紅學(xué)文化與翻譯課件

1、紅學(xué)文化與翻譯Redological Culture and Translation主講：金釧第四講交際翻譯法與語義翻譯法Communicative Translation and Semantic Translation English Versions of Hongloumeng 紅樓夢英譯本紅樓夢目前已有兩個(gè)完整的英譯本，一是楊憲益夫婦的_(Foreign Languages Press, Beijing,1978), 另一是大衛(wèi)霍克斯（David Hawkes）和約翰敏福德（John Minford）的_(Penguin Books Ltd. 1986)A Dream of Red

2、Mansions The story of the stoneCulture in Hongloumeng紅樓夢文化 紅樓夢是一部出自文人之手的傳世之作，具有極其深厚的中國文化傳統(tǒng)的奇妙色調(diào)和氣質(zhì)，風(fēng)格和手法。假如不能理會(huì)中國漢字文學(xué)藝術(shù)傳統(tǒng)和華夏文人對(duì)這種文化的造詣和修養(yǎng)之深之高，那就永遠(yuǎn)無法真正談得上理解與欣賞他們的作品?！?-周汝昌紅樓夢辭典序Culture in Hongloumeng紅樓夢文化 紅樓夢蘊(yùn)涵著深刻的中國傳統(tǒng)的宗教文化，字里行間滲透著濃厚的儒教、佛教、道教思想。作品講述的是空空道人訪道求仙，路過頑石， 看到了石頭因“無才補(bǔ)天”而幻入“煙柳繁華地，溫柔富貴鄉(xiāng)”的故事，從此空

3、空道人“因空見色，由色生情，傳情入色，自色悟空”，從而演繹出整個(gè)紅樓夢的故事來。religious cultureConfucianismBuddhismTaoismCulture in Hongloumeng紅樓夢文化 紅樓夢貫穿著一條奧妙而又能體現(xiàn)主題的線索這就是佛家的“空”，道家的“玄”。曹雪芹借瘋狂落魄的跛腳道人之口唱出了催人猛醒的好了歌Culture in Hongloumeng紅樓夢文化例1：好了歌世人都曉神仙好，惟有功名忘不了！古今將相在何方？荒冢一堆草沒了。 “All men long to be immortalsYet to riches and rank each asp

4、ires;The great ones of old, where are they now?Their graves are a mass of briars.Culture in Hongloumeng紅樓夢文化好了歌 All Good Things Must End 楊譯 All men long to be immortals Yet to riches and rank each aspires; The great ones of old, where are they now? Their graves are a mass of briars brai.Culture in H

5、ongloumeng紅樓夢文化好了歌 Won-Done Song“ 霍譯Men all know that salvation should be won,But with ambition wont have done, have done.Where are the famous ones of days gone by?In grassy graves they lie now, every one.“All men long to be immortalsYet to riches and rank each aspires;The great ones of old, where a

6、re they now?Their graves are a mass of briars.Culture in Hongloumeng紅樓夢文化 “世人都曉神仙好”， 楊譯：all men long to be immortals 霍譯： All men know that salvation should be wonCulture in Hongloumeng 紅樓夢文化由于基督教和道教兩種迥然不同的文化價(jià)值觀，楊譯將“神仙”直接譯成“immortals”，霍譯則采用了轉(zhuǎn)譯的方法，使用了salvation (拯救)這個(gè)詞?！吧裣伞笔侵袊澜痰母拍?，成“神”成“仙”是道家的最高理想,而“拯

7、救”是基督教的概念；從“罪孽”中得到“拯救”,則是基督教徒的最高追求。ChristianityCommunicative Translation and Semantic Translation 楊譯遵循忠實(shí)于原作的原則，保持了原作的道教概念；而霍譯則考慮了讀者的宗教背景和接受心理，將原文里的道教概念轉(zhuǎn)化為西方的基督教概念。Communicative Translation andSemantic Translation 從翻譯理論上分析，這正體現(xiàn)了英國翻譯家彼得紐馬克（Peter Newmark）提出的“語義翻譯法”（Semantic translation）和“交際翻譯法”（Communi

8、cative translation）的區(qū)別. Peter Newmark（彼得 紐馬克）英國翻譯研究界的元老，現(xiàn)為英國薩里大學(xué)（Surrey University）的教授。翻譯研究途徑（Approaches to Translation,1981）翻譯教科書（A Textbook of Translation,1988）關(guān)于翻譯(About Translation)翻譯研究散論(Paragraphs on Translation)Peter Newmark（彼得 紐馬克） 他在其成名作翻譯研究途徑（Approaches to Translation,1981）中所提出的“語義翻譯”與“交際翻

9、譯”在翻譯教學(xué)與翻譯研究界幾乎人人皆知。Semantic TranslationSemantic translation attempts to render, as closely as the semantic and syntactic structures of the second language allow, the exact contextual meaning of the original.紐馬克認(rèn)為語義翻譯強(qiáng)調(diào)信息的內(nèi)容，試圖在譯入語的語義和句法結(jié)構(gòu)允許的范圍內(nèi)傳達(dá)原著的確切上下文意義。Communicative Translation Communicative tr

10、anslation attempts to produce on its readers an effect as close as possible to that obtained on the readers of the original. 而交際翻譯則強(qiáng)調(diào)表現(xiàn)力，試圖對(duì)譯文讀者產(chǎn)生一種效果，這效果要盡可能接近原文對(duì)讀者所產(chǎn)生的效果。Difference between Communicative Translation and Semantic Translation1) The semantic form adheres more to literal translation wh

11、ile the communicative strategy is more concerned with the overall sense of the text.Difference between Communicative Translation and Semantic Translation2) Semantic translation is more literal; it gives highest priority to the meaning and form of the original. Communicative translation is freer, and

12、 gives priority to the effectiveness of the message to be communicated. It focuses on factors such as readability and naturalness.Cultural Translation of Hongloumeng例 2 秦氏對(duì)王熙鳳說道：“嬸子好癡也，否極泰來，榮辱自古周而復(fù)始，豈人力可能常保的。”(13回）楊譯： “Fortune follows calamity klmiti災(zāi)難as disgrace follows honor. This has been so from

13、 time immemorial imim:ril太古的.”Cultural Translation of Hongloumeng“否極泰來，榮辱自古周而復(fù)始，豈人力可能常保的?！?13回）霍譯：“Honor and disgrace follow each other in an unending cycle. No human power can arrest that cycle and hold it permanently in one position.”Cultural Translation of Hongloumeng否極泰來，是周易中的哲學(xué)思想?！胺瘛薄疤笔秦悦斓亟唬?/p>

14、相互作用）謂之“泰”，不交則謂之“否”?！疤眲t亨通，“否”則失利，指事物發(fā)展到一定程度，就會(huì)轉(zhuǎn)化到它的對(duì)立面。白居易遣懷詩云，“樂往必悲生，泰來尤否及?！?楊憲益夫婦分別使用“calamity” ，“fortune” 兩詞來傳譯“否”和“泰”的概念Cultural Translation of Hongloumeng由于“否”和“泰”是中國文化特有的概念，在英語里找不到對(duì)應(yīng)的詞來表達(dá)，霍克斯放棄了原文中“否”和“泰”的本來意義，分別以“disgrace”和“honor” 代之。在這里，英語的“disgrace”，“honor” 與漢語的“否”，“泰”相去甚遠(yuǎn)，但霍克斯主要考慮到講英語民族的文

15、化背景和接受心理，這種變通從原文角度看是不確卻的，但在譯入語里沒有相對(duì)應(yīng)的概念時(shí)， “交際翻譯” 也不失為一種解決辦法。Cultural Translation of Hongloumeng例 3 林黛玉著有問菊一詩，其中有一句“鴻歸蟄病可相思”(38回）楊譯: When swans fly off, crickets chirp, does your heart ache? Cultural Translation of Hongloumeng“鴻歸”“蟄聲”是中國古詩詞中常用的意象，富含凄涼蕭瑟的寓意，中國人讀到此句便會(huì)產(chǎn)生凄涼失落之情。但西方讀者在讀此詩句時(shí)一定會(huì)感到莫名其妙：為什么“s

16、wan fly off, crickets chrip”的時(shí)候，人的心會(huì)痛呢？Cultural Translation of Hongloumeng“鴻歸蟄病可相思”霍譯: The geese return; the crickets mourns his fate. “mourns”一詞譯出了詩句的凄涼意境，使譯語讀者感受到與原語讀者同樣的感染力。Cultural Translation of Hongloumeng例4 賈蓉就賈璉偷娶尤氏一事給賈璉出注意說“就是嬸子，生米煮成熟飯，也只得罷了。”（64回）楊譯： When she sees that the rice is cooked, shell have to put up with it.楊譯采用語義翻譯法，既譯出了原文的意思又體現(xiàn)了該俗語的特點(diǎn)。較好地保留了原文的耐讀性。Cultural Translation of Hongloumeng 生米煮成熟飯霍譯：When she sees that the rice is cooked and knows that it cant be uncooked, shell have to put up with