1、英漢翻譯類型和方法教學計劃文學翻譯新聞英語的翻譯論說文的翻譯科技文章的翻譯應(yīng)用文翻譯(0/4)廣告翻譯(1/4)商務(wù)翻譯(2/4)法律翻譯(3/4)旅游翻譯(4/4)文學翻譯翻譯出來的小說要像原作一樣具有文學價值：一、深刻理解原作 二、把握原文的風格三、了解雙語的社會文化背景四、要有良好的母語素養(yǎng)提高文學修養(yǎng)加強文學修養(yǎng)，以藝術(shù)眼光去領(lǐng)略藝術(shù)，是翻譯文學的前提。動筆之前，要全面深入了解作者所處時代、社會和文化背景，作者的個人經(jīng)歷、思想信念、立場觀點、人格結(jié)構(gòu)、藝術(shù)素養(yǎng)，以及作品本身的體裁題材、主題思想、語言特色、表現(xiàn)程式等。然后再制定與之相適應(yīng)的翻譯計劃和基本策略，確定追求目標和基本手法，方能

2、胸有成竹，下筆如神。文學作品的內(nèi)容和形式是不可分割的有機整體,因為形式本身就是傳情達意的方式，形式的重要性不亞于內(nèi)容。決不能僅僅把“意思”譯出來就算過關(guān)。要忠實于原文:首先, 忠實地反映原作品的思想內(nèi)容;其次,譯作的語言要與原作一樣能很好地表達感情;最后,在風格上要與原作靠近。Studies serve for delight, for ornament, and for ability. Their chief use for delight, is in privateness and retiring; for ornament, is in discourse; and for abi

3、lity, is in the judgment and disposition of business. 王：讀書足以怡情,足以傅彩,足以長才。其怡情也,最見于獨處幽居之時;其傅彩也,最見于高談闊論之中;其長才也,最見于處世判事之際。廖：讀書能給人樂趣、文雅和能力。人們獨居或退隱的時候,最能體會到讀書的樂趣;談話的時候,最能表現(xiàn)出讀書的文雅;判斷和處理事物的時候,最能發(fā)揮由讀書而獲得的能力。王忠實表達原作思想，再現(xiàn)原作文學性。先使用了三個文言詞“足以”分別修飾“怡情”、“傅彩”、“長才”，接著又以三個“其也，最見于”的文言結(jié)構(gòu)來進行闡釋，使原作的排比特點再現(xiàn)于譯文的對仗結(jié)構(gòu)之中，使人品嘗到文

4、言文的藝術(shù)特色。廖雖譯出原作意思，但平鋪直述，語言拖沓，對仗不夠工整，采用現(xiàn)代口語文體，難以表現(xiàn)原作語言時代特征，原作風格很難在譯文中得到體現(xiàn)。Histories make men wise; poems witty; the mathematics subtle; natural philosophy deep; moral grave; logic and rhetoric able to content. Abeunt studia in mores.王譯：讀史使人明智，讀詩使人靈秀，數(shù)學使人周密，科學使人深刻，倫理學使人莊重，邏輯學使人善辯：凡有所學，皆成性格。廖譯：歷史使人聰明，詩歌

5、使人富于想象，數(shù)學使人精確，自然哲學使人深刻，倫理學使人莊重，邏輯學和修辭學使人善辯。總之，讀書能陶冶個性。Abeunt studia in mores. Latin from Ovid, Heroides: Studies form character. 王譯一連串的四字格不僅表達了原作洗練簡潔的風格，而且讓人讀起來抑揚頓挫，起落跌宕，享受到語音上的和諧美感。這種通過增強音感給人留下深刻印象的效果，是廖譯中參差不齊的普通詞組所不能得到的。“I kept it from her arter I heard on it,” said Peggotty, “going on nigh a year

6、. We was living then in a solitary place, but among the beautifullest trees, and with the roses a-covering our Bein to the roof”A. “起那時俺聽了消息后,”辟果提先生說, “瞞著她快一年了.俺們那時呆的地方挺背,前后八方的樹林子說不出的最漂亮,屋頂盡是薔嶶花兒”B. “我聽到那消息以后，”辟果提先生說，“瞞了她差不多一年。我們當時住在一個偏僻的地方。周圍有十分美麗的樹，屋頂上有薔薇花”Charles Dickens的David Copperfield 為了說明Peg

7、gotty沒有文化，說話不規(guī)范，使用了拼寫錯誤（如arter，實為after）、句法錯誤（主謂不一致，如we was；形容詞最高級形式錯誤，如the beautifullest）、用詞搭配錯誤（如heard on it）等。譯一為保持原作風格，使用方言如“俺”、“挺背”等，不規(guī)范用語如“說不出的最漂亮”來處理。譯二用的是規(guī)范語言，雖傳達了原文內(nèi)容，但沒體現(xiàn)原文風格。 藝術(shù)和科學I had not known you a month before I felt that you were the last man in the world whom I could ever be prevail

8、ed on to marry.我還沒有認識你一個月，就覺得象你這樣一個人，哪怕天下男人都死光了，我也不愿意嫁給你。由于誤解和偏見，伊麗莎白當時對達西可謂“深惡痛絕”，說起話來氣勢洶洶，言詞激烈。譯者較好地傳達了這種氣勢，譯得頗有特色，但該譯在突出“藝術(shù)性”的同時，卻忽視了“科學性”，致使譯文產(chǎn)生了兩個問題：一，伊麗莎白是個有教養(yǎng)的女子，不該說出“天下男人都死光”這種粗話，二，譯者置ever(永遠)和be prevailed on(被說服)于不顧，簡單譯成“不愿意嫁給你”，有失嚴謹。修改：我還沒有認識你一個月，就覺得象你這樣一個人，在天下的男人中我最不愿意和他結(jié)婚的就是你。修訂者又走上了另一個極

9、端，顧了“科學性”，卻忽略了“藝術(shù)性”，采取機械的辦法去硬譯the last man，致使譯文疙疙瘩瘩，味同嚼蠟。藝術(shù)派譯文有藝術(shù)魅力，卻有失嚴謹，經(jīng)不起推敲，科學派在形式上顧及了科學性，卻失去了原文的藝術(shù)魅力。藝術(shù)和科學結(jié)合：我認識你還不到一個月的時候，就覺得哪怕我二輩子找不到男人，也休想讓我嫁給你。這個譯文從措辭到語氣，跟原文都比較貼近，恰如其分地展現(xiàn)了既義憤填膺，又不傷大雅的藝術(shù)形象。缺乏藝術(shù)性的譯作是沒有感染力的，而不講科學性的譯作，則不是“再現(xiàn)”原作，而是歪曲與背叛，只有將藝術(shù)和科學熔為一爐，才算得上合格的翻譯。文學文本的特點文學文體主要包括散文、小說、戲劇、詩歌。它們之間存在明顯差

10、異，但文學語言有著共同的基本特點。（一）形象性文學語言最顯著的特點是形象性。無論是小說、散文、戲劇還是詩歌，都力圖以各種語言手段在讀者的腦海中塑造生動鮮明的形象，以達到表情達意的效果。The young people were all in high favour, especially Alice, whose sweet face and temper would have endeared her to the devil himself, but there was much shaking of heads over her handsome husband, Peter, who

11、had a hot eye for a fine leg, as Matty put it, and was apt to put an arm round the kitchen girls if he had the chance.仆人們對家里年紀輕的主人都充滿好感, 特別對艾麗絲更是如此。她的臉蛋長得甜甜, 脾氣又特別隨和, 就是魔鬼見了她也會喜歡。但談起她那位英俊的丈夫彼得, 許多仆人是搖頭的。瑪?shù)傩稳菡f, 他見了女人標致的大腿, 眼睛就會色迷迷的, 如果逮著機會還會去摟一把年輕廚娘的腰。Who had a hot eye for a fine leg 他見了女人標致的大腿, 眼睛就會

12、色迷迷的 。譯語生動再現(xiàn)了小說飄中彼得風流好色的形象。既不拘泥于逐字逐句的文字轉(zhuǎn)換, 也不超然于文字之上自由構(gòu)想, 靈活地再現(xiàn)原作的人物形象, 收到了達意傳神的效果。（二）抒情性文學作品中，語言為渲染的需要帶上濃重的抒情性。運用得當，就能大大提高作品的感染力。（三）含蓄性好的文學作品往往留下足夠的空間讓讀者去想像、去思索、去回味。因此，含蓄性也是文學語言的一大特色。海明威冰川原則（四）象征性文學作品中大量采用象征的手法。如紅玫瑰代表愛情，過去西方文化中的象征，現(xiàn)在被許多東方的文化接受了。（五）韻律感文學作品中經(jīng)常采取押韻、節(jié)奏、擬聲等手段增強語言的形象性和生動性。（六）諷刺和幽默文學作品的含蓄

13、性與諷刺幽默是密不可分的。借助諷刺和幽默，往往能收到比直接批判或直接贊揚更好的效果，與其把觀點強加給讀者，不如引導讀者自己去得出結(jié)論。Eager to trust but determined to verify, many single women in an age of risky romance are hiring private detectives to check the background of their suitors.這年頭, 談情說愛處處有暗礁。許多單身女子向自己求婚者既急切地愿以心相許, 但又一定要核查對方是否靠得住, 于是就紛紛雇傭私人偵探去查清對方的身世經(jīng)歷。

14、譯文沒有按原文的結(jié)構(gòu)來譯出, 而是從整個語篇來考慮, 根據(jù)英漢語不同的邏輯關(guān)系和句法結(jié)構(gòu)來重組信息, 從而實現(xiàn)譯文的順暢、自然。譯文增加了許多關(guān)系代詞、關(guān)系副詞和人稱代詞, 其篇章結(jié)構(gòu)符合英語要求, 因此行文順暢自然。“Its an order from President Bush.”“I dont care if it is from bush, tree, or grass.”出自電影對白,答話人將Bush這樣一個姓氏與風馬牛不相及的事物粘連,使得對話妙趣橫生,直譯很難再現(xiàn)原作說話人那玩世不恭的神態(tài)和口氣:“這是布什總統(tǒng)的命令。”“管它什么布什、布頭、布片呢,與我無關(guān)。”實例翻譯賞析文學

15、作品的語言藝術(shù)集中表現(xiàn)在修辭手法的巧妙運用上。 通過各種修辭格的運用求得語言運用的音美、形美、義美，使之具有情感愉悅作用。譯者須在語言運用上多下功夫，尤其要注重漢語優(yōu)勢的適度發(fā)揮。頭韻翻譯在兩個或兩個以上鄰近的詞或音節(jié)中,通常為起首輔音的重復。頭韻有助于達到韻律的對稱和語音的悅耳,表達節(jié)奏感,因而具有很強的表現(xiàn)力。It was a splendid populationfor all the slow, sleepy sluggish-brained sloths stayed at home.馬克吐溫名句, 一連用五個首韻詞與前面的splendid呼應(yīng),詞義色彩則正好相反,造成了強烈的詼諧和

16、幽默效果。馬紅軍譯為:(出來的)這幫人個個出類撥萃因為凡是呆板、呆滯、呆頭呆腦的呆子都呆在了家里。語音變格(metaplasm)語音方面的一種修辭格。語音變格是為了創(chuàng)造常規(guī)言辭所不具備的特殊美學功能。作者使用語音變格多為刻畫人物的身份、性格等。艾麗絲夢游仙境(Alices Adventures in Wonderland)中的對話:“Did you say pig or fig?” said the cat .“I said pig,” replied Alice.此處的用心并不在于“pig”或“fig” 的實際意義,而是傳達一個信息:問話者沒聽清發(fā)音相似的某個詞語“你說豬還是無花果?” 貓問

17、。“我說豬。”愛利絲答。“你說豬還是鼠?”貓問。“我說豬。”愛利絲答。“你剛才說的是豬還是書?”小貓問。類似對話在艾麗絲漫游奇境記中比比皆是,我們可以采用語音變格的方法,如將yeth(yes)譯成中國兒童稚氣十足的“細的”(“是的”),將aul(owl)和pooseh-cut(pussy-cat) 譯成“喵頭鷹”(“貓頭鷹”)和“小喵”(“小貓”)。A thousand moustaches can live together, but not for breasts.譯文1：一千個男人可以住在一起，兩個女人卻不行。譯文2：千條漢子能共處，兩個婆娘難相容。文字游戲翻譯What flower d

18、oes everybody have?Tulips. (Tulips=two lips)人人都有的花是什么花?淚花。譯文如若忠實于原文則應(yīng)是:郁金香。但這樣譯語讀者無法領(lǐng)略到原語言的睿智。而“淚花”的譯法雖有悖于原文,但它成功地將兩種語言溝通起來,實現(xiàn)了兩種讀者視界的溝通、交流和融合。狄更斯大衛(wèi)科波菲爾:I love my love with an E, because shes enticing; I hate her with an E, because shes engaged. I took her to the sign of the exquisite, and treated h

19、er with an elopement, her names Emily, and she lives in the east.譯者需要玩味文中所充溢的可感性、生動性、美感性以及形象和音韻的新穎性,正確解讀文中的詼諧與俏皮,再將這種美滿享受傳達給譯文讀者。按字面譯會使譯文拖沓別扭,原文的修辭美也幾近喪失。我愛我的那個“麗”,可愛迷人有魅力;我恨我的那個“麗”,要和他人結(jié)伉儷;她文雅大方又美麗,和我出逃去游歷;她芳名就叫艾米麗,家住東方人俏麗。這樣一來,原文的音韻美和節(jié)奏感就得以成功地移植到漢語言中來了。諧音雙關(guān)的翻譯Doe.a deer, a female deer. Ray.a drop

20、of golden sun. Me.a name I call myself. Far. a long long way to run. Sew.a needle pulling thread. La.a note to follow sew. Tea.a drink with jam and bread. That will bring us to doe.美國電影音樂之聲中的歌曲Do-Re-Mi(多來米)朵,美麗的祖國花朵。來呀,大家都快來!密,你們來猜秘密。發(fā),猜中我把獎發(fā)。索,大家用心思索。拉,快點猜莫拖拉。體,怎樣練好身體,做茁壯成長的花朵。這樣譯,可以保持原詞諧音雙關(guān)的情趣而不損害

21、原作的精神。從修辭方面來說，Of Studies最大的特點是排比句式的大量使用。To spend too much time in studies is sloth; to use them too much for ornament, is affection; to make judgment wholly by their rules, is the humour of a scholar.王譯：讀書費時過多則易惰，文采藻飾太盛則矯，全憑條文斷事乃學究故態(tài)。廖譯：耗費過多的時間去讀便是遲滯，過分用學問自炫便是矯揉造作，而全憑學理判斷一切，則是書呆子的癖好。Youth is not a t

22、ime of life, it is a state of mind, it is not a matter of rosy cheeks, red lips and supple knees, it is a matter of the will,a quality of the imagination, a vigor of the emotions, it is the freshness of the deep spring of life. 青春不是年華,而是心境。青春也不是玫瑰般嬌媚的面容,如火的雙唇和柔和的膝蓋。青春是一種積極的意志,美妙的想像,炙熱的情感,是心底生命之泉的激涌。

23、青春不是年華,而是心境；青春不是桃面、丹唇、柔膝,而是深沉的意志、恢宏的想象、熾熱的感情；青春是生命的深泉在涌流。But, as has been true in many other cases, when they were at last married, the most ideal of situations was found to have been changed to the most practical. Instead of having shared their original duties, and as school-boys would say, going h

24、alves, they discovered that the cares of life had been doubled. This led to some distressing moments for both our friends; they understood suddenly that instead of dwelling in heaven they were still upon earth, and had made themselves slaves to new laws and limitations. Instead of being freer and ha

25、ppier than ever before, they had assumed new responsibilities; they had established a new household, and must fulfill in some way or another the obligations of it. They looked back with affection to their engagement; they had been longing to have each other to themselves, apart from the world, but i

26、t seemed that they never felt so keenly that they were still units in modern society.（2008）But, as has been true in many other cases, when they were at last married, the most ideal of situations was found to have been changed to the most practical. Instead of having shared their original duties, and

27、 as school-boys would say, going halves, they discovered that the cares of life had been doubled. This led to some distressing moments for both our friends; they understood suddenly that instead of dwelling in heaven they were still upon earth, and had made themselves slaves to new laws and limitati

28、ons. Instead of being freer and happier than ever before, they had assumed new responsibilities; they had established a new household, and must fulfill in some way or another the obligations of it. They looked back with affection to their engagement; they had been longing to have each other to thems

29、elves, apart from the world, but it seemed that they never felt so keenly that they were still units in modern society.From The New Life by Sarah Jewett薩拉朱厄特 (Sarah Jewett, 1849-1909) 生于緬因州，十幾歲時開始寫作。初期寫的短篇，收集在深港里(Deep haven, 1877)，一八九六年出版的針杉之鄉(xiāng)(The Country of the Pointed Firs)是她最著名的作品。但是正如其他許多已經(jīng)發(fā)生過的事

30、情一樣，當他們最終結(jié)婚后，發(fā)現(xiàn)最憧憬的生活變得再實際不過了。他們非但沒有分擔各自原先的責任-正如那些學生們所說“一半一半”，相反卻發(fā)現(xiàn)生活的重擔加倍了。這使得我們那兩個結(jié)婚的朋友時常覺得沮喪；他們突然發(fā)現(xiàn)自己并沒有過著天堂般的生活而是仍實實在在地生活在地球上，而且成為了新規(guī)則和新約束的奴隸。生活并沒有比以前更自由、更幸福，因為他們要去承擔新的責任。既然成立了一個新的家庭，那就無論如何也要盡一點家庭的義務(wù)。他們深情地回想起訂婚的那段時光，曾經(jīng)如此地渴望擁有彼此而忘掉這個世界，然而現(xiàn)在最深切的感受卻是自己仍是這個世界的一份子。Sherwood Anderson(18761941)Lu Xun an

31、d Sherwood Anderson: the Great Pathfinders of Modernist Literature Lu Xun(18811936) S. Anderson(18761941)Sherwood Anderson is the father of American modernist literature. first American author to explore the influence of the unconscious on human behavior. made a break with the traditional American s

32、hort story. Rejecting what he termed the “poison plot,” Anderson focused on the psychological lives of characters. over-impressed by Freudian psychology and sex symbols. first explored the motivations and frustrations of his characters in terms of Sigmund Freuds theories of psychology. MasterpiecesW

33、inesburg, Ohio (1919) The Book of the GrotesqueThe first American modernist novelWinesburg, Ohio is still considered as an important landmark in American modernist fiction, deeply influential in American modernist and postmodemist fiction.He became a writers writer, and left his mark on the style an

34、d vision of the following generation. Hemingway, Faulkner, Wolfe, Steinbeck, Caldwell, Saroyan, Henry Miller . . . each of these owes an unmistakable debt to Anderson.Faulkner, in 1956， acknowledged Anderson as the father of my generation of American writers and the tradition of American writing whi

35、ch our successors will carry on. INTERVIEWERYou must feel indebted to Sherwood Anderson, but how do you regard him as a writer?FAULKNERHe was the father of my generation of American writers and the tradition of American writing which our successors will carry on. He has never received his proper eva

36、luation. He holds themes similar to the later works of T.S. Eliot and other modernists. He traveled widely in Europe - in Paris he met Gertrude Stein, who coined “Lost Generation ”. Lost Generation is a literature school in America. refers to the disillusioned young writers who lived as expatriates

37、in Western Europe after the WWI, including Ernest Hemingway, Ezra Pound, T. S. Eliot, Sherwood Anderson, and many other novelists. Anderson was married four timesdepicted modernist themesgrotesqueness, sexual repression, and frustration and inarticulateness. writing techniques like symbolism, psycho

38、analysis, stream of consciousness, and expressionismAndersons novels: The Triumph of the Egg, Poor White, Many Marriages, Dark Laughterit was his short stories that made him famous. revolutionized short fiction and altered the direction of the modern short story. short story collection:Winesburg, Ohio (1919)Triumph of the Egg and other stories (1921)Horses and Men (1923) Death in the Woods and other stories (1933)The title story in this collection, Death in the Woods, is widely regarded as his masterpiece