1、英漢翻譯,緒論，翻譯史，翻譯的標(biāo)準(zhǔn)、過(guò)程及對(duì)譯者的要求,1,1) What is Translation？,Try to translate the following sentences into Chinese, make sure that your versions are logical and colloquial.,1) This is the official kind of strike.,2) The machine is in repair.,1) 這是由工會(huì)組織的罷工。/這次罷工是由工會(huì)組織的。,2) 機(jī)器修好了。 in repair= in good repair;

2、正在修理= under repairing,2,3) Dont cough more than you can help.,4) I wish I could bring you to see my point.,3) 除非忍不住，盡量不要咳嗽。 I cant help it. 我無(wú)能為力/我沒(méi)有辦法。,4）我怎么跟你說(shuō)不明白呢？,3,How to Fat-proof Your Child? -What kind of money does a girl like best? - Matrimony. Able was I ere I saw Elba. -What flower does e

3、verybody have? -Tulips.,Can you translate the following sentences into Chinese? Make sure that your readers may understand and appreciate what you have translated.,如何讓你的孩子防“胖”于未然？,女孩最?lèi)?ài)什么“財(cái)”？郎才。 女孩最?lèi)?ài)什么錢(qián)？禮錢(qián)。 女孩最?lèi)?ài)什么錢(qián)？美元（緣）,不到俄島我不倒。 落敗孤島孤敗落。,(tulips= two lips) 什么樣的花人人都有??？淚花。,4,英語(yǔ)動(dòng)詞translate源自拉丁詞translat

4、us，而translatus又是transferre 的過(guò)去分詞。在拉丁語(yǔ)里，transferre的意思是carry或transport，指的是背負(fù)物件將其轉(zhuǎn)移到另一地方。詞根trans本身含有時(shí)空變遷的意思，而ferre除了“負(fù)重”與“搬運(yùn)”的意思外，還有endure與suffer的含義。,5,Etymologically, “translate” is derived from the Latin word translatus, “ carried over.” Translatus is the past participle of transferre. If divided int

5、o trans and ferre, we can see the proximity of the word to dia and peherein. The Latin term ferre means “to carry” or “ to transport” as in carrying a shield, and was often used to mean to bear or convey with the notion of motion （Homer）, as in ships borne by the forces of wind. If also meant to end

6、ure, to suffer, as in to bear a mental burden (Gentzler, 2001:166),6,It is sometimes said that there is no task more complex than translationa claim that can be readily believed when all the variables involved are taken into account. Translators not only need to know their source language well; they

7、 must also have a thorough understanding of the field of knowledge covered by the source text, and of any social, cultural, or emotional connotations that need to be specified in the target language if the intended effect is to be conveyed. The same special awareness needs to be present for the targ

8、et language, so that points of special phrasing , local (e.g. regional) expectations, and so on, can all be taken into account.,7,Definitions of proper translating are almost numerous and varied as the persons who have undertaken to discuss the subject. This diversity is in a sense quite understanda

9、ble; for there are vast differences in the materials translated, in the purpose of the publication, and in the needs of the prospective audience. Moreover, live languages are constantly changing and stylistic preferences undergo continual modification. Thus a translation acceptable in one period is

10、often quite unacceptable in a latter time. (E.A. Nida),8,Some Definitions by Scholars,Translation may be defined as follows: the replacement of textual material in one language (SL) by equivalent textual material in another language (TL). (Catford: Linguistic Theory of Translation, 1965),9,From the

11、teleological point of view, translation is a process of communication; the objective of translating is to impart the knowledge of the original to the foreign reader. (Wills, 1982: 59) Translation is not simply a matter of seeking other words with similar meaning, but of finding appropriate ways of s

12、aying things in another language. Translating is always meaning-based, i.e. it is the transfer of meaning instead of form from the source language to the target language.,10,翻譯是以符號(hào)轉(zhuǎn)換為手段、意義再生為任務(wù)的一項(xiàng)跨文化的交際活動(dòng)。（許均，翻譯論，2003：75） 翻譯是運(yùn)用一種語(yǔ)言把另一種語(yǔ)言所表達(dá)的思維內(nèi)容準(zhǔn)確而完整地重新表達(dá)出來(lái)的語(yǔ)言活動(dòng)。 By translation here we specifically

13、mean translating, the process of translation, in which something is translated, instead of the work translated.,11,Translation is a science/ an art. Translation is a craft/ a skill. Translation is a language activity /communicating.,Among them the first two are most important for they represent two

14、schoolsthe school of science and the school of art. The former maintains that translating should reproduce the message of the original by means of the transformation of linguistic equivalence. It puts stress on the study of description of the process of translation, and the structures and forms of l

15、anguage so as to reveal the objective laws inherent in translating. The latter school advocates re-creating a literary work by using expressions of another language. It emphasizes the effect of translation.,12,譯者所從事的工作，是“一仆二主”的事情。 翻譯是媒人。 （歌德） Translations are like womenwhen they are faithful they ar

16、e not beautiful; when they are beautiful they are not faithful. 翻譯如臨畫(huà)，如伯樂(lè)相馬。 （傅雷） Translation is to dance with fetters. Translation is the transmigration of souls. Traduttor traditori.,Some Metaphors of Translation,13,翻譯的形式,Roman Jacobson breaks the field down into three areas: intra-lingual transla

17、tion, a rewording of signs in one language with signs from the same language; inter-lingual translation, or the interpretation of signs in one language with signs from another language (translation “proper”); and inter-semiotic translation, or the transfer (“transmutation”) of the sings in one langu

18、age to non-verbal sign systems (from language into art or music). (Gentzler, 2001:1),14,按語(yǔ)種轉(zhuǎn)換分：漢外翻譯、外漢翻譯； 按工作方式分：口譯、筆譯； 按翻譯材料分：文學(xué)翻譯、科技翻譯、政 論翻譯、應(yīng)用文翻譯； 按處理方式分：全譯、摘譯、編譯。 按翻譯手段分：人工翻譯、機(jī)器翻譯； 按職業(yè)特點(diǎn)分：全職翻譯、兼職翻譯；,15,“無(wú)論是在中國(guó)還是在西方，翻譯都是一項(xiàng)極其古老的活動(dòng)。事實(shí)上，在整個(gè)人類(lèi)歷史上，語(yǔ)言的翻譯幾乎同語(yǔ)言本身一樣古老。兩個(gè)原始部落間的關(guān)系，從勢(shì)不兩立到相互友善，無(wú)不有賴于語(yǔ)言和思想的交流，有

19、賴于相互理解，有賴于翻譯?！?（譚載喜,西方翻譯簡(jiǎn)史，2004）,16,“有關(guān)口譯活動(dòng)的最早記載，見(jiàn)與公元前兩千多年的上埃及埃利潘蒂尼島的古王國(guó)王子的石墓碑文?！?到了公元前3世紀(jì)，有文字記錄的翻譯作品的問(wèn)世標(biāo)志著西方古代翻譯的開(kāi)始。最早的有一定規(guī)模的翻譯活動(dòng)從古羅馬開(kāi)始。大量希臘文學(xué)作品被翻譯成拉丁語(yǔ)，因此西方的翻譯理論一開(kāi)始就具有文學(xué)翻譯的特征。 “從廣義上說(shuō)，西方最早的譯作是公元前三世紀(jì)前后，72名猶太學(xué)者在埃及亞歷山大城翻譯的圣經(jīng)舊約，即七十子希臘文本；從嚴(yán)格意義上說(shuō)，西方的第一部譯作是約在公元前三世紀(jì)中葉安德羅尼柯在羅馬用拉丁語(yǔ)翻譯的希臘荷馬史詩(shī)奧德賽?！?17,周公居攝三年，越裳以

20、三象胥重譯而獻(xiàn)白雉，曰：“道路悠遠(yuǎn)，山川阻深，音使不通，故重譯而朝?！?冊(cè)府元龜 我國(guó)至少在公元前11世紀(jì)就已有了通過(guò)多重翻譯而進(jìn)行交流的史實(shí)。 五方之民，言語(yǔ)不通，嗜欲不同。達(dá)其志，通其欲，東方曰寄，南方曰象，西方曰狄鞮，北方曰譯?！?禮記王制“,18,19,20,Principles of Translation,The so-called principles of translation and criteria of translation are actually the two sides of the same thing. The former lays emphasis o

21、n the translator, who should follow them while translating, whereas the latter on the reader or critic, who may use the criteria to evaluate a translation. The criteria of translation function as a plumb-line for measuring the professional level of translation and as a goal set for translators to st

22、rive after.,21,Three “l(fā)aws of translation” formulated by Tytler (1749-1814),1. The Translation should give a complete transcript of the ideas of the original work. 2. The style and manner of writing should be of the same character with that of the original. 3. The translation should have the ease of

23、 the original composition. The ideological content, the linguistic representation and the stylistic characteristic of a piece of literary writing constitute an integral entirety, and a literary translation should be an accurate reproduction of it as a whole.,22,“譯事三難，信、達(dá)、雅。求其信，已大難矣。顧信矣不達(dá)，雖譯猶不譯也，則達(dá)尚焉

24、。” 嚴(yán)復(fù)譯天演論牟例所標(biāo)“譯事三難：信、達(dá)、雅”，三字皆已見(jiàn)此。譯事之信，當(dāng)包達(dá)、雅；達(dá)正以盡信，而雅非為飾達(dá)。依義者以傳，而能如風(fēng)格以出，斯之謂信。雅之非潤(rùn)色加藻，識(shí)者尤多；信之必得意忘言，則解人難索。譯文達(dá)而不信者有之矣，未有不達(dá)而能信者也。 （錢(qián)鐘書(shū) 管錐編）,23,嚴(yán)復(fù)（1853-1921）福建侯官人。1867年入船政學(xué)堂學(xué)習(xí)。1876年赴英游學(xué)，接受了西方資產(chǎn)階級(jí)的政治文化思想。1879年回國(guó)，任北洋水師學(xué)堂教習(xí)等職。從中日甲午戰(zhàn)爭(zhēng)到戊戌變法這一時(shí)期，他激于愛(ài)國(guó)熱情，通過(guò)譯書(shū)、作政論、辦報(bào)紙，宣傳變法維新思想，攻擊封建專制，提倡科學(xué)民主，全面提出資產(chǎn)階級(jí)改良主義的思想主張， 成為當(dāng)

25、時(shí)維新運(yùn)動(dòng)的出色思想家和宣傳家。 代表譯作有 天演論(T. Henry Huxley, Evolution and Ethics and Other Essays) 群己權(quán)界說(shuō)(John Stuart Mill, On Liberty) 原富（A. Smith, Inquiry into the Nature and Cause of the Wealth of Nations),24,The original It may be safely assumed that, two thousand years ago, before Caesar set foot in southern Br

26、itain, the whole countryside visible from the window of the room in which I write, was in what is called “the state of nature.” The version 赫胥黎獨(dú)處一室之中，在英倫之南，背山而面野，檻外諸境，歷歷如在幾下。乃懸想二千年前，當(dāng)羅馬大將愷撒來(lái)到時(shí)，此間有何景物。計(jì)惟有天造草昧，人功未施。,25,“凡是翻譯，必須兼顧著兩面，一當(dāng)然力求其易解，一則保存著原作的豐姿?！?（魯迅，且介亭雜文二集“信順”之說(shuō)） 嚴(yán)又陵以為譯事三難：信，達(dá)，雅。其實(shí)歸要到底“信”字最不

27、容易辦到。原文“達(dá)而雅”，譯文不“達(dá)”不“雅”，那還是不“信”；如果原文不“達(dá)”不“雅”，譯文“達(dá)”而“雅”，過(guò)猶不及，那也還是不“信”。所謂“信”是對(duì)原文忠實(shí)，恰如其分地把它的意思用中文表達(dá)出來(lái)。有文學(xué)價(jià)值的作品必是完整的有機(jī)體，情感思想和語(yǔ)文風(fēng)格必融為一體，聲音與意義也必欣合無(wú)間。所以對(duì)原文忠實(shí)，不僅是浮面的字義忠實(shí)，對(duì)情感思想、風(fēng)格、聲音節(jié)奏等必同時(shí)忠實(shí)。稍有翻譯經(jīng)驗(yàn)的人都知道這是極難的事。（朱光潛，論翻譯“信”字原則） 信達(dá)美 （林語(yǔ)堂） 信達(dá)切 （劉重德） “三美”意美，音美，形美 “三化”等化，淺化，深化 “三之”知之，好之，樂(lè)之 （許淵沖） “創(chuàng)優(yōu)似競(jìng)賽，美化之藝術(shù)”,26,中國(guó)

28、傳統(tǒng)譯論 案本求信神似化境 西方現(xiàn)代譯論 翻譯的文藝學(xué)派 翻譯的語(yǔ)言學(xué)派 翻譯研究學(xué)派 翻譯的闡釋學(xué)派 翻譯的解構(gòu)主義流派,27,為了避免因采用“信、達(dá)、雅”這個(gè)舊形式而對(duì)新內(nèi)容可能引起誤解，我們主張把翻譯標(biāo)準(zhǔn)概括為“忠實(shí)、通順”四個(gè)字。(教材:7) 三國(guó)支謙法句經(jīng)序： “因循本旨，不加文飾。美言不信，信言不美。” 后秦鳩摩羅什，百論序： “質(zhì)而不野，簡(jiǎn)而必旨?！?28,No translation, however learned, is of any value that does not give at least some of the joy to the readers that

29、was given by its original. -A. J. Arborry,29,1) It was a girl with good manners. 2) Dogs are often regarded as mans good friends. 3) who is a good Christian, a good parent, a good child, a good wife or a good husband; who actually does have to disconsolate family to mourn his loss;(W.M. Thackeray, V

30、anity Fair) 4) There was an urgent need for him to become, at least in appearance, a good Republican.,這是一位舉止得體的姑娘。 狗經(jīng)常被認(rèn)為是人們的忠實(shí)朋友。 有的是虔誠(chéng)的教徒，慈愛(ài)的父母，孝順的兒女，賢良的妻子，盡職的丈夫， 他們家里的人也的確哀思綿綿地追悼他們.（楊必譯） 對(duì)他來(lái)說(shuō)，迫切需要的是成為一個(gè)地道的共和黨人，至少表面上是這樣。,30,Process of Translation,理解、表達(dá)與審校 trust, aggression, import, compensation（ G

31、eorge Steiner ） Theodore Savory在1957年發(fā)表的The Art of Translation 一書(shū)中寫(xiě)道： A fair conclusion from these ideas is that the translators work may be analysed into the answering of three questions. Faced with a passage in its original language, he must ask himself: (1) What does the author say? (2) What does

32、 he mean? (3) How does he say it? This method of analysis may be applied to the paragraph, to the sentence, or even to the phrase.,31,32,要想翻譯意思，必須先弄清楚原文的意思。正如薩沃里所說(shuō)，譯者必須先問(wèn)自己第一個(gè)問(wèn)題：作者說(shuō)的是什么？但若到此為止，那是很不夠的。因?yàn)檫@時(shí)你看到的只是字面上的意思，若動(dòng)手翻譯，難免弄出機(jī)械的字對(duì)字的譯文。因此，譯者還必須問(wèn)自己第二個(gè)問(wèn)題：作者的意思是什么？只有正確地回答了這個(gè)問(wèn)題，才抓住了作者所要表達(dá)的意思。這時(shí)動(dòng)手翻譯，才能真

33、心做到翻譯意思。 The translator must have a good grasp of the authors portrayal of his characters and style of writing.,33,He is easily the best student in the class. 他絕對(duì)/無(wú)疑是班上最好的學(xué)生。 They gave the boy the lie. 他們指責(zé)男孩說(shuō)謊。 She sighed for her mother. 她很懷念母親。,I wont do it to save my life. 我死也不干。 Her mother died

34、of difficult labor. 她母親死于難產(chǎn)。 I dare say he is honest. 我覺(jué)得他是誠(chéng)實(shí)的。,34,I have no opinion of him. 我覺(jué)得他不怎么樣。 He was then bright in the eye. 此時(shí)他已喝得酩酊大醉。 Calculation never makes a hero. 舉棋不定永遠(yuǎn)成不了英雄。,Their panic was their only punishment. 他們只是受了一場(chǎng)虛驚。 Do you have a family? 你有孩子了嗎？,35,The translator should rea

35、d the whole piece of writing carefully, try to grasp the ideological content the author wants to express and make clear not only the literal meanings but also the implications between the lines. 1) Please tell me if you can help us. 如果你能幫忙，請(qǐng)說(shuō)一聲。 請(qǐng)告訴我你是否能幫忙。 2) We have no spring here. 我們這里沒(méi)有春天/彈簧/泉水。

36、,36,文章的體裁不同，對(duì)譯文流暢的具體要求也不同。若是翻譯小說(shuō)、散文，流暢應(yīng)含有文字雅致優(yōu)美的意思；若是翻譯詩(shī)歌，最好還要講究抑揚(yáng)頓挫、押韻合轍；翻譯社會(huì)科學(xué)、自然科學(xué)文章，則要求明白曉暢。原作活潑自如，譯文拘板滯泥，則是沒(méi)有盡到責(zé)任。原文平直無(wú)文，譯文也很難做到活潑生動(dòng)。（陳廷佑，2001：145） 筆譯一般都是用書(shū)面語(yǔ)，不同于日?？陬^上用的大白話，總是要講究一點(diǎn)，簡(jiǎn)練暢達(dá)，有些文采，符合漢語(yǔ)規(guī)范，讀起來(lái)上口，聽(tīng)起來(lái)入耳。要做到這一點(diǎn)，應(yīng)該注意翻譯文字上的三忌：?jiǎn)?；學(xué)生腔；洋腔洋調(diào)。,37,1，忌啰嗦話 啰嗦話，或是用詞啰嗦費(fèi)解，或是句子晦澀難懂。 1) Their speeches w

37、ere dressed up with as much care as though they were parliamentary harangues fashioned to the columns of the daily press. A. 他們的演說(shuō)都經(jīng)過(guò)精心打扮，好像它們是日?qǐng)?bào)專欄上刊登的社會(huì)宏論似的。 B. 他們的演說(shuō)被那些小心翼翼地裝扮得像是適合于每日?qǐng)?bào)刊專欄新聞上刊登的議會(huì)高談闊論似的。,38,2）Vast lawns extend like sheets of vivid green, with here and there clumps of gigantic trees

38、, heaping up with rich piles of foliage. A. 草地寬闊，好像地上鋪了鮮艷的綠絨似的氈毯 ，巨樹(shù)數(shù)株，聚成一簇，綠葉濃密，一眼望去，草地上東一簇，西一簇，這類(lèi)的大樹(shù)可不少。 B. 寬闊的草坪宛如翠綠的地毯，成片的參天大水點(diǎn)綴其間，綠葉濃密，層層迭迭。,39,2，忌學(xué)生腔 學(xué)生腔有種種表現(xiàn)：用詞生硬、呆板、重復(fù)、不自然，或是喜歡拋文，但又不恰當(dāng)，或把簡(jiǎn)單句子弄得很繞口，有時(shí)又喜歡套用固定程式，“因?yàn)樗浴?，“雖然但是”，“當(dāng)?shù)臅r(shí)候”這些，把好端端的文字譯得枯干蒼白，僵硬死板，淡而無(wú)味。,40,1） It is a small, old-fashioned

39、but important port. A. 它是一個(gè)小的、老式的、但很重要的港口。 B. 它是一個(gè)老式的小港，但很重要。,41,2） His assets were learning, memory and a mastery of language. His ungainly figure and his stiffness of gesture were disadvantages. A. 他的財(cái)產(chǎn)是學(xué)問(wèn)、記憶力，有口才。他的不雅的體型和他的姿勢(shì)呆板則是他的短處。 B. 博聞強(qiáng)記，長(zhǎng)于辭令，是他的優(yōu)點(diǎn)；而體型不雅，姿勢(shì)呆板，則是他的短處。,42,3） He is so arrogant

40、that no one will keep company with him. A. 他是如此狂妄自大，以致誰(shuí)也不愿與他相交。 B. 他很狂妄自大，誰(shuí)也不愿意與他來(lái)往。 4） Big things look very small when they are far away. A. 當(dāng)大的東西離我們遠(yuǎn)的時(shí)候，它們看起來(lái)就小了。 B. 大的東西離我們遠(yuǎn)一些，就顯得小了。,43,3， 忌過(guò)度異化/歸化 譯文帶有外國(guó)味，恐怕是難免。但是，舍棄合適而流暢的中文不用，而硬要仿照英文格式翻譯出不符合漢語(yǔ)規(guī)范的譯文，就是洋腔洋調(diào)，這也是對(duì)母語(yǔ)的一種污染。,44,The reoccupation of the

41、 Rhineland did not affect France from the defensive point of view. If the Maginot line were all it claimed to be, then her security was as great as before; if the Maginot line was no good, then France had never been secure in any case. 從防御的觀點(diǎn)來(lái)看，重占萊茵蘭并沒(méi)有影響法國(guó)。如果馬奇諾防線恰如人民所說(shuō)的那樣管用（它被聲稱的一切），那么法國(guó)會(huì)像從前一樣安全（法

42、國(guó)的安全就像從前一樣大）；如果馬奇諾防線沒(méi)有什么用處，那么法國(guó)在任何情況下也是不安全的。,45,Domestication: a term raised by L. Venuti in 1995 to mean a translation strategy for a transparent, fluent style in order to minimize the strangeness of the foreign text for readers of the translation. Foreignization：opposed to domestication, the term

43、refers to a translation deliberately breaking target conventions by retaining some foreignness or exotic flavor of the original.,46,If youll believe me, he went through with flying colors on examination days! He went through on that purely superficial “cram”, and got compliments too, while others, w

44、ho knew a thousand times more than he, got plucked. 你信也罷，不信也罷，考試那天他可是出盡了風(fēng)頭。他靠一知半解的臨時(shí)抱佛腳居然考及格了，還受到了表?yè)P(yáng)。好多人比他強(qiáng)一千倍，反而沒(méi)及格。 Domestication emphasizes the naturalness and smoothness of the translation.,47,Those strict proprieties of the old days are now regarded as a Procrustean bed. A：往日種種嚴(yán)格的禮節(jié)，如今已被視為無(wú)理取鬧的

45、玩意兒。 B：往日的那些嚴(yán)格的行為規(guī)范現(xiàn)在已被視為普洛克拉斯之床。 Like a son of Bachus, he can drink up two bottles of whisky at a breath. A：活像一位天生的劉伶，他能夠一口氣喝光兩瓶威士忌。 B：他簡(jiǎn)直像酒神巴克斯的兒子，能一口氣喝光兩瓶威士忌。,48,Curiously enough, he prophesied with oracular accuracy to the amazement of all. A：說(shuō)也奇怪，他像諸葛亮一樣，料事如神，大家都驚訝不已。 B：說(shuō)也奇怪，他料事如神，驗(yàn)如神啟，使所有人都驚訝不

46、已。,49,在英譯漢時(shí)，許多譯者認(rèn)為有五類(lèi)漢語(yǔ)成語(yǔ)要慎用：一是反映中華民族特殊習(xí)俗的，如義結(jié)金蘭、生辰八字、臥薪嘗膽等；二是帶有漢字特征的，如一字長(zhǎng)蛇、有眼不識(shí)金鑲玉、目不識(shí)丁等；三是含有中國(guó)地名的，如江東父老、逐鹿中原、樂(lè)不思蜀、廬山真面目等；四是含有中國(guó)人名的，如東施效顰、廉頗老矣等；五是涉及中國(guó)古老傳說(shuō)或故事的，如三顧茅廬、暗渡陳倉(cāng)等。,50,Requirements for Translator,譯者的基本素質(zhì)：能力；責(zé)任感 1. 社會(huì)責(zé)任 2. 作風(fēng)嚴(yán)謹(jǐn) 3. 準(zhǔn)確達(dá)意 4. 通曉原文 5. 知識(shí)廣博 6. 態(tài)度端正 7. 實(shí)事求是 8. 謙虛好學(xué) 9. 精益求精 10. 保密意識(shí)

47、Political awareness Bilingual competency Encyclopedic knowledge Curious and rigid attitude,51,A translator is always trying to extend his knowledge and improve his means of expression; he is always pursuing facts and words. He works on four levels: translation is first a science, which entails the k

48、nowledge and verification of the facts and the language that describes themhere, what is wrong, mistakes of truth, can be identified; secondly, it is a skill, which calls for appropriate language and acceptable usage; thirdly, an art, which distinguishes good from undistinguished writing and is the

49、creative, the intuitive, sometimes the inspired, level of the translation; lastly, a matter of taste, where argument ceases, preferences are expressed, and the variety of meritorious translation is the reflection of individual differences.,52,We had plenty of company in the way of wagonloads and mule-loads of touristsand dust. 我們的旅伴真不少：馬車(chē)載的，騾子馱的，還有滾滾塵土。 “Its an order from Pr