文学翻译入门讲义.docx
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文学翻译入门讲义.docx
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文学翻译入门讲义
I.AestheticProgressioninLiteraryTranslation
Traditionalapproachestendtoviewtranslationasanactivityconcerningonlyinterlingualtransfer,andthereareonlythreerequirementsfortranslatorstoperformtheirjobsuccessfully:
a)familiaritywiththesourcelanguage,b)familiaritywiththetargetlanguage,andc)familiaritywiththesubjectmatter.
Withthedeepeningoftranslationstudies,however,suchstatementsholdlittlewater.Inliterarytranslationpractice,thechangeofonelanguageintoanotherisonlythesurfacework,whilethetransferofartisticimagesranksfirstinthetranslator’sjob.Therefore,theaestheticvalueofthesourcelanguageshouldbegivenpriorityto,andtheprocessofliterarytranslationshouldberegardedasaestheticprogressionbetweentwodifferentlanguagesandculturesachievedthroughthetranslator’sactualizationoftheoriginalimage.
1.AestheticProgressionandImage-Actualization
Thepossessionofaestheticqualitiesisanecessaryconditionoftheliterarytext.Butthesequalitiesarenotgivenasready-madeorfinallyformedrealities,butaspossibilitiesorinherentimagesforrealization,waitingtobeactualizedintheinteractionwiththetranslator
Example:
Inhereagernesssheroseandsupportedherselfonthearmofthechair.Atthatearnestappealheturnedtoher,lookingabsolutelydesperate.Hiseyes,wideandwet,atlastflashedfiercelyonher;hisbreastheavedconvulsively.Aninstanttheyheldasunder,andthenhowtheymetIhardlysaw,butCatherinemadeaspring,andhecaughther,andtheywerelockedinanembracefromwhichIthoughtmymistresswouldneverbereleasedalive:
infact,tomyeyes,sheseemeddirectlyinsensible.Heflunghimselfintothenearestseat,andonmyapproachinghurriedlytoascertainifshehadfainted,hegnashedatme,andfoamedlikeamaddog,andgatheredhertohimwithgreedyjealousy.IdidnotfeelasifIwereinthecompanyofacreatureofmyownspecies:
itappearedthathewouldnotunderstand,thoughIspoketohim;soIstoodoff,andheldmytongue,ingreatperplexity.(EmilyBronte:
WutheringHeights,ChapterXV)
她异常激动地站起身来,身子靠着椅子的扶手。
听了那真挚的乞求,他转身向她,神色是完全不顾一切了。
他睁大着双眼,含着泪水,终于猛地向她一闪,胸口激动地起伏着。
他们各自站住一刹那,然后我简直没看清他们是怎么合在一起的,只见凯瑟琳向前一跃,他就把她擒住了,他们拥抱得紧紧的,我想我的女主人绝不会被活着放开了:
事实上,据我看,她仿佛立刻就不省人事了。
他投身到最近处的椅子上,我赶忙走上前看看她是不是昏迷了,他就对我咬牙切齿,像个疯狗似的吐着白沫,带着贪婪的嫉妒神色把她抱紧。
我简直不觉得我是在陪着一个跟我同类的动物:
看来即使我跟他说话,他也不会懂;因此我只好非常惶惑地站开,也不吭声。
ThispartdescribesthescenewhenMr.HeathcliffsawMrs.LintonCathyforthelasttime.Herewecanseethe“pictureness”characteristicofliteraryworks,thatis,theauthorcancreateapictureinthereader’smindthroughliterarydescriptionabouthowCatherineandHeathcliffmetatherdyingmoment,withthestruggleintheirmind.
“Aestheticprogression”isappliedheretodenoteboththetranslatingprocessfromtheinitialreadingofapoetictexttothefinaltranslationchoicesandthementalprocessinimage-actualization.Touse“progression”insteadof“process”isbasedontheconceptionthataliterarytextcharacterizedbypoeticuseoflanguage–languageinherentlycapableofmultipleinterpretations–cannotbeassignedasingle“correct”translation,andthat“formisnotapropertyofafinishedproduct;itneverachievesastateoffixitybutexistsascontinuouslychangingprocesses”.Theactofimage-actualizationis,then,acumulativeprocess–thebuildingofmeaninguponmeaningandexperienceuponmeaninginordertoestablishfinallyanideaoraninterpretationinthemindofthetranslator-reader.
2.AnImage-basedliterarytranslationmodel
PhaseI:
totranslatethewrittentextintoamentalimage-G(thementalmanifestationofanimaginarygestalt完全形态);
PhaseII:
tofindgoal-languageexponents(代表者,解释者)oftheoverallmentalrepresentationobtainedinPhaseI.
3.CaseStudies
Imagesareessentialcomponentsoftheliterarylanguage.Theycanberoughlyclassifiedintofivetypes:
1)microimages(a.metaphor;b.symbol);
2)macroimages(c.scenes;d.characters;e.events)
Examples:
(1)first,shewouldbe“prideful”,asGeraldhadcommanded.FromthemomentshearrivedatTwelveOaks,shewouldbehergayest,mostspiritedself.NoonewouldsuspectthatshehadeverbeendownheartedbecauseofAshleyandMelanie.Andshewouldflirtwitheverymanthere.ThatwouldbecrueltoAshley,butitwouldmakehimyearnforherallthemore.Shewouldn’toverlookamanofmarriageableage,fromginger-whiskeredoldFrankKennedy,whowasSuellen’sbeau,ondowntoshy,quiet,blushingCharlesHamilton,Melanie’sbrother.Theywouldswarmaroundherlikebeesaroundahive,andcertainlyAshleywouldbedrawnfromMelanietojointhecircleofheradmirers.Thensomehowshewouldmaneuvertogetafewminutesalonewithhim,awayfromthecrowd.Shehopedeverythingwouldworkoutthatway,becauseitwouldbemoredifficultotherwise.ButifAshleydidn’tmakethefirstmove,shewouldsimplyhavetodoitherself.(MargaretMitchell:
GonewiththeWind)
第一,她要装出一副“傲慢”的神气,这是她父亲吩咐过她的。
她从到达十二根橡树的一刻儿起,就一直要装得十分倜傥,十分兴头。
这样,人家才不会疑心她因希礼和媚兰的事曾经感觉过灰心。
她在那边,对于那边的男人,一个个都要卖弄一番。
这会使得希礼见了要十分难受,要越发舍不得自己。
凡在结婚年龄的男子,她要一个个都跟他敷衍,老到如苏伦的情人,那个黄胡子的甘扶澜,小到如媚兰的弟弟,那个一下就会脸红的韩察理,她都要一网打尽他们,一个不让他漏网。
那一些人一定会同蜜蜂围绕蜂房一般地向她围拢来,因而希礼也会丢开媚兰来加入他们的团体。
然后她就要运用一点儿战略,使得希礼将她带开去,和她单独谈几分钟话。
她想着这一着一定会万无一失,若使不然,事情就比较棘手了。
但是万一希礼那边果真不肯先发动,那么,由她自己这边首先发动也无不可的。
(傅东华译《飘》)
(2)(阿Q)可是永远记得那狼眼睛,又凶又怯,闪闪的像两颗鬼火,似乎远远的来穿透了他的皮肉。
而这回他又看见从来没有见过的更可怕的眼睛了,又钝又锋利,不但已经咀嚼了他的话,并且还要咀嚼他皮肉以外的东西,永是不近不远的跟他走。
(鲁迅《阿Q正传》)
Hehadneverforgottenthatwolf’seyes,fierceyetcowardly,gleamingliketwowill-o’-thewisps,asifboringintohimfromadistance.Nowhesaweyesmoreterribleeventhanthewolf's:
dullyetpenetratingeyesthat,havingdevouredhiswords,stillseemedeagertodevoursomethingbeyondhisfleshandblood.Andtheseeyeskeptfollowinghimatasetdistance.
Thus,foreverwouldheremembertheeyesofthatwolf:
cruelandsavagetheywere,scintillatingliketwoballsofspiritfire,seemingtocomeastheydidfromadistance,piercinghisveryflesh.Onthisoccasion,likewise,hebeheldfrightfuleyessuchashehadneverseenbefore,bluntandcuttinglysharptheywere,theyhadnotonlychewedhiswords,butwerebentonchewingthingsbeyondhisflesh.Thoseeyeskeptfollowingatadistance,nevercomingnearnorwithdrawing.
II.Style
CaseStudy:
1)月黑雁飞高,单于夜遁逃。
欲将轻骑逐,大雪满弓刀。
Highinthefaintnight,wildgeesearesoaring.
Tartarchieftainsarefleeingthroughthedark–
Andwechasethem,withhorseslightlyburdened
Andaburdenofsnowonourbowsandourswords
2)朝辞爷娘去——《木兰辞》
Andbeforethesunbeganhisjourneysteep,
Shekissedherparentsintheirtroubledsleep,
Caressingthemwithfingerssoftandlight,
Shequietlypassedfromtheirconscioussight,
Andmountinghorseshewithhercomraderode.
1.Definitionofstyle
Style:
thewaylanguageisusedbyagivenperson,foragivenpurpose,inagivencontext.Inabroadsense,styleisthe“specificorcharacteristicmannerofexpression,execution,construction,ordesigninanyart,period,work,employment,etc.Whenappliedtoliterature,stylesuggeststheresultofasuccessfulblendingofformwithcontent.Hereformreferstothelanguageawriteruses,andcontentthethemeorideologyofthewriterorhis/herwork.
Threegrades/domainsofstyleintranslationconcerninglanguage:
1)levelsofspeech:
suchasformalorinformal,familiarorpolite,spokenorwritten(语体)
2)literaryforms:
suchaspoetry,dramaandnovel(文体)
3)mannerofexpression,characteristicofaparticularwriter,orthewayinwhichlanguageisusedinaparticularschoolorperiod(风格)
Styleinthelastsensecanbeviewedasliterarystyle.,whichistheessentialcharacteristicsofeverypieceofwriting,theoutcomeofthewriter’spersonalityandhis/heremotionsatthemoment.
2.StylisticMarkers
2.1Formalmarkers
1)Phonologicalmarkers
2)Registermarkers
Registerreferstothescopetowhichawordisapplicable,suchasspokenlanguageandwrittenlanguage,dialectandstandardspeech,malespeechandfemalespeech,etc.Anotherwayofclassificationistoclassifyregisterintofivecategories:
(a)thefrozen,(b)theformal,(c)theconsultative,(d)thecasual,(e)theintimate.
3)Lexicalmarkers
4)Syntacticmarkers
5)Textualmarkers
6)Markersoffiguresofspeech(修辞格)
e.g.CharlesDickens:
ironyandexaggeration
2.2Non-FormalMarkers
1)Waysofexpression
e.g.symbolicundertones象征性潜隐叙事法
Nearthecurbofthecrowdedsidewalk,pigeonsweretossingaroundabreadcrustthatsomeonehaddroppedorthrownthem.Theycouldn’tcopewithitorletitbe.ThesecreaturesfilledmewithbothcompassionforthemandrageagainsttheirCreator.Wheredidtheyspendthenightsinthissevereweather?
Theymustbecoldandhungry.Theymightdiethisverynight.
Itseemsthatthewriterisdescribingthephenomenainpigeons’world,butinfacthereferstotherealityofhumansociety.Thesymbolicmeaningsexistbetweenandbehindthelines,leavingmuchroomforreaders’exploration.
2)Subjectmatter
e.g.Hemingway’ssubjectmatterisalwaysaboutdeath,violence,dangerandthelike.Hispreoccupationwithindividualcourage,willandpowerisuniqueandcharacteristicofHemingwaystyle.
3)IdeologicalContents
3.Thedifficultyinreproducingtheoriginalstyle
Styleisusuallypartoftheoriginalliteraryworks’textualmeaning;thereforeharmwillbedone,toagreatextent,tothetextualmeaningoftheoriginal,ifthetranslatorfailstopayenoughattentiontothestyleoftheSLTintranslation.
Owingtothedifferentnaturesoflanguage,however,whichmaydifferinwordformation,syntacticstructure,figureofspeech,etc.,theredoexistsomelinguisticdiffi
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