dean20100911100145.doc

第一讲 翻译比较研究 “从一种文字，积寸累尺地度越那许多距离，安稳到达另一种文字里，这是很艰辛的历程”。钱钟书旧文四篇上海古籍出版社 1979: 63情满天府，爱洒巴蜀。一根爱的红线，串起了成都教育千百年来的璀璨;一曲爱的赞歌，谱写着成都教育千百年来的华章。Love is sprinkled all over Sichuan. A red bond has held the glamour of education in Chengdu together; a song for love has created brilliant works of education for thousands of years. Love is disseminated all over Bashu (Sichuan) and the ribbon of love links and threads the glamorous and resplendent pearls of education in Chengdu along the river of history; The hymn of love best expresses and depicts the brilliance of education in Chengdu for the past thousands of years. The Isles of GreeceThe isles of Greece, the isles of Greece!Where burning Sappho loved and sung,Where grew the arts of war and peace,Where Delos rose, and Phoebus sprung!Eternal summer gilds them yet,But all, except their sun, is set.- Don Juan (唐璜) George Gordon Byron (17881824)苏曼殊巍巍希腊都，生长奢浮好。情文何斐斐，茶辐思灵保。征伐和亲策，陵夷不自葆。长夏尚滔滔，颓阳照空岛。 五言古诗体梁启超（沉醉东风）咳！希腊啊！希腊啊！你本是和平时代的爱娇，你本是战争时代的天骄！撤芷波歌声高，女诗人热情好，更有那德罗士、菲波士（两神名）荣光常照。此地是艺文旧垒，技术中潮。即今在否？算除却太阳光线，万般没了！ 元曲体马君武希腊岛，希腊岛，诗人沙浮安在哉？爱国之诗传最早。战争平和万千术，其术皆自希腊出。德类、飞布两英雄，溯源皆是希腊族。吁嗟乎！漫说年之夏日长，万般销歌剩斜阳。 七言古诗体胡适嗟汝希腊之群岛兮，实文教武术之所肇始。诗媛沙浮尝泳歌于斯兮，亦羲和、亲娥之故里。今惟长夏之骄阳兮，纷灿烂其如初。我徘徊以忧伤兮，哀旧烈之无馀！ 离骚体比较翻译的研究对象主要是下列几方面：1） 同一篇（部/首）文章/小说/诗歌等的两种（或多种）翻译作品的翻译质量；2） 不同翻译者的翻译风格有什么区别，以及可以从中学到什么东西；3） 不同风格作品的不同特点及其相应的翻译方法；4） 不同因素（包括社会、文化、语言、心理等）对翻译产生的影响；5） 造成翻译失误的不同因素及如何避免翻译失误的问题；6） 不同层次翻译作品的区别及这些作品对社会的影响；7） 如何通过比较翻译提高自己的翻译水平通过翻译、讨论、讲解、体悟，提高自身的翻译水平“死生契阔, 与子成说, 执子之手, 与子偕老。”邶风击鼓1. My wifes my lifes companion;Were bound in marital union.I grasped her hand and say,Together well always stay.”2. Meet or part, live or die,Were made oath, you and I.Give me your hand Ill hold!Together well grow old. 推荐教材阅读1 英汉比较翻译教程 魏志成 清华大学出版社2 汉英比较翻译教程 魏志成 清华大学出版社3 实用翻译教程冯庆华上海外语教育出版社第二讲 翻译的风格和风格的可译性据19世纪德国语言学家、文艺理论家威廉威甘德（Williams Wiegnad, 18061869）的考证，在西方，“风格”(style)一词源于希腊文，由希腊文传入拉丁文再传入德文、法文、英文等，取其“雕刻刀”的本义，喻指“以文字装饰思想的一种特殊方式”。威克纳格在诗学 修辞学 风格论一文中指出：“在全部艺术领域内（绘画、雕刻、音乐等），我们说到风格总是意味着通过特有标志在外部表现中显示自身的内在特性。” （1982:17）“风格是语言的表现形态，一部分被表现者的心理特征所决定，一部分则被表现的内容和意图所决定。”（1982:18）另据辞海（缩印本，1989:1726），风格是“作家、艺术家在创作中所表现出来的艺术特色和创作个性。由于生活经历、立场观点、艺术素养、个性气质的不同，作家、艺术家们在处理题材、熔铸主题、驾驭体裁、描绘形象、运用表现手法和语言等艺术手段方面都各有特色，这就形成作品的个人风格”。刘勰文心雕龙将古文学作品的风格分成典雅、远奥、精约、显附、繁缛、壮丽、新奇和清靡风格可归纳为以下三个方面的内容：1 作品的题材和体裁以及作家对它们的处理手法；2 作家文章的风采（即作家的文笔、如清新、华丽、细腻或者粗犷等）；3 是作家驾驭语言的本领，遣词造句的特色，作家对语言的习惯用法、句型结构的特点以及贯穿作品始终的作家自己的语言“个性”等。翻译风格，又称“译文风格”（有时亦指“译者风格”），是指译者在翻译实践中所表现出来的艺术特色和创作个性，具体体现为译者选择题材的口味、所遵循的翻译标准、采用的翻译方法以及译文语言的表现手法等特点，特别是语言的表现手法。1957年西奥多 萨沃里 Theodore Horace Savory的翻译的艺术The Art of Translation一书出版，书中提出12条（实际上是六组互相矛盾的原则）1） 翻译必须译出原作的文字；2） 翻译必须译出原作的意思；3） 译作必须译得读起来象原作；4） 译作必须译得读起来象译作；5） 译作必须反映原作的风格；6） 译作必须反映译者的风格；7） 译作必须译得象原作同时代的作品一样；8） 译作应该译成与译者同时代的作品一样；9） 翻译可以对原作进行增减；10） 翻译不可以对原作进行增减；11） 诗必须译成散文；12） 诗必须译成诗。“所有翻译都只不过是试图完成一项无法完成的任务。任何译者都注定会被两块绊脚石中的任何一块绊倒：他不是贴近原作贴得太紧而牺牲本民族的风格和语言，就是贴本族特点太紧而牺牲原作。介乎两者之间的中间路线不是难于找到而是根本不可能找到。”德国著名的语言学家、哲学家洪堡(Wilhelm von Humboldt, 17671835)Huxley, Thomas Henry, Evolution and Ethics,1894IT may be safely assumed that, two thousand years ago, before Caesar set foot in southern Britain, the whole country-side visible from the windows of the room in which I write, was in what is called the state of nature. Except, it may be, by raising a few sepulchral mounds, such as those which still, here and there, break the flowing contours of the downs, mans hands had made no mark upon it; and the thin veil of vegetation which overspread the broad-backed heights and the shelving sides of the coombs was unaffected by his industry. The native grasses and weeds, the scattered patches of gorse, contended with one another for the possession of the scanty surface soil; they fought against the droughts of summer, the frosts of winter, and the furious gales which swept, with unbroken force, now from the Atlantic, and now from the North Sea, at all times of the year; they filled up, as they best might, the gaps made in their ranks by all sorts of underground and overground animal ravagers. One year with another, an average population, the floating balance of the unceasing struggle for existence among the indigenous plants, maintained itself. It is as little to be doubted, that an essentially similar state of nature prevailed, in this region, for many thousand years before the coming of Caesar; and there is no assignable reason for denying that it might continue to exist through an equally prolonged futurity, except for the intervention of man. 1971年，科学出版社出过一个白话译本，名字换成了直译的进化与伦理（未署译者）。其中，第一段是这样翻译的：可以有把握地想象，二千年前，当凯撒到达不列颠南部之前，从我正在写作的这间屋子的窗口可以看到整个原野是一种所谓“自然状态”。也许除了若干突起的坟墓已在几处破坏了连绵的丘陵的轮廓以外，此地未经人工修葺整治。薄薄的植被笼罩着广阔的高地和峡谷的斜坡，还没有受到人的劳动的影响。本地的牧草和杂草，分散在一小块一小块土地上的金雀花，为了占据贫乏的表面土壤而互相竞争着；它们同夏季的烈日斗争，同冬季的严霜斗争，同一年四季从大西洋或北海不断吹来的狂风斗争；它们尽其最大可能来弥补为各种地上和地下动物所造成的破坏。年复一年，在本地植物中不停的生存竞争，在不平衡的状态下，维持了它们自己的通常种群数量。无可怀疑，凯撒到来之前的几千年，在这个地区主要的是类似的自然状态占优势；除非由于人的干预，也没有可以申明的理由来否定它能够经过同样长的将来继续生存下去。赫胥黎独处一室之中，在英伦之南，背山而面野。槛外诸境，历历如在几下。乃悬想二千年前，当罗马列大将恺彻未到时，此间有何景物。计惟有天造草昧，人功未施，其借征人境者，不过几处荒坟，散见坡陀起伏间。而灌木丛林，蒙茸山麓，未经删治如今日者，则无疑也。怒生之草，交加之藤，势如争长相雄，各据一抔壤土。夏与畏日争，冬与严霜争，四时之内，飘风怒吹，或西发西洋，或东起北海，旁午交扇，无时而息。上有鸟兽之践啄，下有蚁蝝之啮伤。憔悴孤虚，旋生旋灭。菀枯顷刻，莫可究详。是离离者亦各尽天能，以自存种族而已。数亩之内，战事炽然，强者后亡，弱者先绝。年年岁岁，偏有留遗。未知始自何年，更不知止于何代。苟人事不施于其间，则莽莽榛榛，长此互相吞并，混逐蔓延而已，而诘之者谁耶?第三讲风格的可译性形式标记是我们借以识别风格的最重要的手段，因为语言是一种符号体系，任何风格设计都会不可避免地被“语言符号化”。形式标记分析室对音系标记（phonological markers，即对音系特征作出分析）、语域标记（register markers, 即对词的使用域特征作出分析）、句法标记(syntactic markers,即对原文句法形式特征作出分析)、词语标记（lexical markers,即对原文用词倾向作出分析）、章法标记(textual markers，即对原文章句表现法特征的分析)和修辞标记（markers of figures of speech，即对原文修辞特征作出分析）等六个类属性标记的分析，是对原作稳态结构的分析，属直观性基础分析。音系标记(phonological markers)汉语：1）元音优势，没有辅音，可以成“字”，没有元音，不能成“字”，音素组合具有音乐感、实质感；2）声调系统，平时切入；3）平仄分类；4）单音节，纯净清晰，优美悦耳。英语：短音节，长音节表述情感各不相同。语域标记(register markers)语域：词语使用的范围（口语体，书面语，方言，标准语，性别）Great/adorable, charming, gorgeous, lovely, devine-女性句法标记（syntactic markers）An elegant handwriting, like the elegant hand that wrote it. I pushed it to one side and had another drink, I began to feel a little less savage. I pushed things around the desk. My hands felt thick and hot and awkward. I ran a finger across the corner of the desk and looked at the streak made by the wiping off of the dust. I looked at the dust on my finger and wiped that off. I looked at my watch. I looked at the wall. I looked at nothing.I put the liquor bottle away and went over the washbowl to rinse the glass out. When I had done that I washed my hands and bathed my face in cold water and looked at it.Raymond Chandler, The Lady in the Lake两个句式反复出现：I + verbal phrase + and + verb phrase. 单调的感觉，渲染角色“无目的的情绪”。风格意义所在。类似的标记还有：coordination （并列），subordination （复合），parallel（平行），antithesis （对仗），省略(omission)，重复(repetition)等等。词语标记（Lexical Markers）用词倾向。和语域不同，语域社会性，这是个人的（idiolect）。Trotlines from shore to shore got you more fish and bigger ones, but theyre also more labor. After Id finished with the line I worked along the beach, spincasting bootlessly for bass. Four Canada geese came diagonally over the river, low, calling, and in a moment I heard a clamor at the head of the island, shielded from me by the islands duned fringe and by willows, I climbed up through them to look. At least 200 more honkers took off screaming from the sand bar at the upper end of the bare plain. The passenger ran barking after them. Calling him back, I squatted beside a drift pile, and in the rose half light of dust watched through the field glass as they came wheeling in again, timid but liking the place as I liked it, and settled by tens and twenties at the bar and in the shallows above it where the two channels split.John Graves, Goodbye to a River用了9个各式分词，因分词的使用改变了句式。章法标记(Textual Markers)A. 常规 NormB. 变异 Deviation1. 句子的长短(length of sentence)长句或短句的反复出现以及使用所谓超长句及短句长短句的反复交替使用2. 句、段之间的联接(coherence)及节奏感联接成分省略多，形成断续或行文的空缺或跳脱3. 信息接应(cohesion)接应信息内隐或缺失；呼应错乱、颠倒及信息重叠4. 叙事的时间顺序(temporal sequence in narration)倒叙(flashback)或顺逆参和形成潜意识5. 叙事的空间顺序(spatial sequence in narration)无顺序或局部无顺序，形成潜意识6. 直接表述与间接表述(direct and indirect speech)直接引语的超长使用或者相反7. 明晰与隐晦(explicitness and implicitness)潜意识或意识流叙述，内心独白等等8. 其他特色显著的用词倾向：词句平易、清新。Hemingway, The KillersThey did not say anything. George reached down for a towel and wiped the counter.“I wonder what he did?” Nick said.“Double-crossed somebody. Thats what they kill them for.”“Im going to get out of this town,”Nick said.“Yes,”said George, “Thats a good thing to do.”“I cant stand to think about him waiting in the room and knowing hes going to get it, Its too damned awful.”“Well,” said George, “you better not think about it.”Five minutes, ten minutes, can always be found. I had my typewriter in office desk. All I need to do was pull up the leaf to which it was fastened and I was ready to go. I worked at top speed. If a patient came in at the door while I was in the middle of a sentence, a bang would to the machine I was a physician. When the patient left up, I would come back to the machine. My head developed a technique: something growing inside me reaping. It had to be attended to. Finally, after eleven at night, when the last patient had been put to bed, I could always find time to bang out ten or twelve pages. In fact, I couldnt rest until I had freed my mind from the obsessions which had been tormenting me all day. Cleansed of that torment, having scribbled, I could rest.William Carlos Williams, Autobiography 短句反复出现，句子之间的联接紧凑，不存在内隐信息，文句平易，意思明晰，节奏很强，反映一种高速的生活节拍。It looked and towered in his dreams before he even saw the unaxed woods where it left its crooked print, shaggy, huge, red-eyed, not malevolent but just big too big for the dogs which tried to bay it, for the horses which tried to ride it down, for the men and the bullets they fired into it, too big for the very country which was its constricting scope.William Faulkner, The Bear一句共用了近70个词，其中包括6个从句，层层环扣，节奏徐缓悠长，使人产生举步维艰的感觉修辞标记(Markers of Figures of Speech)英汉对应的修辞格（约三十余种）Simile （明喻）metaphor （暗喻）analogy（类比）Personification（拟人）hyperbole（夸张）allusion（暗引）Understatement（含蓄陈述或含蓄渲染）euphemism（委婉）Metonymy （转喻或借代、借喻）synecdoche（提喻或举隅）Antonomasia(换称或代称)pun（双关语）syllepsis（异叙或一语双叙）Zeugma（拈联或轭式搭配）irony（反语）chiasmus（回文）Innuendo（暗讽）sarcasm（讥讽）parallelism（对偶、排比）Paradox（似非而是的隽语）parody（仿拟）oxymoron（对衬或矛盾修饰）antithesis（contrast对照或反衬）epigram（警句）climax（渐进或层递）anti-climax or bathos（突降）apostrophe（顿呼）transferred epithet（移就或转类形容词）catchword repetition（联珠）alliteration（首韵）onomatopoeia（拟声）aposiopesis（断叙或跳脱）Magnus: Frankly I have been accustomed to regard your president as a statesman whose moth was the most efficient part of his head. He can not thought of it himself. Who suggested it to him?萧伯纳the apple cart用“嘴巴是他脑袋上最有效的部分”（变异）来代替一般的形容词如“哗众取宠的”“夸夸其谈的”，显然更加生动有力。非形式标记分析则是对非稳态结构的分析，即作品表现法（对作者对题材的选择、处理原则和方法的分析）、作品内在素质分析（对作品的主题思想、感情，即总体内容问题和作家精神气质的分析）和接受者的视野融合（对作品本体外的审美感应期待接受者的审美个性的参与做出分析）。非形式标记分析属于非直观的、观念及情态的分析。1） 整体性：借助审美客体的总的语言结构和特点(textual patterns and features)、语境、作品的交际功能立意（立意于描摹景物、立意于催动感情、立意于论述事理，等等）构筑起审美客体的“非稳定结构”（unstable structure）,来唤起审美主体（接受者）审美意识中的映象(image)体验(experience)和感知(perception)等心理因素，以适应审美客体的非稳态结构框架，形成模糊性的审美活动。2） 开放性：风格的非形式符合不诉诸于直觉体验，不具有物质性、物理性，而是从根本上依靠想象力和创造力。3） 兼容性：体验复杂4） 独特性 “对应式风格转换”corresponding模仿imitation，把握风格的形式标记体系。An elegant handwriting, like the elegant hand that wrote it. I pushed it to one side and had another drink, I began to feel a little less savage. I pushed things around the desk. My hands felt thick and hot and awkward. I ran a finger across the corner of the desk and looked at the streak made by the wiping off of the dust. I looked at the dust on my finger and wiped that off. I looked at my watch. I looked at the wall. I looked at nothing.I put the liquor bottle away and went over the washbowl to rinse the glass out. When I had done that I washed my hands and bathed my face in cold water and looked at it.Raymond Chandler, The Lady in the Lake显著的风格标记是在句式方面反复使用SV及SV and V句式优美的字迹，就像写字的那只优美的手。我把它搁在一旁，又喝了一杯酒。我感到平静一点了，摆弄着写字台上的东西。我的双手感到有点发麻、发热、发僵。我用一个手指在写字台的一角划了一道，望着划去灰尘的那一道斜线。我看了看手指，抹去了手指尖上的灰尘。我看了看表，望着墙，望着茫然的空间。我将酒瓶放到了另外一个地方，在洗碗槽里洗了一下酒杯。后来，我又洗了洗双手，把脸浸在冷水里，我注视着那盆里的水译文力图模仿原句的句式，连续使用核心句SV/SVO,不同的是译文必须根据汉语的习惯适当省略人称代词“我”以及连词“and”形成了许多组由单句直接组合成的并列句（共八组）。这一句式的多次反复与原作的创作风格是相适应的。这种方式适合基础层次的风格转换。重构式风格转换recasting淡化式风格转换Decolouring or GeneralizingArthur Waley, Monkey, Chap VIII怎么得一个有法力的，去东土寻一个善信，教他苦历千山，询经万水，到我处求取真经，永传东土，劝化众生，却乃是个山大的福缘，海深的善庆。（第八回）I wish I knew of a holy one who would go to the eastern land and find a believer who could be sent over hill and dale, all the way from china to this place. I would give him the scriptures to take back to China, and he would explain them to the people and change their hearts. That would be an untold blessing.淡化的风格翻译比勉强的对应式风格转换（往往是取概念模仿取向）往往略胜一筹。京都涮羊肉之所以名冠全球，誉满中外，是因为它集前人制作之经验，博采众家之长，又创造了自家的风格，具有选料精、加工细、佐料全、火力旺等特色。(1) The reason why Pekings instant-boiled mutton is crowned with Number One in China as well as in the world is that it pools its predecessors experience and adopts their merits in creating its own style. It is characterized by fine selecting of mutton, careful processing, all sorts of condiments and intense heating.(2) The fame of instant-boiled mutton in the Capital stems from a very skillful pooling of the experience gained over the past centuries in a particular way of eating mutton and creating a special style of its own characterized by the exquisiteness in mutton selecting and slicing, condiments assorting and heat controlling.第四讲风格的可译性2红杏枝头春意闹Among the apricots spraysSpring riots in her play.Well, monks had a history of such things嗨，和尚们有干这种事情的历史嗨，和尚干这种勾当由来已久She has been hailed as one of the greatest novelists of the twentieth century and one of the foremost Modernists, though she disdained some artists in this category.Woolf is considered one of the greatest innovators in the English language. In her works she experimented with stream-of-consciousness, the underlying psychological as well as emotional motives of characters, and the various possibilities of fractured narrative and chronology. In the words of E. M. Forster, she pushed the English language a little further against the dark, and her literary achievements and creativity are influential even today.Her novels are highly experimental: a narrative, frequently uneventful and commonplace, is refractedand sometimes almost dissolvedin the characters receptive consciousness. Intense lyricism and stylistic virtuosity fuse to create a world overabundant with auditory and visual impressions.On 28 March 1941, rather than having another nervous breakdown, Woolf drowned herself by weighing her pockets with stones and walking into the River Ouse near her home. Her body was not found until April 18. Her husband buried her remains under a tree in the garden of their house in Rodmell, Sussex.In her last note to her husband she wrote:I feel certain that I am going mad again. I feel we cant go through another of those terrible times. And I shant recover this time. I begin to hear voices, and I cant concentrate. So I am doing what seems the best thing to do. You have given me the greatest possible happiness. You have been in every way all that anyone could be. I dont think two people could have been happier til this terrible disease came. I cant fight any longer. I know that I am spoiling your life, that without me you could work. And you will I know. You see I cant even write this properly. I cant read. What I want to say is I owe all the happiness of my life to you. You have been entirely patient with me and incredibly good. I want to say that everybody knows it. If anybody could have saved me it would have been you. Everything has gone from me but the certainty of your goodness. I cant go on spoiling your life any longer. I dont think two people could have been happier than we have been.stream of consciousness: a writing technique in which long passages of perceptions, thoughts, judgments, feelings, associations, and memories are written down as they occur without being restructured logically or grammatically by the author.伍尔夫散文的特征：突破了诗与散文的界限，把叙事、抒情、诗意的象征融为一体。真实、自然、朴实、具体、生动和逼真，接近思维的本质。Virginia Woolf, Leslie Stephen, Selected EssaysBy the time that his children were growing up the great days of my fathers life were over. His feats on the river and on the mountains had been won before they were born. Relics on the mountains had been won before they were born. Relics of them were to be found lying about the house the silver cup on the study mantelpiece; the rusty alpenstocks that leant against the bookcase in the corner; and to the end of his days he would speak of great climbers and explorers with a peculiar mixture of admiration and envy.A在孩子们要长大成人时， 我父亲一生中的全盛时期已然过去。孩子们还未出生，他便在漂河登山方面取得了成绩。这些活动的遗迹在住宅里还随处可见书房壁炉架上的那只银杯啦，角落书架旁那根锈迹斑斑的铁头登山杖啦；在他的日子将尽时， 他谈到了不起的登山家和探险家，仰慕和妒忌兼而有之，显得特别。B儿女渐渐长大，父亲的辉煌岁月也结束了。他攀山涉水的胜迹都是在儿女们出生前完成的。种种念想，就散落在房间里书房壁炉上的银杯；墙角书架旁戳着的锈迹斑斑的登山杖；他常常聊起那些伟大的登山者和探险家，直到临终，钦幕和妒忌的口吻兼而有之。在伍尔芙的原文四句话中，只有前面三句话的主语都是非物质的，符合伍尔芙呈现场景的白描写法，到最后一句话，才出现父亲为主语的句子，凸显栩栩如生的父亲形象，句子的结构也最长。两个翻译，第一个完全对应原文的结构，按照中文的表述习惯作了改动，但是太过生硬，结构对于汉语而言僵硬、复杂，而且原文中的by, his, my都原样保留，拖泥带水，非常滞涩。而第二个译文自如流畅，直接用“父亲”一词，亲切自然，没有第一个翻译那么多的显性的联接和衔接。Virginia Woolf, The Common Reader Examine for a moment an ordinary mind on an ordinary day. The mind receives a myriad impressions trivial, fantastic, evanescent, or engraved with the sharpness of steel. From all sides they come, and incessant shower of innumerable atoms, and as they fall, as they shape themselves into the life of Monday of T