当代国外翻译理论Word格式.docx

1、 现在有货。） 目录前言第一章 语言学派翻译理论1.罗曼雅科布逊 论翻译的语言学问题2.彼得纽马克 交际翻译与语义翻译（）3.约翰卡特福德 论翻译转换4.尤金奈达 论对等原则5.巴兹尔哈蒂姆 互文介入：利用翻译中缺省语篇的理论体系6.玛丽斯奈尔霍恩比 翻译：一种跨文化活动第二章 阐释学派翻译理论7.乔治斯坦纳 阐释的步骤8.安托瓦纳贝尔曼 翻译及对异的考验第三章 功能学派翻译理论9.凯瑟琳娜莱斯 翻译的抉择：类型、体裁及文本的个性10.汉斯弗米尔 翻译行为中的目的与委任11.克里斯汀娜诺德 目的、忠诚及翻译中的惯例第四章 文化学派翻译理论12.詹姆斯霍尔姆斯 翻译学的名与实13.伊塔玛埃文佐哈

2、 翻译文学在文学多元系统中的地位14.吉迪恩图里 描述性翻译研究的理论基础15.安德烈勒菲弗尔 大胆妈妈的黄瓜：文学理论中的文本、系统和折射16.苏珊巴斯奈特 文化研究的翻译转向17.西奥赫曼斯 翻译研究及其新范式第五章 解构学派翻译理论18.瓦尔特本雅明 译者的任务19.雅克德里达 巴别塔之旅20.保罗德曼 评本雅明的译者的任务21.劳伦斯韦努蒂 文化身份的塑造第六章 女性主义翻译理论22.雪莉西蒙 翻译理论中的性别化立场23.劳丽钱伯伦 性别与翻译的隐喻24.巴巴拉格达德 女性主义话语翻译的理论化25.冯弗罗托 女性主义翻译理论批评第七章 后殖民翻译理论26.道格拉斯罗宾逊 后殖民研究与翻

3、译研究27.特佳斯维妮尼南贾纳翻译的定位28.盖亚特里斯皮瓦克 翻译的政治29.埃尔斯维埃拉 解放卡利班们论食人说与哈罗德德坎波斯的超越越界性创造诗学第八章 苏东学派翻译理论30.安德烈费奥多罗夫 翻译理论的任务31.吉维加切奇拉泽 文学翻译中的创造性原则32.吉里列维 翻译是一个作选择的过程33.安娜丽洛娃 翻译研究的范畴Translation Theory（2007-09-29 14:13:41） 标签：学习公社translationenglishtheory Translation TheoryBy Juan Daniel Prez VallejoTranslation teacher,

4、University of Cd. Del Carmen, Campeche, MexicoThe study of proper principle of translation is termed as translation theory. This theory, based on a solid foundation on understanding of how languages work, translation theory recognizes that different languages encode meaning in differing forms, yet g

5、uides translators to find appropriate ways of preserving meaning, while using the most appropriate forms of each language. Translation theory includes principles for translating figurative language, dealing with lexical mismatches, rhetorical questions, inclusion of cohesion markers, and many other

6、topics crucial to good translation. Basically there are two competing theories of translation. In one, the predominant purpose is to express as exactly as possible the full force and meaning of every word and turn of phrase in the original, and in the other the predominant purpose is to produce a re

7、sult that does not read like a translation at all, but rather moves in its new dress with the same ease as in its native rendering. In the hands of a good translator neither of these two approaches can ever be entirely ignored.Conventionally, it is suggested that in order to perform their job succes

8、sfully, translators should meet three important requirements; they should be familiar with: the source language the target language the subject matterBased on this premise, the translator discovers the meaning behind the forms in the source language and does his best to produce the same meaning in t

9、he target language - using the forms and structures of the target language. Consequently, what is supposed to change is the form and the code and what should remain unchanged is the meaning and the message. （Larson, 1984）One of the earliest attempts to establish a set of major rules or principles to

10、 be referred to in literary translation was made by French translator and humanist tienne Dolet, who in 1540 formulated the following fundamental principles of translation （La Manire de Bien Traduire dune Langue en Aultre）, usually regarded as providing rules of thumb for the practicing translator:T

11、he translator should understand perfectly the content and intention of the author whom he is translating. The principal way to reach it is reading all the sentences or the text completely so that you can give the idea that you want to say in the target language because the most important characteris

12、tic of this technique is translating the message as clearly and natural as possible. If the translation is for different countries besides Mexico, the translator should use the cultural words of that country. For example if he/she has to translate ”She is unloyal with her husband” in this country it

13、 can be translated as “Ella le pone los cuernos” but in Peru it can be translated as “Ella le pone los cachos”. In this case it is really important the cultural words because if the translator does not use them correctly the translation will be misunderstood.The translator should have a perfect know

14、ledge of the language from which he is translating and an equally excellent knowledge of the language into which he is translating. At this point the translator must have a wide knowledge in both languages for getting the equivalence in the target language, because the deficiency of the knowledge of

15、 both languages will result in a translation without logic and sense. For example if you translate the following sentence “Are you interested in sports?” as “Ests interesado en deportes?” the translation is wrong since the idea of this question in English is “Practicas algn deporte?” The translator

16、should avoid the tendency to translate word by word, because doing so is to destroy the meaning of the original and to ruin the beauty of the expression_r. This point is very important and one of which if it is translated literally it can transmit another meaning or understanding in the translation.

17、For example in the sentence.- “In this war we have to do or die”, if we translate literally “En esta guerra tenemos que hacer o morir” the message is unclear. The idea is, （.） “En esta guerra tenemos que vencer o morir.”The translator should employ the forms of speech in common usage. The translator

18、 should bear in mind the people to whom the translation will be addressed and use words that can be easily understood. Example. “They use a sling to lift the pipes” if the translation is to be read by specialists we would translate it “Utilizan una eslinga para levantar la tubera”. If the text is to

19、 be read by people who are not specialists we would rather translate it “Utilizan una cadena de suspension para levantar los tubos”.Flip to Text Version La Trobe University Harry AvelingA Short History of Western Translation Theory1. Traditional Translation TheoriesThere is a continuity of intellect

20、ual expression from Ancient Greece, Rome, the Middle Ages, through to the Renaissance, the Reformation, and the rise of the early European nation states. The central language of scholars and other readers was Latin, while the core of this tradition was classical literature and Judeo-Christianity. Th

21、ere was a profusion of economic and political contacts throughout Europe and the Middle East, and this must have involved an abundance of linguistic transactions. Nevertheless, Lefeveres words provide an accurate background to understanding the social position of the subjects of traditional translat

22、ion theory: In such a culture, translations were not primarily read for information or the mediation of the foreign text. They were produced and read as exercises, first pedagogical exercises, and later on, as exercises in cultural appropriation - in the conscious and controlled usurpation of author

23、ity. （Lefevere 1990: 16）.2. German RomanticismAt the beginning of the nineteenth century, a second, more philosophical and less empirical, formation began to open within discourses on translation theory （Munday 2001: 27）. This formation was connected, in one direction, with the rise of philology as

24、a university discipline, and in another with the literary movement of Romanticism. Philology provided a range of new and exotic texts and allowed the experts to produce translations aimed primarily at other experts, not the general culture of which these scholars were a part （Lefevere 1990: 22）. Rom

25、anticism exalted the translator as a creative genius in his own right, in touch with the genius of his original and enriching the literature and language into which he is translating （Bassnett-McGuire 1980: 65）. The stress on both the original author and the translator as being artists was not part

26、of traditional discourse formations.3. The Early and Middle Twentieth CenturyDiscussion in English of translation theory during the first half of the twentieth century continued to be dominated by the themes of Victorian discourse on translation, literalness, archaizing, pedantry and the production

27、of a text of second-rate literary merit for an elite minority 73）. In his list of major contributors to the area of translation theory, Steiner recognises only the names of Dryden, Quine and Pound among English-speakers. Quine and Pound both belong to the twentieth century and challenged the dominan

28、t discourse. Willard V. Quine （b. 1908）, a major American philosopher, wrote on the indeterminacy of translation within the field of linguistic philosophy （Quine 1960）. Ezra Pound （1885-1972） was a poet and critic. Ronnie Apter has argued that Pound made three major innovations to thinking about the

29、 nature and intent of literary translationhe discarded the Victorian pseudo-archaic translation diction; he regarded each translation as a necessarily limited criticism of the original poem; and he regarded good translations as new poems in their own right （Apter 1987: 3）.More radical, and more deci

30、sive, developments in translation theory took place in Europe. These begin with the Russian Formalist movement, which focused on the what makes literary texts different from other texts, what makes them new, creative, innovative （Gentzler 1993: 79）. One of their answers was that literary texts rely

31、on a process of defamiliarisation, using language in new and strikingly different ways from ordinary speech. This led the Formalist to focus on surface structural features and to analyse them to learn what determines literary status 79）. In so doing, they began the search for descriptive rules, which would help scholars understand the process of translation, and not normative rules, in order to study and assess the work of other translators （Bell 1991: 12）. Their work was extended and refined by the Prague school of linguistics, foun