翻译中的文化迁移张培基《英译中国现代散文选》个案研究1

班级 _____英语083______学号__4号________姓名 __王宁______ 分数__________

Cultural transfer in translation——a study of the Selected Modern Chinese Prose Writings translated by Professor Zhang Peiji.

Abstract

With increasing contact between China and the Western world, a better understanding between the two cultures is of growing importance. During the process of intercultural communication, the distinctive features of culture may undoubtedly bring out both cultural exchanges and cultural conflicts. Although there may be different means by which the exchanges can be achieved and the conflicts smoothed over, it is translation that can be used as the most useful medium to serve both purposes.

Since translation came into being, it has never been short of people?s attention. Scholars formulate their own translation theories and standpoints from different angles; various schools have been established, the two major ones being the linguistic school and the cultural school. The theories of both schools are actually interwoven with one another. However, with the boom in cultural studies in the academic field, cultural theories in translation have attracted considerable interest on the part of scholars and have become the main research tendency.

Susan Bassnett, one of the leading figures of the cultural school, thinks that translation should take culture as the translation unit so as to realize the functional equivalence between the SL culture and the TL culture. In the process of seeking cultural equivalence, the translator enjoys great freedom of creation. S/he can not only adopt a flexible method of rewriting, but also break with the literary form of the original. This concept of translation, taking a macro view of translation study and reviewing it from a brand new perspective the nature and function of translation, the translator?s position, and the relationship between translation and culture, has greatly broadened the horizon of translation studies.

Guided by the concept of cultural translation and borrowing the concept of “cult ural transfer”,this thesis endeavours to identify what exact cultural influences should be taken into consideration that are likely to have an impact on translation, and how a translator deals with these influences in the process of translation through studying the research data

collected from the Selected Modern Chinese Prose Writings translated by Professor Zhang Peiji. Based on this case study analysis, this thesis expects to gain deeper insights into the translator?s attitude and motivation behind various choices in the translation process. This thesis holds that the translator enjoys subjectivity in translation and may employ every means to bring his subjective initiative and creativity into play so as to achieve the functional equivalence between the target culture and the source culture.

Key words: cultural translation, cultural transfer, Zhang Peiji, translation methods, translator’s motivation

1. Introduction

1.1 General trend of translation studies

As is known to all, the purpose of translation is to help people who speak different languages achieve smooth communication. Based on this very purpose, translation is required to render exactly the content of the original. So the traditional translation studies were generally source-text-oriented or author-oriented and regarded “faithf ulness”as the criterion of good or bad translation. This source-text-oriented translation view, which focused on the perfect rendering of the meaning of the source text, has long controlled the field of translation studies. And the critic may also judge the translation quality according to how close the translated version is to the original. In respect of the relationship between the source and the target text, the debate of translatability or untranslatability, literal or liberal translation emerged on all sides. Correspondingly, the translation criteria were in riotous profusion. Tytlor?s “three principles”, Yan Fu?s “three-cha racter principle”, Fu Lei?s “si milarity in spirit”and Qian Zhongshu?s “sublim ation”are the representatives of the traditional views.

However, the traditional translation studies were generally restricted in the scope of the translator?s “personal experiences and subjective feelings (Zhang Boran, Xin Hongjuan, 2005:1) ” without any theoretical support. It is since the second half of the last century

that the study of translation theory has reached an all-time prosperity.

During the past few decades, developments in the fields of transformational grammar, general and contrastive linguistics, semantics, information theory, anthropology, semiotics, psychology, and discourse analysis, etc.,.have exerted great influence on gen eral translation theory, enabling the discipline to broaden the areas of investigation. The traditionally debated dichotomy between literal and liberal translation has been replaced by various linguistically informed modern distinctions, like Nida?s “for m al”versus “dyn amic” correspon dence, Catford?s “for mal correspond ence” versus “text ual equivalence”, or Newmark?s “se m antic” as opposed to “communicative” translation. In general, more attention has been paid to the translation process and greater emphasis

has been placed on “equal response”on the part of the target language reader; certain translation problems are discussed and explained at the linguistic level; contrastive as well as inductive approaches are employed to study the language phenomena in translation. As Professor Shen Dan (1996:57) pointed out, “such new perspectives on the theoretical front as well as the fairly extensive developments in specific interlingual contrastive studies have promoted considerably the understanding and mastery of the nature and skill of translation”.

In contrast, in practical terms, especially in literary translation, what the translator faces is quite different languages and different readers with different cultural backgrounds; he or she has to convey different literary and cultural information. So it is impossible to create the same text in translation as the source text. Language is the carrier of culture. Rendering the culture carried in one language into the language embedded in another culture involves not only the problems of large numbers of terms, vocabularies, unique lexical structures, grammatical norms, but also the culture existing in particular natural conditions and the human environment. The real translation process is actually a dialogue and communication between two different language and culture systems. The work of the translator is to build a bridge between these two cultures, one possessing both similarities and dissimilarities.

From this point of view, linguistic theories have been greatly challenged by the field of translation studies in recent years. The limitations of the linguistic approach are criticized as nothing more than “the inter-lingual synthesis”(Fang Mengzhi, 2003: 37). Obviously, though the very basis of any written text is language, the process and product of translating a text from one language into another involve very much more than language. The situation called for some new theories and approaches.

In the early 1970s, combining the best Prague Structuralism, British empiricism, German system theory, and the Belgium/Dutch descriptive studies, an exciting new international and interdisciplinary field emerged (Genzler, 2004: 45). In his essay “The Name and Nature of Translation Studies” (1988), James Holmes mapped out the structure for the new field as having three branches: theory, descriptive studies, and practice (Genzler, 2004: 45). During the 1980s and 1990s, translation studies developed primarily along the middle branch of Holme?s model, i.e. the descriptive studies (Genzler, 2004: 46).

Itamar Even-Zohar made great contributions to this field by proposing “polysystem theory” which has, according to Susan Bassnett, “changed the nature of translation analysis and led to the great expansion in the field that has come to be known as Translation St udies”(Liao Qiyi, 1997: 13). In polysystem theory, Even-Zohar mainly talked about the position of translation, as a subsystem of the larger one, in literary polysystems. In his essay The Position of Translated Literature within the Literary Polysystem(1978),

Even-Zohar suggested that the relationship between translated works and the literary polysystem should not be categorized as either primary or secondary, but as variable, depending upon the specific circumstance operating within the literary system.

Based on polysystem theory, Gideon Toury attempted to develop a more comprehensive theory of translation. One of the goals of his study was to discover the actual decisions made during the translation process, through which he hoped to discover a system of rules governing translation in this particular polysystem. Toury found that most texts were selected for ideological reasons, while few choices were made based on aesthetic criteria. Satisfying target cultural background and translation principles, despite the changes in the texts and lack of concern with source text, translated text still functioned as translations. Toury (1980: 123) concluded that the reason for this general lack of concern of “faithfulnes s”to the source text was that the translator?s goal was to achieve acceptable translations in the target culture. Toury put forward a view of “ta rget-oriented translation”,a research method emphasizing the relationship between the target culture, characteristics of the target culture, and the translation. To establish a hierarchy of interrelated factors (constraints) that determine (govern) the translation product, he proposed the term “translation norm s” (Gentzler, 2001:127). In terms of translation, norm means constraints imposed by social culture on the translation, i.e. it is mainly the target society and culture which directly influence translators? decisions.

Translation is a kind of social activity which is closely related to society, culture, ideology and power structure, etc. The source text is created in a certain system, in which certain “nor m s”exist at every level, such as language, ideology, power relationship, etc. Similar to the source text, the target culture belongs to another system and takes on a series of its own “nor m s”that are accepted by its own readers. Translation is the impact between two different cultural systems. As the theoretical study of translation extended to the cultural system, the significant parallels and the sheer extent of the overlap between these two interdisciplinary fields have compelled many scholars of translation studies to take what has been term ed the “cultural turn”.

The “cultural turn”first appeared in the 1980s. It did away with the limit of context, where translation was no longer regarded as an isolated fragment of language but as part of socio-cultural context. More attention was paid to the cultural root underlying translation itself, to discuss translation version?s various cultural backgrounds such as politics, economy, society, ideology, etc. It not only broadened people?s horizon, but also completed the theoretical basis of translation as an independent discipline.

The 1990s saw the real breakthrough for the field of translation studies with a series of momentous collections edited by Susan Bassnett and Andre Lefevere. It was then that

translation studies officially took the cultural turn. In the book Constructing Cultures: Essays on Literary Translation, they presented a strong case for moving the field of cultural studies closer to translation studies, arguing that “the object of study has been redefined, what is studied is the text embedded in its network of both source and target culture signs and in its way Translation Studies has been able both to utilize the linguistic approach and to move out beyond it (Bassnett & Lefevere, 2001: 123)”.They moved forward to go beyond language and focused on the interaction between translation and culture, on the way in which culture impacts and constrains translation, and on the larger issues of context, history and convention. In the essay entitled “Linguistic Transcoding or Cultural Transfer? A Critique of Translation Theory in German”,Snell-Hornby exhorted linguists to abandon their scientific attitude and to move from “text”to “culture”as a translation unit (Liao Qiyi, 2001: 382). Lefevere even saw translation as a kind of rewriting to study the power relations and ideologies existing in the patronage and poetics of literary and cultural systems.

Following this trend, studies on cultural issues in translation and on the significance of translation toward culture have flourished. Awareness of such issues can at times make it more appropriate to think of translation as a process which occurs between cultures rather than simply between languages (Mark Shuttleworth & Moira Cowie, 2004: 35).

1.2 The concept of cultural translation

According to the concept of cultural translation of the cultural school, translation is a cultural communication activity, either intra-culturally or inter-culturally. In this sense, translation should take culture as the translation unit. Different texts have their own functions. Only by taking culture as the translation unit can the source culture achieve the same function in the target language as it does in the source language. Otherwise, functional equivalence cannot be achieved even by word for word translation.

Functional equivalence is very much involved in cultural translation. However, it is quite different from the one that was put forward by Nida. The functional equivalence proposed by Susan Bassnett brings not only the source language text but also its functional equivalence in the target culture into consideration.

Bassnett distinguishes four categorizations of the function of translation, namely promoting the development of culture; exerting influence on the acceptance and absorption of the target culture to the foreign cultural norms; advancing the comparative study of two languages; and improving the formation of the literary translation conventions both theoretically and practically (Gao Fengping, 2005: 81). Culture endows different source language texts with different functions. What the translator should do is try his or her best

to achieve the functional equivalence between the target culture and the source culture (Liao Qiyi, 2001: 363).

Different features of the source text require different solutions to achieve th e functional equivalence. If the source text is meta-narrative text or the central-text which contains certain cultural beliefs, the translator should try their best to adopt literal translation methods (Bai Wenchang, 2002: 365 in Gao Fengping, 2005:81); Literal translation should also be used in scientific texts (Gao Fengping, 2005:81). However, if the source text is just general literature, the translatorhas great freedom in making his choices.

Bassnett insists that the translator possesses great initiatives in the process of cultural equivalence. “The translator can rewrite the text flexibly, and can even break the literary form of the source text” (Bassnet t, 2002: 92).

Directed by the concept of cultural translation, this thesis will discuss inter-lingual translation where cultural factors and their influence on translation are concerned, and the strategies and methods the translator may take to solve the problems that arise.

2. A Brief Survey of Cultural Transfer

2.1 Definition of cultural transfer

“T ransfer”is a general term which has various meanings. First of all, it is understood in psychoanalysis as the interference of one language with another in the process of language learning. The application of “transfer”in the linguistic field has profited a lot from the American linguist Robert Lado. As it has been claimed by Lado (1957:2) that, “individuals tend to transfer the forms and meanings, and the distribution of forms and meanings of their native language and culture to the foreign language and culture—both productively when attempting to speak the language and to act in the culture, and receptively when attempting to grasp and understand the language and the culture as practiced by natives”. Ever since then, “language tran sfer” has become a central issue in the field of second language acquisition.

In her work Language Transfer and Universal grammatical relations (1979), Gass first of all affirmed that “lang uage transfer does indeed take place”,and then pointed out based on her observation that, “some aspects of language are more likely to be transferred than others (e.g. elements that are perceptually salient or semantically transparent”(Gass,

1979:7 in Susan Gass & Larry Selinker, 1992: 5).

Work by Kellerman (1979, 1983), the representative figure who has studied

transfer from the perspective of cognitive psychology, demonstrated Gass?s claim. His focus had something to do with the principles involved in what he called the transferability of linguistic elements. He argued that “there are definite constraints on transfer which go well beyond mere similarity of the languages in question”(Susan Gass & Larry Selinker, 1992:7).

By analysis of all the achievements in the previous studies and his own research findings in this field, Odlin, the famous American linguist, put forward the very often quoted influential definition of the term “trans fer”. According to him, “transfer is the influence resulting from similarities and differences between the target language and many other languages that have been previously (and perhaps imperfectly) acquired”. (Odlin,1989:27)

Common to all the above scholars is their special attention paid to the similarities and differences existing between different languages and their interest in the constraints that may be imposed on the transferring process.

The phenomenon of transfer attracts the interest of scholars from many other fields, the typical example of which is the academic field of cross-cultural communication. Sharing the same concern to all kinds of constraint elements existing in the inter-lingual communication as the field of the second language acquisition, the study of cross-cultural communication obviously goes further. Due to the participation of two language as well as two cultural systems, more attention is paid to various cultural factors manifested in various forms and situations. The term “cultur al transfer”is introduced to illustrate the “cultural interference caused by cultural diff erences”.(Dai Weidong & Zhang Hongling,2000: 2)

People with different cultural backgrounds may often subconsciously allow their own cultural norms and value perspectives to govern their own thoughts and behavior and use them as criteria to judge those of others. In this sense, cultural transfer often leads to communicative barriers, misunderstanding and even hostility.

Commonly recognized as a kind of cross-cultural communication activity, translation has much to do with cultural transfer. Early in 1954, the British linguist James Harris proposed a translation-type model in a generative framework with the purpose of helping solve some linguistic problems in second language acquisition; the model was called “transfer grammar”.His point was that, “whereas in a purely structural comparison of languages, many constructions and subdivings had no parallel,…we can find…on a translation basis---a parallel in one language to almost anything in the other” (Harris, 1954:

267, in Susan Gass & Larry Selinker, 1992: 1). Though his emphasis was not on translation,

there is clearly an implication for translation studies when translation was considered as a kind of decoding process from one language to another.

Apparently, Marton, a linguist from Poland, shared the same view with Harris. According to Marton (1981: 69), “translation is indeed a typical activity of contrastive analysis and transferring influence. The process of translation is the process of exchanging the expressions and cultural elements in the source language to their accordance in the target language. The transferring function is brought about during this kind of contrast and exchange”.

The above thoughts make sense to some extent. The can easily be seen in the remarks of Eugene Nida (2004: 4) when he claimed that “anything that can be said in one language can be said in another”.However, the problem in reality is that translation is never “the decoding of words or sentences from one language to another, but a complex form of action, whereby someone provides information on a text (source language material) in a new situation and under changed functional, cultural, and linguistic conditions, preserving formal aspects as closely as possible” (Mary Snell-Hornby, 2001: 37). Translation undoubtedly deals with two cultures, in addition to two languages. And differences between cultures may usually cause more severe complications for the translator than do differences in language structure in the process of translation.

2.2 The forms of cultural transfer

Before going directly to the discussion of all kinds of translation problems caused by cultural transfer, it would be quite necessary to distinguish different forms of cultural transfer so as to make the analysis more concrete and comprehensive.

The categorization of cultural transfer is very much dependent on the categorization of culture. It is widely agreed that culture is a complex and subtle matter. So far, there is no one who has given a perfectly satisfying definition of culture (Liu Miqing, 1999: 3). Its complexity attracts the interests of scholars from various fields and it has been defined in different ways for different purposes. One of the oldest and most quoted definitions of culture was formulated by the British anthropologist, Edward Burnett Tylor (1871, in Dai Weidong, Zhang Hongling, 2000), in his Primitive Culture. According to Tylor, “culture is that complex whole which includes knowledge, belief, art, morals, laws, customs and any other capabilities and habits acquired by man as a member of so ciety”(ibid: 2). In such a context, culture is in fact the combination of both the material and the spiritual wealth of our human society.

Just as when efforts are made to define culture, the categorization of culture can be various. Some people categorize culture into five aspects: material, intellectual,

communicative, institutional and conceptual. And some divide culture into main culture, subculture and counterculture (Jing Liao&Guoyuan Tu, 2004:17). Recently, in his project proposal entitled Communications and Culture Transformation---Cultural Diversity, Globalization and Cultural Convergence, the Spanish scholar Stephan Dahl (1998) clearly categorized culture into three layers: the surface layer, the middle layer and the deep layer (Liu Weidong, 2001:47). This thesis mainly depends on this way of categorization. As the most direct-viewing part in this categorization, culture in its surface layer refers to all kinds of human products, including language, food, architecture, clothes and all sorts of arts, etc. The middle layer evolves the social norms and values, ranging from personal relationship, institutional conventions to customs and behaviors, etc. The deep layer is also called conceptual culture. To be more specific, it is people?s basic concept of life referring to thinking modes, traditions, psychology, religious beliefs, customs, aesthetic preference, etc. According to the analysis of Liu Weidong (2001:47), the cultural structure emanates from the surface layer to the middle layer, and then to the deep layer.

To make it short and easier to analyze in translation, the structure of culture is simply divided into two layers: the visible social customs, habits, speech act and communication context in its surface layer and the norms, values and the basic conceptions, etc. in its deep layer. It should be noticed that cultural meanings, either in their surface structure or in their deep structure, are intricately woven into the texture of the language. Acting as the vehicle of culture, language symbolizes the cultural reality of human society. Every aspect of a nation is embodied in its language. People identify themselves and others through their use of language and view their language as a symbol of their social identity. Besides, the cultural value of a certain culture gestates its language system. Language and culture are actually inseparable, and are influenced by each other interactively.

According to the above categorization of culture, cultural transfer can accordingly be classified into surface-structure cultural transfer and deep-structure cultural transfer. In terms of surface-structure cultural transfer, the language forms and cultural elements manifested in all kinds of communication events and speech acts would be the focal points of the study. This happens when people directly transfer rules of speaking or speech acts from their native language to the target language without considering the differen t communication rules between cultures.

The deep-structure cultural transfer is closely related to the worldview of a nation or group, mainly involving people?s ideas and thoughts whose influence on the speech act or communication is indirect and not distinct unless the language user knows both cultures well. That is why the participants concerned are still in the dark when misunderstandings and conflicts arise in communication. Though such psychological elements as aesthetic preference, ethical value, historical cultures and religious sentiments are not easily

perceived, they actually determine what people think, speak, and how they behave. Therefore, the problems caused by deep-structure cultural transfer in cross-cultural communication or in translation are more difficult to be noticed.

3.A Case Study on the Translation Methods Adopted by Zhang Peiji in his W ork Selected Modern Chinese Prose W ritings

Cultural transfer is challenging and complex. It exists in quite a number of respects. Translating is a culture-bound activity. It is because the existence of cultural difference that translating becomes a complex and painstaking process. However, it is this interference and these difficulties that call for a high demand on the translator?s cultural competence and cultural attitude. The translator must have a good mastery of both the source culture and the target culture. Only when the translator has a clear and deep view of cultural difference can they employ proper strategies and appropriate techniques to deal with the problems. And only after they solve the problems brought about by cultural difference can the version be regarded as a success and the communication of culture be carried out. This chapter attempts to study Professor Zhang Peiji and his art of translating in his translation of Selected Modern Chinese Prose Writings in order to get some view of how he technically deals with all forms of cultural transfer in the selected works he has chosen to translate.

3.1 Translation methods adopted to solve the problems caused by cultural transfer

Beyond a doubt, for decades, scholars coming across certain translating obstacles have proposed solutions to tackle the difficult matters accordingly. Obviously, there are various strategies and methods for different specific matters. Generally speaking, there are two major kinds of translations: literal translation and liberal translation. Literal translation is actually word-for-word translation which “follows closely the form of the source language.”Liberal translation is one “which“has the same meaning as the source language but is expressed in the natural form of the target language.” However, it is hardly possible for the version to achieve the closest equivalence to the source message if the translator consistently translates literally or liberally since the goal of the translator in translating linguistic or cultural items peculiar to the source language is to make the target language reader identify themselves as fully as possible with the readers in the source language context and understand as much as they can of the cultural customs, ideas, manner or thoughts, and history, etc. An effective way for the translator is to achieve this is to choose

different ways to treat different situations.

Chinese prose covers a wide range of styles. It allows the existence of various cultural elements. As the development of cross-cultural communication and the opening of the language and culture system of the target language, the source culture and the target culture gradually tend t amalgamate with each other. However, the phenomenon of cultural transfer continuously emerges in cross-cultural communication due to various cultural differences. It demands higher cultural competence and a more objective cultural attitude on the part of the translator. Professor Zhang?s artful rendering of them not only provides people with guidance for doing translation, but also sets up a base for people to study all kinds of cultural phenomena manifested in them. In the following section, different translation methods adopted by Professor Zhang in dealing with various forms of cultural transfer will be discussed.

3.2 Transliteration

Transliteration is to use some homophonic words or phrases that do not have any meaning in the current target language to translate some words in the source language. When the target language has no lexical equivalents for most culture-specific terms, the translator has to transliterate in order to deal with the lexical deficiency. The method of transliteration is often adopted by Professor Zhang to translate Chinese names of persons and names of places. The following is Zhang?s translation of names of persons and names of places:

Names of persons: 差不多先生Mr. Cha Buduo 木匠老陈Carpenter Lao Chen 春宝Chun Bao

秋宝Qiu Bao

三姑娘San Guliang

阿三A San Names of places: 陶然亭Tao Ran Ting 钓鱼台Diao Y u Tai 潭柘寺Tan Zhe Si 厂甸Changdian 隆福寺Longfusi

北海Beihai

Except for the translation of names of persons and places, the method of transliteration is also adopted when some effect needs to be achieved. In On Presenting a View, Lu Xun describes the difficulty of people?s unwillingness to tell the truth:

“我愿意既不谎人，也不遭打。那么，老师，我该怎么说呢？”

“那么，你得说：…啊呀！这孩子呵！您瞧！多么。。。。。。啊唷！哈哈！Hehe! He, hehehehe!?”

“I don?t want to tell a lie, and neither do I want to be beaten. Then what should I do,sir?”

“Well, just say, …Ai-ya, this child！Just look! Oh, my! Hah! Hehe! He, hehehehe!?”

In the speaker?s answer, there is no word with real meanings. It indicates that it is in an embarrassing situation. The translator adopted the method of transliteration to deal with the empty words in the source text.

3.3 Explanation

Although it is effective to compensate culture loss with annotation, many annotations would make the version seem academic. Therefore, the strategy of explanation would be applied alternatively with annotation in translating cultural specificites. For example, in Xie Bingxin?s Hunger, there is a conversation between “I”(a girl) and a man. The man suggested the girl buy and read the book The Diary of a Woman Soldier in his hand; the girl answered, “I don?t like this book because I don?t think it?s good for a woman to be a soldier.” Quite annoyed at her remark, the man said angrily to her, “二十世纪时代的女性不应该这样开倒车的!” Obviously, “开倒车”does not mean to drive backwards. According to the context, what the man infers is that a woman in new century should have progressive, not backward ideas. Zhang translated this sentence into: “A20th century woman shouldn?t go against the trend of the tim es!”

Also in Xie Bingxin?s My Teaching Career, a boy student pointed out that, “老师有封建思想，她不和男生玩”. In this situation, “封建思想” cannot be translated into “feudalistic-m inded”. As a woman of the new times, what the writer is strongly opposed is the feudalistic mind. “封建思想”mentioned by the boy is actually the old conventions. Zhang translated it into “Our teacher is a slave to old conventions”and it is clearer in meaning. In order to make the text easier to understand by the target readers, the vague ideas or information in the source text are either changed to be more concrete or more clearly explained its connotative meanings covered under the words or expressions.

When two cultures involved in translation are close or the source cultural elements are very important, it is necessary to adhere to the forms of the culture-specific expressions or images of the original. However, if the source cultural element is so linguistic or so history-and culture-specific that it largely defies attempts to put it into another language, the translator should not force the form of the original in the target language. This would only result in awkward expression that distorts the original meaning. In this case, the

translator has the license to change images and forms of the original in order to help the target readers cut across the barriers in comprehending the meaning conveyed in the source cultural elements.

For example, in Mid-life Loneliness, Xia Mianzun has narrated the annoyance of being a middle-aged man and complains about the unavailability of true friendship. He argues that:

“真正的朋友，恐怕要算…总角之交?或…竹马之交?了。”

“Real friendship between two persons originates perhaps from the time of life when they were children playing innocently together.”

In the Book of Songs, the bob of the children was called “jiao”(角). Later, people were gradually used to using “总角” to indicate the whole of childhood. In Chinese, “竹马” has the same meaning as “总角”, since children are fond of riding on a bamboo pole as if they are riding a horse. Both“总角之交”and“竹马之交”refers to the friendship developed in

childhood. The translator combined the two expressions and literally conveyed their meaning to make the text more readable.

3.4 Omission

Baker (1992:40) indicated that if the meaning conveyed by a particular word or expression is not valid enough for the development of the text and distracting the reader with lengthy explanations, translators can and often do simply omit translating the word or expression in question. In other words, if the cultural specific item is not relevant enough for the effort of comprehension required of their readers, it will be omitted to avoid readers' misunderstanding or making an unnecessary mistake. For example, in Rou Shi?s A Slave Mother, after the rented woman gave birth to a baby boy, the whole family were anxious and eager to select a good name for the baby. There is a detailed description of the traditional view of naming a baby in China:

关于孩子底名字，秀才是刹费苦心地想着，但总想不出一个相当的字来。据老妇人底意见，还是从“长命富贵”或“福禄寿喜”里拣一个字，最好还是“寿”字

或与“寿”字同意义的字，如“其颐”或“彭祖”等，但秀才不同意，以为太通

俗，人云亦云的名字。

As to the baby?s name, the scholar racked his brains, but just could not hit upon a suitable one. His wife suggested that the Chinese character Shou, meaning longevity, or

one of its synonyms, should be included in his name. But the scholar did not like it—it was

too commonplace. He spent several weeks looking through Chinese classics like the Book

of Changes and the Book of History in search of suitable characters to be used as the

baby?s name. But all his efforts proved fruitless.

The naming principle has been clearly described, namely to associate the name with the connotation of the Chinese character “Shou”meaning longevity or its synonyms. But from the angle of translation, the translator actually omitted several parts of the original.The range of selection for the name, i.e. the characters “长命富贵”and“福禄寿喜”are all omitted. The translator did not explain the reason for this omission. But since these eight characters actually have the same or similar meanings in Chinese, and so many different corresponding expressions cannot be found, the omission of them is probably the best way to avoid meaningless repetition for the target readers.

Up to now, much has been said about the strategies adopted by Zhang Peiji in tackling

the problem of linguistic and cultural interference between Chinese and English. It is safe to come to the conclusion that, in translation, linguistic and cultural elements are very complex factors to deal with, and the main task of the translator is to transmit the meaning of the source items as far as possible into the target language，trying to retain the flavor of the original culture and make the translation as effective to the target language readers as to the source language readers. When making efforts to bridge the gaps between Chinese and English, being faithful to the original text is the basic principle every translator should keep in mind. However, the translator should also avoid misinterpreting words by taking them too literally. Every language has its own usage in grammar and vocabulary. It is unimaginable to translate the sense of the original works mechanically word for word and in strict accordance with the original order and structure. So a correct understanding of lexical and cultural gaps is greatly needed. In order to make the version easier to comprehend for the target readers, no single strategy should be employed. The better way is to adopt different methods in different situations.

3.5 Summary

There is no doubt that Selected Modern Chinese Prose Writings translated by Zhang Peiji is a highly qualified translation book. The translator tries to make the version natural and easy at the basic level, and has the “c ultural attitu de” to achieve the excellent reproduction of the source language information and style at the high level. From his selection of materials, to his careful reading and comprehending of the original texts, and then to his faithful reproducing of the original information and style, and skillful dealing with various cultural elements and interferences, his motivation is presented everywhere. A translator?s motivation not only decides what a translator does and how he works, but also sets up a certain role for the translator. His subjectivity is perfectly manifested through this role he has built up for himself.

Whether we accept the functional theory or not, the concept that translation is a purposeful activity has been widely accepted. As long as a translator decides to translate, his motivations can be revealed. Whether he wants to teach students to learn a foreign culture, sell goods to the foreign customers, improve the communication between different cultures, or just want to test his own capacity of translation and have fun, his purposes greatly decides his attitude and strategies in making choices during the translation process.

1)Zhang Peiji’s motivation behind his selection of materials

It has been mentioned in the introduction given to Professor Zhang and his work that

Zhang?s purpose of doing this translation is first of all to gain some fun in his retiring life, and then to hold on to his love for both the English language and Chinese prose, and lastly to introduce some excellent Chinese prose writings to the foreign people. With this kind of motivation in mind, his selection of materials may to large extent be restricted in the works that can represent his own view of view of life. Those that must be translated include the remarks on learning, happiness of family, friendship, life attitude, and the beauty of nature, etc. The translator was eager to share those valuable ideas and beautiful descriptions with others.

2)Zhang Peiji’s motivation behind his choice of strategies and methods

As for the strategies and methods the translator may adopt, there are actually too many possibilities. In some cases, the translator may have to face the condition that the original expression actually has more than one equivalent, but in other cases, the translator may have no choice at all since no correspondence actually exists in the target language and culture. Especially when various cultural elements are involved, the translator is always forced into a dilemma. The translator?s motivation greatly influences th e translator?s decisions.

Since Zhang?s purpose is to get fun from classical modern Chinese prose and introduce Chinese culture for the others, he is very careful in keeping all the Chinese specific elements in the original text. For example, Chinese names like “春宝”,”秋宝”,“三姑娘”,“老陈”;idioms like “秋士”,“总角”,“竹马”;religious terms like “老天爷”, “道”; cultural images like “杜鹃”are all translated literally to keep its Chinese flavor and the writers?styles. It is certain that these terms and expressions are no problem for the person who is very familiar with Chinese culture. However, as to the foreign target readers, literal translation is far from enough.

Admittedly, this translation is only published in China. It is actually unnecessary to assume that the target readers are all Chinese people. When doing his translation, the translator has already decided on his own target readers in advance. His decisions are made only in consideration of these target readers. In this sense, the translator has still to consider the acceptance of the target readers in English speaking countries.

When taking target read ers? acceptance into consideration, Zhang made very good use of his personal knowledge and cultural competence. When trying to preserve Chinese cultural flavor, he adopted several techniques to shorten the distance and deduce the difficulty for the target readers to understand. He added and omitted information, explained the original information in detail, and made use of footnotes and annotations, etc. All those flexible strategies and methods are used to help smooth the translation and conquer the problems caused by cultural transfer.

4. Conclusion

For the past several decades, key issues in or around the translation field have been strongly influenced by what has been termed “the cultural turn” with the belief that culture influences every aspect of translation.

Guided by the views of this “cultural turn”,this thesis aims to study translation in a larger context of culture and takes the phenomenon of cultural transfer in translation as the focus of discussion. Cultural transfer is the cultural interferences caused by cultural differences. As long as human beings exist, cultural differences cannot be eliminated. Cultural transfer may exist or be manifested in different forms. It influences translation at different levels and to different degrees. In the surface-structure cultural transfer, people?s speech acts and various communicative events in cross-cultural situations are never without cultural interferences; while in the deep-structure cultural transfer, it may cause

more problems. Because culture in its deep structure is usually more related to people?s psychological and value judgment, the differences at this level are usually more subtle and invisible.

The translator often finds some seemingly untranslatable cultural elements in a text. There are, however, certain ways to measure the translatability. In the case of dealing with various cultural interferences in translation, the translator would have to be very sensitive to the losses and gains of cultural elements. In the case study of Zhang Peiji?s Selected Modern Chinese Prose Writings, it is not difficult to find that good translation can only be achieved when the translator holds the view of cultural awareness.

Under the guideline of the view of cultural translation, the translator?s subjectivity can be much better represented. Though the translator is, to large extent, restricted by much cultural interference, he actually enjoys high independence in making his decisions.

All in all, this thesis is only a tentative probe into the topic of cultural transfer in translation. First of all, the analysis may have covered a wide range of topics, but the discussions are not thorough and profound enough. Then the examples cited in the thesis are rather limited and may not be so representative. In spite of these limitations, the author still hopes that her attempt in this thesis will be of some help to those who are interested in studying translation from the perspective of culture.

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1. Bassnett, Susan. Translation Studies [M]. Shanghai: Shanghai Foreign Language

Education Press, 2004.

2.Bassnett Susan “The Meek or the Mighty: Reappraising the Role of the Translator”[A],

in Liao Qiyi, Contemporary Translation Theories In The Western World[C], Sichuan International Studies University, 1997: 77-88

3.高凤平. 文化翻译观与语际翻译中的文化因素问题[J].西安外国语大学学

报.2005（2）：81-83.

4. 郭建中: 文化与翻译[C]，北京:中国对外翻译出版公司，2000.

5. 姜秋霞. 文学翻译中的审美过程：格式塔意象再造[M].上海: 商务印书馆.2002

跨文化交际翻译中的文化负迁移的原因与规避

跨文化交际翻译中的文化负迁移的原因与规避 不同文化的交际者在交往过程中往往倾向于将母语文化模式套用到目标语文化中，结果必然会对交际产生一定的影响，以下是搜集整理的一篇探究跨文化交际翻译中文化负迁移的，供大家阅读查看。 着名的翻译家金圣华在论及翻译的作用时曾打了个比方：“翻译就像一座桥，桥两旁 气候悬殊，风光迥异。两端之间，原隔着险峻的山谷，湍急的溪流。两旁的人，各忙各的，世代相传，分别发展出一套不同的习俗风尚以及语言文化来。有一天，这不同文化习俗的人，忽然想要跟对岸打个招呼怎么办?要渡过峡谷，不得不架起一座桥……”(金圣华：1997)这座桥便成为了跨语言、跨文化之桥。文化交流是翻译发生的本源，翻译是文化交流的产物，翻译从本质上讲就是跨文化交际。跨文化交际翻译以文化沟通为第一要务，而文化的障碍往往却是译者面对的头号劲敌，因此在跨文化交际翻译中，避免或减少跨文化交际翻译中的文化负迁移有着十分重要的现实意义。 一、跨文化交际翻译中文化的负迁移 不同文化的交际者在交往过程中往往倾向于将母语文化模式套用到目标语文化中，结果必然会对交际产生一定的影响，这种现象就是“文化迁移”。心理学中，若一种学习对另 一种学习起积极的促进作用，就叫正迁移(positivetransfe)r;而一种学习对另一种学习起干 扰或抑制作用就叫负迁移(negativetransfe)r(邵瑞珍:1997)。同样如果母语文化在跨文化 交际翻译中被目标语吸收并成为其组成部分，则这种迁移被视为文化的正迁移。相反，由于带有母语文化特征的言语没有被目标语语言读者所理解和接受，造成了文化误读，就会出现文化的负迁移。根据戴炜栋教授对文化迁移的分类，我们也可以把文化负迁移分为两种，即表层文化负迁移和深层文化负迁移。 1.表层文化负迁移。表层文化负迁移包括物质文化和制度文化的负迁移，如语言形式 的文化负迁移和言语行为交际模式的文化负迁移。首先，语言形式的文化负迁移主要体现在词汇的误读、误译。 例如：笔者的学生在翻译练习中将句子“ThenhewasofftoColumbiaBusinessSchool,wherehefoundhisRosettaStsoneofinvesting”译为“后来他进了哥伦比亚商学院，在那里找到了他投资的罗塞塔石碑”。很显然译者直译了原 文是由于不了解英语国家的文化造成的，RosttaStone是一块刻有埃及国王托勒密五世诏 书的石碑，被译作罗塞塔石碑，由于这块石碑刻有三种不同语言版本，使得近代的考古学家得以有机会对照各语言版本的内容后，解读出已经失传千余年的埃及象形文的意义与结构。

从文化角度看商标翻译的失误

最新英语专业全英原创毕业论文，都是近期写作 1 跨文化背景下中德谈判方式的比较 2 商务英语谈判的翻译技巧 3 论《野性的呼唤》中的自然主义 4 中西方婚俗文化及差异 5 《远大前程》中乔的人道主义精神 6 7 分析数字“九”极其倍数的英译 8 东方主义视角下康拉德《黑暗的心脏》中西方殖民话语分析 9 《魔戒》中的现实主义初探 10 On Translators’ Subjectivity in Literary Translation—Based on the different Chinese versions of Bacon’s essay Of Studies 11 场独立和场依存对不同主题阅读材料的影响研究 12 13 关于王尔德童话的研究 14 广播英语的语言学分析 15 浅析父权体制下黛西的“他者”形象 16 "工业小说"《玛丽?巴顿》的宗教解析 17 浅谈《红楼梦》诗词的文化意象翻译 18 The Self-image of Charles Dickens in David Copperfield 19 译员主体性在歌曲《我有个梦》歌词翻译中的体现 20 顺应论视角中电影字幕汉英翻译研究——以李安电影作品字幕翻译为例 21 概念隐喻在英语汽车广告中的应用 22 浅论英汉翻译中词的转译 23 浅谈简奥斯丁《劝导》的反讽艺术 24 美的遗失与幻灭——论托妮莫里森小说《最蓝的眼睛》中的黑人世界 25 提高高中生英语听力的策略和技巧 26 试论《武林外传》与《老友记》中的中美文化差异 27 伏尼契小说《牛虻》中主人公性格分析 28 Analysis on Heathcliff's Personality in Wuthering Heights 29 对《雾季的末日》主题的解读 30 A Research on V ocabulary Learning Strategies Employed by Non-English Majors in the CALL Environment 31 侠客精神和骑士精神折射出的文化差异—《七侠五义》和《亚瑟王之死》之比较 32 论英汉口译中的数字互译 33 Differences Between Chinese and Western Cultures in Gift-giving Customs 34 电影《少年派的奇幻漂流》中的隐喻分析 35 36 异化的美国梦：小说《教父》的主题解读 37 大学英语教师课堂话语礼貌现象研究 38 中英文化的差异对英汉互译的影响 39 浅析《呼啸山庄》希斯克利夫人物形象及其悲剧意义 40 谈某些颜色词的翻译 41 英语广告中仿拟的关联分析

张培基英译现代散文选1

张培基英译现代散文选1 1. Phrasal Expression & Words …amid(st) thun derous applause a bare subsistence A be characteristic of B = B be characterized by A A bend in a river / mountain A blind alley A brass drum 小铜鼓 A bygone age a clot of blood A cobbled path A con fused mass of … A faint scent of A forgone conclusion 预料中的必然结局A hired hand on contract A jumble of … 一大堆 A keen sense of A long-timer of Beijing A loose community of smaller family A man of profound learning A mere drop in the ocean A niche in the temple of fame A passing glance A philosophical approach to life a positive outcome A scene of poetic charm A sensation of blissfulness A speck of mud A stone's throw A trace / shade / tint/ sprinkle of … aptly 恰如其分地Art troupe 文工团At a stretch/sitting At one'scommand at the present moment Avaricious desires 贪念 Bark up the wrong tree 攻击错了目标 bashful Bask in the sunshine Be ablaze/aglow with light be advanced in years be an encumbrance to … Be beset/troubled with/by Be blurred by … Be bogged down = be trapped Be bound up with …密切关联be central/indispensable to sb. Be cooped up = be caged be deeply grieved to learn of … be distinguished by Be en grossed in … Be exquisite and nicely arranged be forever cherished / treasured Be hale and hearty Be havened from be humanly impossible Be imprinted/carved/engraved/ingrained on/upon … be in a fix Be instrumental in 交织着 be irrelevant / foreign to Be keenly aware of be keyed up 紧张Be led by the nose be of southern breed Be off and on be on an equal footing with … Be on the lips of … Be on the minds of.. be out to do … be overgrown with wild woods be packed with … Be plagued = annoyed = upset Be possessed Be possessed of be reconciled to … be reduced to be saddled with be sent to gallows Be short of/devoid of Be shrouded in = be covered in = be enveloped in Be sloppy in thinking Be strewn/covered/festooned with … Be stumped by = baffled Be tantamount to ??= equal Be tinted / colored by … Be troubled / seized with … Be tucked away in … Be weaned 断奶 Be weighed down/ troubled with be wet with perspiration/ … Be wide of / far from the mark 离谱 Be wild with excitement / joy Be worthy of … 无愧于 Beam = a big smile on face Bear a thi n coati ng of … begin by degrees 逐渐开始 Beguile = while / idle / fritter away Bibliomania bicker Birds of a feather flock together Blackout: (战时)灯火管制 Blurt 脱口而出bookish / pedantic / impractical view Border sth on the west boudoir 闺房 Bountiful free gifts Bow down to Brazenly claim / credit 厚颜无耻邀功 Break into uncontrolled sobs Brilliant talent burst with vitality Bury the hatchet Button up clothes By dint of 凭借Capon Carcass: slaughtered animal for food Cavernous mouth Chant ancient Chinese books 诵读古籍 chicken-and-egg 因果难断的 Chit chat Click away the seconds Come dimly into sight Come out exceedingly well Come to pass 出现，发生 Come up against Come upon a windfall Come/be of age A Treasury of Best Chinese Prose 古文观Be interwoven with 止 A vast tract of land A virtuous man / a man of supreme virtue / moral integrity A widening expanse of water abandon … to fate Ache/agonize with pain Adjoining room admire sb for sth affected 做作aim high amiable by nature Amuse on eself by =-do …for fun Amusing episode an enlightened king An odd-jobber An opportune moment 合适时机Ancestral home Approach senility 1

张培基散文佳作108篇

第一部分汉译英 1. 丑石(An Ugly Stone) 2. 匆匆(Rush) 3. 冬夜(Winter Night) 4. 互助(Helping Each Other) 5. 黄昏(Dusk) 6. 盼头(Something to Look Forward to) 7. 媲美(Beauty) 8. 枪口(The Muzzles) 9. 鸲鹆(The Story of a Myna) 10. 铜镜(The Bronze Mirror) 11. 学校(The College) 12. 野草(Wild Grass) 13. 种梨(Planting a Pear Tree) 14. 哀互生(Mourning for Husheng) 15. 落花生(The Peanut) 16. 盲演员(A Blind Actor) 17. “孺子马” (An”Obedient Horse”) 18. 小麻雀(A Little Sparrow) 19. 雄辩症(A Case of Eloquence) 20. 大钱饺子(A Good-luck Dumpling) 21. 荷塘月色(Moonlight over the Lotus Pond) 22. 黄龙奇观(A View of Huangllong) 23. 枯叶蝴蝶(Lappet Butterfies) 24. 泡菜坛子(A pickle Pot) 25. 田水哗啦(The Irrigation Water Came Gurgling) 26. 我若为王(If I Be King) 27. 西式幽默(Western Humour) 28. 项脊轩志(Xiangjixuan) 29. 夜间来客(A Night Visitor——A True Story about a ”Celebrity”Being Interviewed) 30. 珍禽血雉(China…s Native Pheasant)31. 常胜的歌手(A Singer Who Always Wins) 32. 健忘的画眉(The Forgetful Song Thrush) 33. 可爱的南京(Nanjing the Beloved City) 34. 鲁迅先生记(In Memory of Mr.Lu Xun) 35. 苗族龙船节(The Miao Drangon-Boat Festival) 36. 秋天的怀念(Fond Memories of You) 37. 献你一束花(A Bouquet of Flowers for you) 38. 鸭巢围的夜(A Night at Mallard-Nest Village) 39. 玫瑰色的月亮(The Rosy Moon) 40. 内画壶《百子图》(Snuff Bottles with Pictures Inside) 41. 维护团结的人(A Man Upholding Unity) 42. 我有一个志愿(I Have a Dream) 43. 运动员的情操(Sportsmen…s Values) 44. 神话世界九寨沟(Jiuzhaigou,China…s Fairyland)45. 生命的三分之一(One Third of Our Lifetime) 46. 我可能是天津人(I Might Have Come from Tianjin) 47. 五台名刹画沧桑(The famous Monastery Witnesses Vicissitudes) 48. 爱梦想的羞怯女孩(A Shy Dreamer) 49. 永久的憧憬和追求(My Lnging and yearning) 50. 老人和他的三个儿子(The Old Man and his three sons) 51. 乐山龙舟会多姿多彩(dragon-Boat Festival at Leshan) 52. 撷自那片芳洲的清供(An Offering from his Sweet homeland) 53. 三峡多奇景妙笔夺开工(The Scenic Three Gorges Captured ) 54. 初中国旅游可到哪些地方(Tips on Traveling to China the First Time) 第二部分英译汉 1. A Ball to Roll Around(滚球) 2. A Boupquet for Miss Benson(送给卞老师的一束花) 3. A Boy and His Father Become Partners(父子伙伴情) 4. A Gift of Dreams(梦寐以求的礼物) 5. A Hard Day in the Kitchen(厨房里的一场闹刷) 6. A Nation of Hypochondriacs(一个疑病症患者的国度) 7. Are Books an Endangered Species? (书籍是即将灭绝的物种吗?) 8. A Sailor…s Christmas Gift(一个海员的圣诞礼物) 9. A Tale of Two Smut Merchants(两上淫秽照片商的故事) 10. A Visit with the Folks(探访故亲) 11. Canadian Eskimo Lithographs(加拿大爱斯基摩人的石版画) 12. Divorce and Kids(离婚与孩子) 13. Doug Heir(杜格·埃厄) 14. Fame(声誉) 15. Felicia…s Journey(费利西娅的旅行) 16. Genius Sacrificed for failure(为育庸才损英才) 17. Glories of the Storm(辉煌壮丽的暴风雨) 18. Han Suyin…s China(韩素音笔下的中国) 19. Hate(仇恨) 20. How Should One Read a Book? (怎样读书?) 21. In Praie of the Humble Comma(小小逗号赞) 22. Integrity——From A Mother in Mannville(正直) 23. In the Pursuit of a Haunting and Timeless Truth(追寻一段永世难忘的史实) 24. Killer on Wings is Under Threat(飞翔的杀手正受到威胁) 25. Life in a Violin Case(琴匣子中的生趣) 26. Love Is Not like Merchandise(爱情不是商品) 27. Luck(好运气) 28. Mayhew(生活的道路) 29. My Averae Uncle(艾默大叔——一个普通人) 30. My Father…s Music(我父亲的音乐) 31. My Mother…s Gift (母亲的礼物) 32. New Light Buld Offers Energy Efficiency(新型灯泡提高能效) 33. Of Studies(谈读书) 34. On Leadership(论领导) 35. On Cottages in General(农舍概述) 36. Over the Hill(开小差) 37. Promise of Bluebirds(蓝知更鸟的希望) 38. Stories on a Headboard(床头板上故事多) 39. Sunday(星期天) 40. The Blanket(一条毛毯) 41. The Colour of the Sky(天空的色彩) 42. The date Father Didn…t Keep(父亲失约) 43. The Kiss(吻) 44. The Letter(家书) 45. The Little Boat That Sailed through Time(悠悠岁月小船情) 46. The Living Seas(富有生命的海洋) 47. The Roots of My Ambition(我的自强之源) 48. The song of the River(河之歌) 49. They Wanted Him Everywhere——Herbert von Karajan(1908-1989) (哪儿都要他) 50. Three Great Puffy Rolls(三个又大双暄的面包圈) 51. Trust(信任) 52. Why measure Life in Hearbeats? (何必以心跳定生死？) 53. Why the bones Break(骨折缘何而起) 54. Why Women Live Longer than Men(为什么女人经男人活得长)

翻译中的文化迁移

第9卷　第6期河北理工大学学报(社会科学版)Vol19　No16 2009年11月Journa l of Hebe i Polytechn i c Un i versity(Social Science Editi on)Nov12009 文章编号:167322804(2009)0620157203 翻译中的文化迁移 张晶晶1,王治江2 (11河北理工大学外国语学院,河北唐山063009;21河北理工大学外事处,河北唐山063009) 关键词:翻译;文化;文化迁移 摘　要:以教育心理学中的学习迁移理论为主要理论基础,分析翻译过程中文化迁移现象的形式及影响,目的 是通过分析研究翻译与文化迁移的内在关系,对翻译所涉及的文化迁移现象做初步的探讨,为翻译过程中处 理文化迁移现象及认识翻译对文化的影响提供新的思路。 中图分类号:H31519 文献标志码:A 一　文化迁移概述 从本质上说,翻译是一种跨文化交际活动,这是翻译的基本性质。翻译涉及两种语言文化,因而在翻译研究与实践中,就会不可避免地受到文化迁移的影响。翻译是一种具有鲜明文化特性的交际现象,译者将源语中的信息翻译成目的语时,也会要用到他所掌握的语言文化的先有知识(p ri or knowledge)(M atlin,1989);译者出于认识或需要的考虑,总会利用一种文化的先有知识(如源语文化知识)对所译篇章做出一些选择性的摄取或处理(王克非,1997:5),使之转换成另一种文化背景下(即目的语文化)的信息内容;同样,译者在理解原作时也难免要使用目的语中的文化因素。“因此,我们不妨借用心理学中的’迁移’,将翻译中的文化迁移现象定义为:由于翻译活动而造成的‘一种文化对另一种文化的影响’。”(林艳华,曹赛先,2003:103) 本论文中所研究的“文化迁移”既包括翻译过程中的文化迁移过程,也包括译文中所呈现出的文化迁移现象以及由此造成的影响方面的文化迁移结果。具体体现在翻译过程,译本本身和翻译后果几个方面,简而言之就是一种文化对另一种文化的影响或干扰。 二　文化迁移的形式 文化是一个复杂的体系,翻译也是一个涉及多种因素的动态过程,因而依据不同的标准,翻译中文化迁移的形式也是多种多样的。按迁移的方向分,有顺向迁移和逆向迁移;按迁移对文化的影响程度分,有表层迁移和深层迁移;按迁移涉及的文化层面分,有水平迁移和垂直迁移;按迁移所产生的效果分,有正迁移和负迁移。 1　顺向迁移和逆向迁移 迁移是有方向性的,在翻译这一复杂的过程中,源语文化、目的语文化与翻译过程中文化因素的处理三者之间有着密切的联系。我们将源语文化对目的语文化的干扰或影响以及翻译过程中源语文化对翻译的制约和限制作用视为顺向迁移(f or ward transfer),如将“面包车”翻译成“bread car”,而在英文中对应的翻译应该是“m inibus”,译者在翻译时很显然是受到了源语文化的影响;反之,目的语文化对源语文化的影响以及目的语文化对翻译的制约和限制作用称为逆向迁移(back ward transfer)。电影《阿甘正传》里有这样的翻译:I’m taking＄24,562147(我带来两万四千五百六十二块四毛七分),“毛”的翻译就是受目的语文化(汉语文化)的影响,翻译中出现了逆向文化迁移的现象。 顺向文化迁移和逆向文化迁移会在翻译过程中呈现出积极或者消极作用,影响或干扰译者的思维。在处理相同的文化因素时,能使译者更深刻地理解并翻译原作;但在处理具有差异性的文化因素时极容易将原有母语文化概念移植到译作中,出现文化误读,误译,影响文化交流。在两种文化的相互影响方面,顺向迁移和逆向迁移则促进文化交流与沟通或者是造成文化冲击。 2　表层迁移和深层迁移 翻译过程中由于译者的主观文化因素及纳入译者思考范围的文化因素对翻译作品造成的影响具有相对性及不稳定性。因此,我们只能将之视为表层文化迁移(surface trans2 fer)。在翻译过程中一些中式英语的出现就是表层文化迁移的结果。而一种文化对另一种文化的影响则是长期的、客观的。关于人们如何接纳不同的文化,J?Bennet和M?Bennet (1991:78)曾将这一过程分为六个阶段:①Denial(否定),②Defense(防备),③M ini m izati on(低估),④Accep tance(接纳),⑤Adap tati on(适应),⑥I ntegrati on(融合)。在阶段①,一种文化背景下的人们认为世界上根本不存在别的文化,他们一切都以自己的文化为中心;在阶段②,他们能感觉到人 收稿日期:2009203213

张培基散文翻译 张培基散文翻译108篇

张培基散文翻译张培基散文翻译108篇 转] 张培基散文翻译语言点精要 xx-6-1614:19阅读转载自甲壳虫 · · · · · · 赞赞赞赞评论转载分享复制地址编辑上一篇| 下一篇：此文胜过你上三年、、、 1、It is sometimes beset with …有时候会有…的境遇/会有…相伴 2、 Nothing short of a … can help …唯有…才能/全靠…才能够 3、 Rolling on non-stop for thousands upon thousands of miles、一泻千里 4、 Fare likewise、正如这样 5、 Now … , now …有时…，有时… 6、 Better able to generate in oneself a sensation of …更能让人产生一种…之 感

7、… is now confronted with a … section of its course、…现在正遭遇进程上的 一段… 8、… , however, can only be shared by …而…，只有…样的人才可体会到 9、 The present … crisis can never obstacle the advance of …目前的…危机绝 不会阻碍…的进步 10、 Let us pace up our spirits and march through ...让我们鼓起雄健的精神 (1) 1、The greatest joy of …, is to … during its most difficult days、在最艰难的日 子里…，亦是最大的乐趣 12、 Grow restless 变得焦躁不安 Beg to differ 恕不同意/持反对意见 13、 Dash here and there in search of …跑来跑去的寻找 14、 He is going to … so that he could …他决定…以便… 15、… is not groundless because ……并非空害怕/没依据，因为… 16、 Keep moving around in a hurry 慌慌张张地走/跑

翻译中的文化观

姓名：方守义学号：201420270 班级：外应一班On Cultural Differences and Translation Methods Abstract:Language is the carrier of a culture. It contains rich cultural information. Therefore translation is not merely to convert one language into another, and it is also a communication activity which involves converting one type of culture into another. Cultural factors begin to gain more and more attention of translators. we find that cultural differences pose major barriers in translating. A thing which is self-evident in one culture has to be painstakingly explained in another. The most serious mistakes in translating and interpreting are usually not the result of verbal inadequacy, but of wrong cultural assumptions. Hardly can any text be successfully translated without appropriately dealing with the differences between source and target cultures. Therefore in this paper I intend to analyze the differences between Chinese and Western cultures as reflected in translation, then to put forward some translation methods(domestication and foreignization) in dealing with them. Key words: cultural differences; domestication; foreignization 1. Cultural Differences 1.1 Different Geography Geographical culture refers to the culture formed by the area, natural condition and circumstances the country lies in. In ancient Greece, the long winding seashore along the islands, which led to Asia Minor. Relations among the people were not so strictly classified. The geographical conditions and features in each country have also played an important role in determining the national characteristics in language expressions. Different nations use different expressions and words for the same phenomena and objects. It is because the different geographical conditions and features in each country reflect different life experiences. 1.2 Different Ways of Thinking The Chinese people are known to the world by their intuitive, whole and dialectical way of thinking. The westerners have had a frame in their heads before speaking or writing, while the Chinese people usually express their ideas free from any fetters. Different ways of thinking affect the accuracy of translation. The English stress formal logic, and the English syntactic structures emphasize hypostasis .While the Chinese do not stress formal logic as much as the English do, Chinese syntactic structures emphasize parataxis, which causes great difficulty in Chinese-English

翻译与文化迁移_曹合建

翻译与文 化迁移 曹合建 (上海对外贸易学院外语学院,上海 201600) [摘 要]翻译对文化的迁移作用有多种表现形式。本文从不同角度讨论了顺向迁移、逆向迁移;表层迁移、深层迁移;横向迁移、纵向迁移、正迁移、负迁移和零迁移等基本形式,并探讨了造成这些迁移的原因。 [关键词]翻译;文化;迁移 [中图分类号]H159 [文献标识码]A [文章编号]1008 1763(2005)06 0083 05 Translation and Cultural Transfer CAO He jian (School of Fo reig n L anguage ,Shanghai Inst itute of F or eign T rade,Shang hai 201600,China) Abstract:T here are various kinds of transfer ex erted on culture by translation.T his paper classifies and discusses the follo w ing different forms fro m different ang les:fo rw ard transfer and backw ard transfer;surface transfer and deep transfer;horizontal transfer and ver tical transfer;positive transfer,neg ativ e transfer and zero transfer.Causes of transfer are also pro bed. Key words:translation;culture;transfer Dahl [1]将文化分为三个层次:表层文化,中层文化和内层文化。表层文化指人类的各种产品,又称物质文化,包括语言、建筑、服饰、艺术品等最直观的内容;中层文化指社会规范与价值观,具体包括人际关系、体制规范、礼仪习俗、行为方式等;内层文化指社会群体的基本判断,即观念文化,包括思维方式、思维习惯、传统文化、社会心理、风土人情和审美情趣等。此外,Even Zohar [2] 亦提出文化是由多个子系统组成的多元系统。上述文化研究的多维思考对探讨文化的本质与特征提供了新的视角,并对深入了解翻译在文化交流中的作用提供了启示。而本文借用心理学中的 迁移 理论来分析和解释翻译在文化系统中的作用,无疑将加深对翻译与文化迁移规律的认识。 一 翻译中的文化迁移 迁移(transfer)一词频繁出现于物理学、心理学等 领域,但在不同的学科中有不同的涵义与表述方式。在心理学领域,这一概念的应用尤为广泛。人们通常将先前学习对后继学习的影响称为迁移;但后继学习也可能对先前学习的结果产生某种影响。迁移是双向的、相互的。所以,迁移的概念被扩大为 一种学习对 另一种学习的影响 。 [3](P 218-235) 翻译是一种具有鲜明文化特征的人类交际行为。译者将源语中的信息翻译成目的语信息时,也会要用到他所掌握的语言文化的先有知识(prior know ledg e);[4](P 232)译者出于认识或需要的考虑,总会利用一种文化的先有知识(如源语文化知识)对所译做出一些选择性的摄取或处理,使之转换成另一种文化背景下(即目的语文化)的信息内容;同样,译者在理解原作时,也难免要使用目的语中的文化 因素。因此,我们不妨借用心理学中的 迁移 概念,将翻译中的文化迁移现象定义为:由于翻译活动而形成的 一种文化对另一种文化的影响 。 [收稿日期]2005-01-28 [作者简介]曹合建(1956 ),男,湖南长沙人,上海对外贸易学院外语学院教授.研究方向:翻译理论,文体学. 第19卷 第6期2005年11月湖 南 大 学 学 报(社会科学版)Journal o f H unan U niversit y(So cial Sciences)Vo l.19,N o.6N o v.2005

张培基散文翻译语言点精要

张培基散文翻译语言点精要 1. It is sometimes beset with…有时候会有…的境遇/会有…相伴 2. Nothing short of a…can help…唯有...才能/全靠…才能够 3. rolling on non-stop for thousands upon thousands of miles一泻千里 4. Fare likewise.正如这样 5. Now…, now….有时…，有时… 6. Better able to generate in oneself a sensation of…更能让人产生一种…之感 7.…is now confronted with a…section of its course……现在正遭遇进程上的一段… 8.…, however, can only be shared by…而…,只有…样的人才可体会到 9.Thepresent…criscanneverobstacletheadvanceof…目前的…危机绝不会阻碍…的进步。 1 0." Let us brace up our spirit and march through…让我们鼓起雄健的精神… 1 1." The greatest joy of…, is to…during its most difficult days.在最艰难的日子里…，亦是最大的乐趣。 1 2." Grow restless变得焦躁不安Beg to differ恕不同意/持反对意见 1 3." Dash here and there in search o f…跑来跑去的寻找 1

翻译中的文化迁移张培基《英译中国现代散文选》个案研究1

班级 _____英语083______学号__4号________姓名 __王宁______ 分数__________ Cultural transfer in translation——a study of the Selected Modern Chinese Prose Writings translated by Professor Zhang Peiji. Abstract With increasing contact between China and the Western world, a better understanding between the two cultures is of growing importance. During the process of intercultural communication, the distinctive features of culture may undoubtedly bring out both cultural exchanges and cultural conflicts. Although there may be different means by which the exchanges can be achieved and the conflicts smoothed over, it is translation that can be used as the most useful medium to serve both purposes. Since translation came into being, it has never been short of people?s attention. Scholars formulate their own translation theories and standpoints from different angles; various schools have been established, the two major ones being the linguistic school and the cultural school. The theories of both schools are actually interwoven with one another. However, with the boom in cultural studies in the academic field, cultural theories in translation have attracted considerable interest on the part of scholars and have become the main research tendency. Susan Bassnett, one of the leading figures of the cultural school, thinks that translation should take culture as the translation unit so as to realize the functional equivalence between the SL culture and the TL culture. In the process of seeking cultural equivalence, the translator enjoys great freedom of creation. S/he can not only adopt a flexible method of rewriting, but also break with the literary form of the original. This concept of translation, taking a macro view of translation study and reviewing it from a brand new perspective the nature and function of translation, the translator?s position, and the relationship between translation and culture, has greatly broadened the horizon of translation studies. Guided by the concept of cultural translation and borrowing the concept of “cult ural transfer”,this thesis endeavours to identify what exact cultural influences should be taken into consideration that are likely to have an impact on translation, and how a translator deals with these influences in the process of translation through studying the research data