1、l文学翻译l新闻英语的翻译l论说文的翻译l科技文章的翻译l应用文翻译(0/4)l广告翻译(1/4)l商务翻译(2/4)l法律翻译(3/4)l旅游翻译(4/4)l翻译出来的小说要像原作一样具有文学价值：l一、深刻理解原作 l二、把握原文的风格l三、了解双语的社会文化背景l四、要有良好的母语素养l提高文学修养l加强文学修养，以艺术眼光去领略艺术，是翻译文学的前提。动笔之前，要全面深入了解作者所处时代、社会和文化背景，作者的个人经历、思想信念、立场观点、人格结构、艺术素养，以及作品本身的体裁题材、主题思想、语言特色、表现程式等。然后再制定与之相适应的翻译计划和基本策略，确定追求目标和基本手法，方能胸
2、有成竹，下笔如神。l文学作品的内容和形式是不可分割的有机整体,因为形式本身就是传情达意的方式，形式的重要性不亚于内容。决不能仅仅把“意思”译出来就算过关。l要忠实于原文:l首先, 忠实地反映原作品的思想内容;l其次,译作的语言要与原作一样能很好地表达感情;l最后,在风格上要与原作靠近。lStudies serve for delight, for ornament, and for ability. Their chief use for delight, is in privateness and retiring; for ornament, is in discourse; and fo
3、r ability, is in the judgment and disposition of business. l王：读书足以怡情,足以傅彩,足以长才。其怡情也,最见于独处幽居之时;其傅彩也,最见于高谈阔论之中;其长才也,最见于处世判事之际。l廖：读书能给人乐趣、文雅和能力。人们独居或退隐的时候,最能体会到读书的乐趣;谈话的时候,最能表现出读书的文雅;判断和处理事物的时候,最能发挥由读书而获得的能力。l王忠实表达原作思想，再现原作文学性。先使用了三个文言词“足以”分别修饰“怡情”、“傅彩”、“长才”，接着又以三个“其也，最见于”的文言结构来进行阐释，使原作的排比特点再现于译文的对仗结构之
4、中，使人品尝到文言文的艺术特色。l廖虽译出原作意思，但平铺直述，语言拖沓，对仗不够工整，采用现代口语文体，难以表现原作语言时代特征，原作风格很难在译文中得到体现。lHistories make men wise; poems witty; the mathematics subtle; natural philosophy deep; moral grave; logic and rhetoric able to content. Abeunt studia in mores.l王译：读史使人明智，读诗使人灵秀，数学使人周密，科学使人深刻，伦理学使人庄重，逻辑学使人善辩：凡有所学，皆成性格。l
5、廖译：历史使人聪明，诗歌使人富于想象，数学使人精确，自然哲学使人深刻，伦理学使人庄重，逻辑学和修辞学使人善辩。总之，读书能陶冶个性。lAbeunt studia in mores. Latin from Ovid, Heroides: Studies form character. l王译一连串的四字格不仅表达了原作洗练简洁的风格，而且让人读起来抑扬顿挫，起落跌宕，享受到语音上的和谐美感。这种通过增强音感给人留下深刻印象的效果，是廖译中参差不齐的普通词组所不能得到的。l“I kept it from her arter I heard on it,” said Peggotty, “going
6、 on nigh a year. We was living then in a solitary place, but among the beautifullest trees, and with the roses a-covering our Bein to the roof”lA. “起那时俺听了消息后,”辟果提先生说, “瞒着她快一年了.俺们那时呆的地方挺背,前后八方的树林子说不出的最漂亮,屋顶尽是蔷嶶花儿”lB. “我听到那消息以后，”辟果提先生说，“瞒了她差不多一年。我们当时住在一个偏僻的地方。周围有十分美丽的树，屋顶上有蔷薇花”lCharles Dickens的David C
7、opperfield 为了说明Peggotty没有文化，说话不规范，使用了拼写错误（如arter，实为after）、句法错误（主谓不一致，如we was；形容词最高级形式错误，如the beautifullest）、用词搭配错误（如heard on it）等。译一为保持原作风格，使用方言如“俺”、“挺背”等，不规范用语如“说不出的最漂亮”来处理。译二用的是规范语言，虽传达了原文内容，但没体现原文风格。 l艺术和科学lI had not known you a month before I felt that you were the last man in the world whom I c
8、ould ever be prevailed on to marry.l我还没有认识你一个月，就觉得象你这样一个人，哪怕天下男人都死光了，我也不愿意嫁给你。l由于误解和偏见，伊丽莎白当时对达西可谓“深恶痛绝”，说起话来气势汹汹，言词激烈。译者较好地传达了这种气势，译得颇有特色，但该译在突出“艺术性”的同时，却忽视了“科学性”，致使译文产生了两个问题：一，伊丽莎白是个有教养的女子，不该说出“天下男人都死光”这种粗话，二，译者置ever(永远)和be prevailed on(被说服)于不顾，简单译成“不愿意嫁给你”，有失严谨。l修改：我还没有认识你一个月，就觉得象你这样一个人，在天下的男人中我最
9、不愿意和他结婚的就是你。l修订者又走上了另一个极端，顾了“科学性”，却忽略了“艺术性”，采取机械的办法去硬译the last man，致使译文疙疙瘩瘩，味同嚼蜡。l艺术派译文有艺术魅力，却有失严谨，经不起推敲，科学派在形式上顾及了科学性，却失去了原文的艺术魅力。艺术和科学结合：l我认识你还不到一个月的时候，就觉得哪怕我二辈子找不到男人，也休想让我嫁给你。l这个译文从措辞到语气，跟原文都比较贴近，恰如其分地展现了既义愤填膺，又不伤大雅的艺术形象。l缺乏艺术性的译作是没有感染力的，而不讲科学性的译作，则不是“再现”原作，而是歪曲与背叛，只有将艺术和科学熔为一炉，才算得上合格的翻译。l文学文体主要包
10、括散文、小说、戏剧、诗歌。l它们之间存在明显差异，但文学语言有着共同的基本特点。l（一）形象性l文学语言最显著的特点是形象性。无论是小说、散文、戏剧还是诗歌，都力图以各种语言手段在读者的脑海中塑造生动鲜明的形象，以达到表情达意的效果。lThe 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 han
11、dsome husband, Peter, who 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.l仆人们对家里年纪轻的主人都充满好感, 特别对艾丽丝更是如此。她的脸蛋长得甜甜, 脾气又特别随和, 就是魔鬼见了她也会喜欢。但谈起她那位英俊的丈夫彼得, 许多仆人是摇头的。玛蒂形容说, 他见了女人标致的大腿, 眼睛就会色迷迷的, 如果逮着机会还会去搂一把年轻厨娘的腰。lWho had a hot eye for
12、 a fine leg 他见了女人标致的大腿, 眼睛就会色迷迷的 。l译语生动再现了小说飘中彼得风流好色的形象。既不拘泥于逐字逐句的文字转换, 也不超然于文字之上自由构想, 灵活地再现原作的人物形象, 收到了达意传神的效果。l（二）抒情性l文学作品中，语言为渲染的需要带上浓重的抒情性。运用得当，就能大大提高作品的感染力。l（三）含蓄性l好的文学作品往往留下足够的空间让读者去想像、去思索、去回味。因此，含蓄性也是文学语言的一大特色。l海明威冰川原则l（四）象征性l文学作品中大量采用象征的手法。如红玫瑰代表爱情，过去西方文化中的象征，现在被许多东方的文化接受了。l（五）韵律感l文学作品中经常采取押
13、韵、节奏、拟声等手段增强语言的形象性和生动性。l（六）讽刺和幽默l文学作品的含蓄性与讽刺幽默是密不可分的。借助讽刺和幽默，往往能收到比直接批判或直接赞扬更好的效果，与其把观点强加给读者，不如引导读者自己去得出结论。lEager 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.l这年头, 谈情说爱处处有暗礁。许多单身女子向自己求婚者既急切地愿以心
14、相许, 但又一定要核查对方是否靠得住, 于是就纷纷雇佣私人侦探去查清对方的身世经历。l译文没有按原文的结构来译出, 而是从整个语篇来考虑, 根据英汉语不同的逻辑关系和句法结构来重组信息, 从而实现译文的顺畅、自然。译文增加了许多关系代词、关系副词和人称代词, 其篇章结构符合英语要求, 因此行文顺畅自然。l“Its an order from President Bush.”l“I dont care if it is from bush, tree, or grass.”l出自电影对白,答话人将Bush这样一个姓氏与风马牛不相及的事物粘连,使得对话妙趣横生,直译很难再现原作说话人那玩世不恭的神
15、态和口气:l“这是布什总统的命令。”l“管它什么布什、布头、布片呢,与我无关。”l文学作品的语言艺术集中表现在修辞手法的巧妙运用上。 l通过各种修辞格的运用求得语言运用的音美、形美、义美，使之具有情感愉悦作用。译者须在语言运用上多下功夫，尤其要注重汉语优势的适度发挥。l头韵翻译l在两个或两个以上邻近的词或音节中,通常为起首辅音的重复。头韵有助于达到韵律的对称和语音的悦耳,表达节奏感,因而具有很强的表现力。lIt was a splendid populationfor all the slow, sleepy sluggish-brained sloths stayed at home.l马克
16、吐温名句, 一连用五个首韵词与前面的splendid呼应,词义色彩则正好相反,造成了强烈的诙谐和幽默效果。马红军译为:l(出来的)这帮人个个出类拨萃因为凡是呆板、呆滞、呆头呆脑的呆子都呆在了家里。l语音变格(metaplasm)l语音方面的一种修辞格。语音变格是为了创造常规言辞所不具备的特殊美学功能。作者使用语音变格多为刻画人物的身份、性格等。l艾丽丝梦游仙境(Alices Adventures in Wonderland)中的对话:l“Did you say pig or fig?” said the cat .l“I said pig,” replied Alice.l此处的用心并不在于“
17、pig”或“fig” 的实际意义,而是传达一个信息:问话者没听清发音相似的某个词语l“你说猪还是无花果?” 猫问。“我说猪。”爱利丝答。l“你说猪还是鼠?”猫问。“我说猪。”爱利丝答。l“你刚才说的是猪还是书?”小猫问。l类似对话在艾丽丝漫游奇境记中比比皆是,我们可以采用语音变格的方法,如将yeth(yes)译成中国儿童稚气十足的“细的”(“是的”),将aul(owl)和pooseh-cut(pussy-cat) 译成“喵头鹰”(“猫头鹰”)和“小喵”(“小猫”)。lA thousand moustaches can live together, but not for breasts.l译文
18、1：一千个男人可以住在一起，两个女人却不行。l译文2：千条汉子能共处，两个婆娘难相容。l文字游戏翻译lWhat flower does everybody have?lTulips. (Tulips=two lips)l人人都有的花是什么花?l泪花。l译文如若忠实于原文则应是:郁金香。但这样译语读者无法领略到原语言的睿智。而“泪花”的译法虽有悖于原文,但它成功地将两种语言沟通起来,实现了两种读者视界的沟通、交流和融合。l狄更斯大卫科波菲尔:lI love my love with an E, because shes enticing; I hate her with an E, becaus
19、e shes engaged. I took her to the sign of the exquisite, and treated her with an elopement, her names Emily, and she lives in the east.l译者需要玩味文中所充溢的可感性、生动性、美感性以及形象和音韵的新颖性,正确解读文中的诙谐与俏皮,再将这种美满享受传达给译文读者。按字面译会使译文拖沓别扭,原文的修辞美也几近丧失。l我爱我的那个“丽”,可爱迷人有魅力;我恨我的那个“丽”,要和他人结伉俪;她文雅大方又美丽,和我出逃去游历;她芳名就叫艾米丽,家住东方人俏丽。l这样一
20、来,原文的音韵美和节奏感就得以成功地移植到汉语言中来了。l谐音双关的翻译lDoe.a deer, a female deer. lRay.a drop of golden sun. lMe.a name I call myself. lFar. a long long way to run. lSew.a needle pulling thread. lLa.a note to follow sew. lTea.a drink with jam and bread. lThat will bring us to doe.l美国电影音乐之声中的歌曲Do-Re-Mi(多来米)l朵,美丽的祖国花朵。
21、来呀,大家都快来!密,你们来猜秘密。发,猜中我把奖发。索,大家用心思索。拉,快点猜莫拖拉。体,怎样练好身体,做茁壮成长的花朵。l这样译,可以保持原词谐音双关的情趣而不损害原作的精神。l从修辞方面来说，Of Studies最大的特点是排比句式的大量使用。lTo 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.l王译：读书费时过多则易惰
22、，文采藻饰太盛则矫，全凭条文断事乃学究故态。l廖译：耗费过多的时间去读便是迟滞，过分用学问自炫便是矫揉造作，而全凭学理判断一切，则是书呆子的癖好。lBut, 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 w
23、ould 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 limitations. Instead of b
24、eing 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 themselves, apart from
25、 the world, but it seemed that they never felt so keenly that they were still units in modern society.（2008）lBut, 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 or
26、iginal duties, and as school-boys would say, going halves, they discovered that the cares of life had been doubled. lThis 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 ne
27、w laws and limitations. lInstead 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. lThey looked back with affection to their engagement; they had been longing to hav
28、e each other to themselves, apart from the world, but it seemed that they never felt so keenly that they were still units in modern society.lFrom The New Life by Sarah Jewettl萨拉朱厄特 (Sarah Jewett, 1849-1909) 生于缅因州，十几岁时开始写作。初期写的短篇，收集在深港里(Deep haven, 1877)，一八九六年出版的针杉之乡(The Country of the Pointed Firs)是
29、她最著名的作品。l但是正如其他许多已经发生过的事情一样，当他们最终结婚后，发现最憧憬的生活变得再实际不过了。他们非但没有分担各自原先的责任-正如那些学生们所说“一半一半”，相反却发现生活的重担加倍了。这使得我们那两个结婚的朋友时常觉得沮丧；他们突然发现自己并没有过着天堂般的生活而是仍实实在在地生活在地球上，而且成为了新规则和新约束的奴隶。生活并没有比以前更自由、更幸福，因为他们要去承担新的责任。既然成立了一个新的家庭，那就无论如何也要尽一点家庭的义务。他们深情地回想起订婚的那段时光，曾经如此地渴望拥有彼此而忘掉这个世界，然而现在最深切的感受却是自己仍是这个世界的一份子。Sherwood And
30、erson(18761941) Lu Xun(18811936) S. Anderson(18761941)lSherwood Anderson is the father of American modernist literature. lfirst American author to explore the influence of the unconscious on human behavior. lmade a break with the traditional American short story. lRejecting what he termed the “poiso
31、n plot,” Anderson focused on the psychological lives of characters. lover-impressed by Freudian psychology and sex symbols. lfirst explored the motivations and frustrations of his characters in terms of Sigmund Freuds theories of psychology. Winesburg, Ohio (1919) The Book of the GrotesqueThe first
32、American modernist novellWinesburg, Ohio is still considered as an important landmark in American modernist fiction, deeply influential in American modernist and postmodemist fiction.lHe became a writers writer, and left his mark on the style and vision of the following generation. lHemingway, Faulk
33、ner, Wolfe, Steinbeck, Caldwell, Saroyan, Henry Miller . . . each of these owes an unmistakable debt to Anderson.lFaulkner, in 1956， acknowledged Anderson as the father of my generation of American writers and the tradition of American writing which our successors will carry on. lINTERVIEWERlYou mus
34、t feel indebted to Sherwood Anderson, but how do you regard him as a writer?lFAULKNERlHe 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 evaluation. lHe holds themes similar to the later wo
35、rks of T.S. Eliot and other modernists. lHe traveled widely in Europe - in Paris he met Gertrude Stein, who coined “Lost Generation ”. lLost Generation is a literature school in America. l refers to the disillusioned young writers who lived as expatriates in Western Europe after the WWI, including E
36、rnest Hemingway, Ezra Pound, T. S. Eliot, Sherwood Anderson, and many other novelists. lAnderson was married four timesldepicted modernist themesgrotesqueness, sexual repression, and frustration and inarticulateness. lwriting techniques like symbolism, psychoanalysis, stream of consciousness, and ex
37、pressionismlAndersons novels: The Triumph of the Egg, Poor White, Many Marriages, Dark Laughterlit was his short stories that made him famous. lrevolutionized short fiction and altered the direction of the modern short story. lshort story collection:lWinesburg, Ohio (1919)lTriumph of the Egg and oth
38、er stories (1921)l Horses and Men (1923)l Death in the Woods and other stories (1933)lThe title story in this collection, Death in the Woods, is widely regarded as his masterpiece l“A Death in the Woods” is generally considered Andersons finest and most characteristic short story. lAlthough the stor
39、y was published in 1933, Anderson had begun working on it seventeen years earlier (1916). He completed various other drafts in the years between the first fragment and final publication.lthe narrator looks back at an incident in his childhood where an old woman dies in the cold - - lin life the old
40、woman was destined to feed those around her, after her death, he feeds from her too.lIn an attempt to understand the mysterious incident, he returns to the story again and again, seeming to circle closer to the truth with each telling. lTo the narrator, the body was a beautiful object, more like a “
41、white and lovely” marble statue than the shell of a formerly living human being. Years later, the image continues to fascinate and trouble him. Dissatisfied with the way his brother told the story when they were children, the mature narrator now tells the story again. lIt blends fact, memory, and in
42、vention, lRather than recounting the events in a straightforward, linear fashion, the story continually doubles back on itself, moving back and forth in time and between perspectives as the narrator finds himself returning repeatedly to the mysterious event from his childhood. lthe true subject of “A Death in the Woods” is the short storys own creation or metanovel, not the titular event.
