首页
登录
职称英语
There are two ways in which we can think of literary translation: as reproduct
There are two ways in which we can think of literary translation: as reproduct
游客
2023-12-16
5
管理
问题
There are two ways in which we can think of literary translation: as reproduction and as recreation. If we think of translation as reproduction, it is a safe and harmless enough business: the translator is a literature processor into which the text to be translated is inserted and out of which it ought to emerge identical, but in another language.
But unfortunately the human mind is an imperfect machine, and the goal of precise interlinguistic message-transference is never achieved; so the translator offers humble apologies for being capable of producing only a pale shadow of the original. Since all he is doing is copying another’s meanings from one language to another, he removes himself from sight so that the writer’s genius can shine as brightly as may be. To do this, he uses a neutral, conventionally literary language which ensures that the result will indeed be a pate shadow, in which it is impossible for anybody’s genius to shine.
Readers also regard the translator as a neutral meaning--conveyor, then attribute the mediocrity of the translation to the original author. Martin Amis, for example, declares that Don Quixote is unreadable, without stopping to think about the consequences of the fact that what he has read or not read is what a translator wrote, not what Cervantes wrote. If we regard literary translation like this, as message-transference, we have to conclude that before very long it will be carried out perfectly well by computers.
There are many pressures encouraging translators to accept this description of their work, apart from the fact that it is a scientific description and therefore must be right. Tradition is one such additional en couragement, because meaning-transference has been the dominant philosophy and manner of literary translation into English for at least three hundred years. The large publishing houses provide further encouragement, since they also expect the translator to be a literature-processor, who not only copies texts but simpll ties them as well, eliminating troublesome complexities and manufacturing a readily consumable product for the marketplace.
But there is another way in which we can think of literary translation. We can regard the translator not as a passive reproducer of meanings but as an active reader first, and then a creative rewriter of what he has read. This description has the advantages of being more interesting and of corresponding more closely to re ality, because a pile of sheets of paper with little squiggly lines on them, glued together along one side, only becomes a work of literature when somebody reads it, and reading is not just a logical process but one involving the whole being: the feelings and the intuitions and the memory and the creative imagination and the whole life experience of the reader.
Computers cannot read, they can only scan. And since the combination of all those human components is unique in each person, there are as many Don Quixotes as there are readers of Don Quixote, as Jorge Luis Borges once declared.
Any translation of this novel is the translator’s account of his reading of it, rather than some inevitably pale shadow of what Cervantes wrote. It will only be a pale shadow if the translator is a dull reader, perhaps as a result of accepting the preconditioning that goes with the role of literature-processor.
You may object that what I am advocating is extreme chaotic subjectivism, leading to the conclusion that anything goes, in reading and therefore in translation; but it is not, because reading is guided by its own conventions, the interpersonal roles of the literary game that we internalize as we acquire literary experience. By reference to these, we can agree, by reasoned argument, that some readings are more appropriate than others, and therefore that some translations are better than others. [br] Which of the following is TRUE of translation as reproduction?
选项
A、The translator can precisely transfer meaning between two languages.
B、The translator tries not to have his presence felt’ by his readers.
C、The translator can show the original writer at his or her best.
D、The translator actively produces the writer’s meanings.
答案
B
解析
细节题。由题干中的translation as reproduction定位至首段。该段引入此概念,第二段对其进行解释。第二句指出:he removes himself from sight so that the writer’s genius can shine as brightly as may be, [B]符合文意,故为答案。首句中的“the goal of precise interlinguistic message-transference is never achieved”表明[A]不符合文意,排除。其中的“the translator offers humble apologies for being capable of producing only a pale shadow of the original”表明[C]不符合文意。末句指出:翻译者为了不在翻译作品中留下主观烙印,使用了不带个人色彩的文学语言,其结果是原作者的创造力没有表现出来。[D]不符合文意。
转载请注明原文地址:https://tihaiku.com/zcyy/3278679.html
相关试题推荐
TheDoubleNatureofLiteraryTranslationⅠ.Introduction
TheDoubleNatureofLiteraryTranslationⅠ.Introduction
TheDoubleNatureofLiteraryTranslationⅠ.Introduction
TheDoubleNatureofLiteraryTranslationⅠ.Introduction
TheDoubleNatureofLiteraryTranslationⅠ.Introduction
TheDoubleNatureofLiteraryTranslationⅠ.Introduction
TheDoubleNatureofLiteraryTranslationⅠ.Introduction
Therearetwowaysinwhichwecanthinkofliterarytranslation:asreproductio
Therearetwowaysinwhichwecanthinkofliterarytranslation:asreproductio
______wasaliterarytrendprevailinginEnglandwhichexpressedtheideologyan
随机试题
A:Whatareyougoingtodofortoday?B:IwasthinkingofvisitingTom.【D8】___
AnewcatastrophefacesAfghanistan.TheAmericanbombingcampaignisconspir
软土路基处理工艺中,袋装砂井打入套管斗沉入砂袋的后一道工序是()。A.摊铺
阴道取样检测pH A.pH≥6.5 B.pH5~6.5 C.pH>4.5
教师必须自觉遵守宪法、法律和职业道德,使自己的言行举止具有示范性。()
学完《威尼斯商人》,教师组织学生开展“文学人物画廊中的‘吝啬鬼’”专题研究,下列
A.形态中空,贮藏精气B.运化水液C.传化水谷D.水谷之海E.贮藏血液六腑共同的
189、应加强外熔断器的选型管理工作,要求厂家必须提供合格、有效的型式试验报告。
某港口库场总面积为500000平方米,堆存定额是0.8吨/平方米,库场面积利用率
IG541气体灭火系统通常采用()检查灭火剂是否泄漏。A.称重装置 B.压力
最新回复
(
0
)