第二讲 操作性原则.ppt

1、汉译英的操作性原则,第二章,翻译的原则有理论性原则（即基本原则）和操作性原则（即技巧性原则）之分。翻译的理论性原则指的是宏观把握的原则，是翻译的本质要求，是翻译区别于其它活动的普遍特征。具体来看，其具有抽象性和普遍适用性。操作性原则则是译者在理论性原则关照下，依据不同的翻译方向和文本类型选择不同翻译技巧而遵循的翻译原则。,传意性,相似性,可读性,第一节传意性,1)I want to go somewhere. You can go anywhere. 我想找个地方解一下手。 随便哪儿都可以。 2)白象牌电池 White-elephant battery,3)This is really a v

2、ery good price. 这真是个好价钱。 4) 我想唱支歌曲。 I want to sing a song. 5)我可不想拖你的后退。 I dont mean to pull your leg.,我不会说话，真是对不起。 译文1： I cant speak, Im so sorry. 译文2： I shouldnt have said that. I am so sorry!,思考：,设想不同的语境，并给出相宜的汉语译文： Are you a father?,大致说来，翻译中，尤其是汉译英中（鉴于英译汉和汉译英在理解和表达两个环节上存在不同的侧重点），译文要尽量传递原文的交际含义。对于

3、文学文本而言，翻译中还要传递出其神韵，即要尽量做到“传神”，换句话说，不仅要准确把握其内在信息，还要充分把握其情感含义、韵味等。,在荞麦地里他们遭遇见最大的会战， 而他的一条腿诀别于一九四三年。 （痖弦上校）,In the buckwheat field they encountered the greatest battle; One leg said good-bye to him in 1943. (Wai-Lim Yip译）,大堰河，我的保姆。 （艾青大堰河，我的保姆）,译文1、You, Big Weir River, my wet nurse. (Wai-lim Yip译) 译文2、

4、Oh, Dayanhe, my wet nurse. (Eugene Chen Ouyang译),落叶哀蝉曲 刘彻 罗袂兮无声， 玉墀兮尘生， 虚房冷而寂寞， 落叶依于重扃。 望彼美之女兮安得， 感余心之未宁。,The sound of rustling silk is stilled, With dust the marble courtyard filled; No footfalls echo on the floor, Fallen leaves in heaps block up the door For she, my pride, my lovely one is lost, A

5、nd I am left, in hopeless anguish tossed. （Giles译）,The rustling of the silk is discontinued, Dust drifts over the courtyard. There is no sound of foot-fall, And the leaves Scurry into heaps and lie still, And she the rejoicer of the heart is beneath them: A wet leaf that clings to the threshold. （Po

6、und译）,小 结,翻译，从理论上讲，仅有两个环节：理解和表达。但要真正做到得体理解和表达，不是一件容易的事情。理解过程中，要做到准确捕捉到原文的每一层意思，领会到原文给其读者传递的每一种感受，不容易；其次，充分准确地将这些信息、神韵和情感层面的内容传递给译文读者，自然也不是容易的事情。简而言之，翻译需要用“心”去体味，也要用“心”传达尽量实现和增强其传意性。,第二节可读性,译文的可读性即译文读者对译文的接受程度，具体要看译文读者对译文是否能够理解，译文在词句组合、篇章结构等诸多方面是否符合译入语的表达规范和习惯。可读性的评判标准大致包含以下几个方面：一）、合乎语法规范； 二）、合乎表达习惯；

7、 三）、合乎语体风格； 四）、含意明晰； 五）、条理分明。,我和母亲都是耽于梦想的人。我们常坐在海滩上，将脚趾插进潮湿的沙里，看那白白的、绿绿的、大块大块的碎浪缓缓地舒卷而来，脑子里尽在遐想。那时，我10岁，母亲34岁。我想的是海边有幢房子。母亲想的是钻石耳环。 母亲身材较矮，胖胖的，但容貌端庄秀美，直直的鼻梁，鼻尖微翘。古铜色的头发光可鉴人；而我则黑发细眼，长得矮，比弟弟约翰还矮。我们坐下来沉湎于梦想时，约翰和妹妹阿黛两个人在平静的海滩上你追我赶。,译文1: My mother and I liked to dream a lot. It had become a custom with u

8、s to sit on the beach and dig our toes into the wet heavy sand and then watch the big blue and white slow-moving waves crash into shore while our minds wandered off to some wild and fanciful thoughts. I was ten and mother was thirty-four by then. My fantasy consisted of living in a splendid seaside

9、mansion while my mothers was to dream of a pair of diamond earrings.,By built, although my mother was both short and stout, she had that dignified and elegant countenance in her, a nose that slid down to a fine point and hair that hat a sheen of aged copper. As for me, I had black hair and a rather

10、unremarkable pair of eyes. I was short then, even shorter than my younger brother, John. While my mother and I would sit and while our thoughts away, John and my little sister Adele, would race along the lengths of the placid shore.,译文: We were dreamers my mother and I. We would sit on the beach, di

11、gging our toes into the heavy, wet sand and watch the, slow breakers come curling in, green and white, and we would dream. I was 10. She was 34. I dreamed that I wanted to own a house by the sea. She dreamed that she wanted real diamond earrings.,She was short, plump woman in those days. She had a c

12、alm exquisite face and a straight nose with a tiny tilt on the end. There was bronze in her hair. I was short, shorter than my younger brother John and I had black hair and slit eyes. We used to sit and dream, and watch John and little Adele race each other up and down the beach.,1、用词稍显具体形象，抽象不足； 2、

13、句式相对单一拘谨，不够灵活；语言格式化程度稍重； 3、谴词造句过于僵化，具体意味把握肤浅，其中微妙韵味传递不足。,此外，汉英翻译中可读性还体现在篇章的布局方面，即译文的展开方式宜符合英文的论说思维模式和习惯。在篇章安排上，中英文有明显的不同，尤其是在政论体文献的谋篇布局方面：中文倾向于使用归纳法，即先分说后总说；英文倾向于使用演绎法，即先总说后分说。另外，中文往往先交代附加信息和次要信息，然后才交代最重要的关键信息；而英文恰恰相反，开篇首先亮出主要观点，每段首先点明主题句。,第三节相似性,一）风格相似,江雪 柳宗元 千山鸟飞绝， 万径人踪灭。 孤舟蓑笠翁， 独钓寒江雪。,江雪 柳宗元 千山鸟飞

14、绝， 万径人踪灭。 孤舟蓑笠翁， 独钓寒江雪。,On board a boat a man alone is busy with his rod and line Despite the driving snow, with which his hat and palm-bark cloak abound. (卓振英译),诗中的人物形象既是寒江独钓的渔翁，又是政治改革失败后坚强不屈的诗人自己。（译文）以“渔翁”为主语，突出了他的主体地位，“busy with his rod and line/Despite the driving snow”又显化了人物形象矢志不渝与不畏艰险的气质,模糊了“渔

15、翁”与诗人的差异。 （卓振英汉诗英译论要）,二）文体相似,若有人兮山之阿，被薜荔兮带女罗。 既含睇兮又宜笑，子慕予兮善窈窕。 乘赤豹兮从文狸，辛夷车兮结桂旗。 被石兰兮带杜衡，折芳馨兮遗所思。 （屈原山鬼）,The manito from a retired mountain nook, Robed in pomelo-figs vine, girdled with usnea, Smiling and eyeing me with a charming look, Thou, beaming with gleamy beauty, dost me leer. Driving a red pa

16、nther after brindled wild cats, Riding on airy chaise of magnolia And fluttering osmanthus-plaited pennants, Thou, with Thy vehicle and pennons wound with orchids And banded too with asarum blooms fragrant, Dost pluck odorous flowers Thy love to present. (孙大雨译),楚辞吸收南方民歌的精华，融合上古神话传说，风格高古，语言清奇僻雅，极富节奏感

17、和音乐性，尤以山鬼为甚。山鬼是一首人神相恋而终至失恋的哀歌。译文在文体特征和风格方面与原文有同工之妙：用词古雅生僻而优美，节奏深沉跌宕而郁绵，与原文有着相似的基于文本特色而产生的声音效果；有助于刻画山鬼神秘哀怨，诡异迷人的形象，与原文在文体特征和特色方面甚为谐合。,三）韵味相似,宿建德江 孟浩然 移舟泊烟渚， 日暮客愁新。 野旷天低树， 江清月近人。,宿建德江 孟浩然 移舟泊烟渚， 日暮客愁新。 野旷天低树， 江清月近人。,译文1: How wide the world was, how close the trees to heaven! And how clear in the water the nearness of the moon! (Bynner译),译文2: Low breasting the foliage the sk