprojectpickupwhereRichard’sleftoff:
heusesNewCriticalbeliefstotrytoreconcilerecentcriticaltheories.Hisfirstessay“FromNamingtoFictionMaking”appearstoagreewithatheoryofcultural
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