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翻译文本描写翻译研究所廖七一1ContentsMajorpointsofDTSHypotheticalSchemeFromtheperspectiveoftranslationprocessFromNewmark’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

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19一、原作者性别、国别、民族、教育程度、政治倾向、艺术观、年龄、语言（母语）20二、原文本1、文类（genre）：长篇小说、短篇小说、散文、诗歌（具体分类）、戏剧、儿童文学2、描写内容：政治、爱情、现实主义、浪漫主义、超验主义3、出版信息：发表年代、刊载期刊、出版社、发行量、接受、传播、影响等21文体特征1、语言：平实、优美、艰深；词频、方言（阶级与地域）、个性语言、正式程度、口语与非口语化倾向、句子结构（类型）、句子平均长度2、文体类型：叙述、描述、说明、译论；3、功能类型：表情、信息、呼唤、美学、元语言22三、译者外语教育背景、外语水平、翻译经验、翻译成就、翻译思想、翻译动机、翻译过程23四、赞助人翻译指令、赞助形式、赞助额度、与译者关系、社会声誉、体制内地位、与主流意识形态的关系24五、译文文本所根据的原文本版本、与原文本的差异（语言、类型、功能）、与本土原创文的关系、出版过程、发行数量、接受与传播25六、译文读者读者群体、教育程度、接受习惯、审美情趣、经济状况、政治地位、阅读目的26七、翻译策略直译、意译、改写、节译……翻译单位、句子结构（长短、繁复、对仗）、语言表达形式（白话、文言、古奥、浅白、儒雅、方言）、对等类型、文化负载词汇处理、修辞格的表现、文本形式的传译274.DescriptiveMethods什么才算得上真正的、地道的文本分析和描述呢？简单地说，一定要从文本的表层深入到文本的深层，从而发现那些不能为普通阅读所把握的深层意义。以下是几种主要的描述方法：281、“新批评”，“新批评”的方法很基础，但也很实用，即从文本中“细读”出那些语言的非日常化运用，如“反讽”、“张力”等。“细读”现在已成为包括各种文本分析在内的一个基本功。“新批评”对诗与短篇小说等文本的分析，特别有用。对于长篇小说则要结合叙述学的分析才容易提纲挈领。292、叙述学的分析方法，主要是故事分析（包括故事序列分析，故事类型分析等等），与叙述视角分析（包括叙述者的人称、位置、可信度；叙述者的声音、叙述的速度等）。当然，叙述学也同样关注人物的话语分析，看他说的话是直接引语还是间接引语，亦或是自由间接引语。因为叙述学、符号学等都是建立在语言学基础上的，所以分析一篇小说就犹如分析一个句子，人物相当于主语，人物的行动相当于谓语，而人物的品质则相当于定语或状语。303、符号学，符号学其实是个相当宽泛的概念，这里仅指最为经典也最常用的符号学分析方法，也就是格雷马斯的方法，主要包括矩阵分析和施动者分析等。当然，罗兰·巴特、托多罗夫等人还有其他的许多方法，但原理基本上都是一样的。所谓“结构主义”的分析方法，基本上也就是这些方法。314、解构主义的方法，代表人物是法国人德里达和美国人德·曼。解构主义的一个基本原则就是从文本的边缘进入，从而颠覆掉整个文本的通常意义。325、互文、对话理论分析。此方法起源于巴赫金，成熟于托多罗夫、克里斯特娃、热奈特等。结构主义一直视文本为相对封闭的系统，从而忽视了现实和社会的因素，而传统批评又只看到了社会忽略了文本，各有弊端。互文、对话理论的出现则很好地解决了这一问题，因为文本与现实社会之间被视为是互为文本的，是对话关系的，于是社会的因素与文本的规则都被分析到了。336、文化研究。从传统文学批评到现代文学批评，史称“语言学转向”，而文学批评向大众文化批评的转向，史称“文化转向”或“意识形态转向”。首先文化研究将以往文学研究的研究对象和研究视野大大地拓展，以前只研究所谓的经典文本，而文化研究则更针对当代消费社会的当下语境，将大众文化（包括电视、广告、娱乐等等）也纳入了研究的范围。其次就是特别注重意识形态分析，葛兰西、阿尔图塞等人的理论有着举足轻重的位置。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.49Thepoemisalsoromanticintheimagerythattheauthorem­ploys.Byusingthe"antiqueland"ofEgyptasasetting.